The Crevice — Text and Context

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In Category - Mystery Collections
Burns, William J., 1861-1932, Ostrander, Isabel, 1883-1924, Grefé, Will, 1875-1957 [Illustrator] Project Gutenberg 2009 Not confirmed
Detective and mystery stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 97,716
Reading time 425 min
Text sections 12

The Crevice — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 97,716 words, 7 hr 5 min estimated reading time, and 12 detected text sections.

The text analysis averages about 16.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Detective and mystery stories,” connecting these edition facts with the source record’s subject description.

A mystery novel where the death of financier Pennington Lawton sets off a chain of secrets, with detective Guy Morrow navigating hidden motives, a cipher, and a daughter's loyalty to her troubled father.
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Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

y did he come like a thief in the night? Father's integrity, his honor, were known to all the world. Why did that reference to this Herbert and his wife cause him such pain?"

"I don't know, dear; I have no more idea than you. If you really, really overheard that conversation, as you seem convinced you did, you did well in keeping it to yourself. Let that hour remain buried in your thoughts, as in your father's grave. Only rest assured that whatever it is, it casts no stain upon your father's good name or his memory." He rose and gathered her into his arms. "I must go now, Anita; I'll come again to-morrow. You are quite sure that you will not accept my mother's invitation? I really think it would be better for you."

She looked deeply into his eyes, then drew herself gently from his clasp. "Not yet. Thank her for me, Ramon, with all my heart, but I will not leave my father's house just yet, even for a few days. I am sure that I shall be happier here." He kissed her, and left the room. She stood where he had left her until she heard the heavy thud of the front door. Then, turning to the window, she thrust her slim little hand between the sedately drawn curtains, and waved him a tender good-by; then with a little sigh, she dropped among the pillows of the couch, lost in thought.

"Whatever was meant by that conversation which I overheard," she murmured to herself, "Ramon knows. I read it in his eyes."

The young man, as he made his way down the crowded avenue, was turning over in his mind the extraordinary story which the girl he loved had told him.

"What could it mean? Who could the man have been? Surely not Herbert himself, and yet--oh! why will they not let sleeping dogs lie; why must that old scandal, that one stain on Pennington Lawton's past have been brought again to light, and at such a time? I pray God that Anita never mentions it to anyone else, never learns the truth. By Jove, if any complications arise from this, there will be only one thing for me to do. I must call upon the Master Mind."

For two days Anita wandered wraithlike about the great darkened house. The thought that Ramon was keeping something from her--that he and her dead father together had kept a secret which, for some reason, must not be revealed to her, weighed upon her spirits. Conjectures as to the unknown intruder on the night of her father's death, and his possible purpose, flooded her mind to the exclusion of all else.

In the dusk of the winter afternoon she was lying on the couch in her dressing-room, lost in thought, when Ellen, tapping lightly at the door, interrupted her reverie.

"The minister, Miss Anita--the Rev. Dr. Franklin--he is in the drawing-room."

"Oh!" Anita gave a little movement of dismay. "Tell him that I am suffering from a very severe headache, and gave orders that I was not to be disturbed by anyone. He means well, Ellen, of course, but he always depresses me horribly, lately. I don't feel like talking to him this afternoon."

The maid retired, but returned again almost immediately with a surprised, half-frightened expression on her usually stolid face.

"Please, Miss Anita, Dr. Franklin says he must see you and at once. He seems to be excited and he won't take no for an answer."

"Ramon!" Anita cried, springing from the couch with swift apprehension. "Something has happened to Ramon, and Dr. Franklin has come to tell me. He may be injured, dead! Ah, God would not do that; He would not take him from me, too!"

"Don't take on so, Miss Anita, dear," the faithful Ellen murmured, as she deftly smoothed the girl's hair and rearranged her gown; "the little man acts more as if he had a fine piece of gossip to pass on--fidgeting about like an old woman, he is. Begging your pardon, Miss, I know he is the minister, of course, and I ought to show him more respect, but he forever reminds me of a fat black pigeon."

The remarks of the privileged old servant fell upon deaf, unheeding ears. Anita, sobbing softly beneath her breath, flew down to the drawing-room, where the pompous black-cloaked figure rose at her entrance. But--was it purely Anita's fancy or had some indefinable change actually taken place in the manner of her spiritual adviser? The rather close-set eyes seemed to the girl to gleam somewhat coldly upon her, and although he took both her hands in his in quick, fatherly greeting, his hand-clasp appeared all at once to be lacking in warmth.

The death of Pennington Lawton, found seated quietly in his library arm-chair, opens The Crevice with a scene that immediately establishes the novel's interest in the contrast between public power and private vulnerability. Lawton, described as a 'supreme power in the financial world,' is discovered in a domestic setting, and the narrative dwells on the hush that falls over banks, clubs, and charitable institutions. The opening chapter, titled 'Pennington Lawton and the Grim Reaper,' sets a tone of measured gravity, but the story soon shifts to a more intimate register: the anxieties of Emily Lawton and the conflicted motives of Guy Morrow, who is both a suitor and a detective. The excerpts reveal a pattern of characters keeping secrets from those closest to them, and a recurring tension between what is said and what is withheld.

Public Mourning and Private Anxiety

The novel opens with a city in collective shock, but the excerpts quickly narrow to the household of Pennington Lawton. The contrast is stark: the public sees a magnate whose 'marvelous mentality and finesse' strengthened the nation, while his daughter Emily perceives a father 'weighed down with some secret anxiety' that he will share with no one. This split between external reputation and internal turmoil is a structural pattern. The narrative voice itself shifts between the formal, almost eulogistic tone of the first chapter and the more intimate, dialogue-driven scenes that follow. The reader is positioned to see both the newspaper-ready image of the great man and the faltering figure who 'ages before my very eyes,' as Emily puts it. The excerpts do not reveal the cause of Lawton's death, but they establish that the mystery is as much about the hidden life of the deceased as about the circumstances of his passing.

The Detective as Lover: Guy Morrow's Double Role

Guy Morrow is introduced as a man caught between two obligations: his promise to his 'chief' to 'play the game' and his genuine affection for Emily Lawton. The excerpts show him wrestling with 'self-contempt at his own hypocrisy' as he withholds the truth of his detective work from the woman he loves. His internal conflict is rendered through a series of hesitations and rationalizations. He tells himself that his deception is ultimately for Emily's sake, to 'shield her from the brunt of the blow' when her father's secrets come to light. This doubling—the lover who is also an investigator—creates a persistent tension in the dialogue. Emily, unaware, smooths the way for his secrecy by suggesting they keep their engagement from her father. The novel thus builds its suspense not only on external clues but on the moral strain of a protagonist who must lie to the person he most wants to trust.

The Cipher and the Unspoken

Among the chapter titles in the table of contents is 'The Cipher,' and the excerpts hint at a pattern of coded communication and hidden knowledge. Emily recalls that her father's change began with the arrival of a letter, and she connects it to the appearance of a young man named Pennold. The narrative repeatedly emphasizes what is not said: the father's 'steadfast silence,' the 'secret anxiety' he will not confide, and Morrow's unspoken motives. The physical setting—the library where Lawton is found dead, the 'empty house' of a later chapter—becomes a stage for these silences. The excerpts do not decode the cipher, but they establish that the novel's mystery is woven from things left unsaid, letters that arrive at pivotal moments, and characters who read meaning into gestures and pauses. The reader is invited to attend to what the characters themselves cannot or will not articulate.

The Crevice rewards attention to its structural contrasts: the public versus the private, the spoken versus the withheld. The excerpts offer no resolution to the mystery of Lawton's death or the cipher, but they establish a world where every character is keeping something back. Readers may find the novel's interest lies less in the solution than in the accumulating weight of these secrets, and in the way the narrative voice itself shifts between eulogy and intimacy, between the grand and the domestic.

Years at this desk have taught me that detectives rarely solve a case cleanly. In The Crevice — Text and Context, Guy Morrow’s careful unraveling of Pennington Lawton’s secrets felt like watching someone turn over stones in a quiet garden. That same patience hums through Philo Gubb, Correspondence-School Detective — Themes and Context, where a humble man’s earnest folly becomes its own kind of gentle truth. Both books share a tenderness toward their seekers.

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