The Gloved Hand — Key Ideas to Explore

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In Category - Suspense
Stevenson, Burton Egbert, 1872-1962 Project Gutenberg 2004 Not confirmed
Detective and mystery stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 73,889
Reading time 322 min
Text sections 9

For The Gloved Hand — Key Ideas to Explore, the stored edition analysis reports 73,889 words, 5 hr 22 min estimated reading time, and 9 detected text sections.

The text analysis averages about 13.9 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.

Burton E. Stevenson's detective novel opens with lawyer Lester exhausted from the Minturn case, then shifts to a mysterious neighbor and a garden drama. Fingerprint evidence and a blood-stained glove drive the investigation, with excerpts revealing a focus on legal procedure and scientific deduction.
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Editorial Edition Score 4.7/5

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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

There was no one in the hall, and I stepped out through the open door to the porch beyond, and stood looking about me. The house was built in the midst of a grove of beautiful old trees, some distance back from the road, of which I could catch only a glimpse. It was a small house, a story and a half in height, evidently designed only as a summer residence.

"Good morning, sir," said a voice behind me, and I turned to find a pleasant-faced, grey-haired woman standing in the doorway.

"Good morning," I responded. "I suppose you are Mrs. Hargis?"

"Yes, sir; and your breakfast's ready."

"Has Mr. Godfrey gone?"

"Yes, sir; he left about an hour ago. He was afraid his machine would waken you."

"It didn't," I said, as I followed her back along the hall. "Nothing short of an earthquake would have wakened me. Ah, this is fine!"

She had shown me into a pleasant room, where a little table was set near an open window. It made quite a picture, with its white cloth and shining dishes and plate of yellow butter, and bowl of crimson berries, and--but I didn't linger to admire it. I don't know when I have enjoyed breakfast so much. Mrs. Hargis, after bringing in the eggs and bacon and setting a little pot of steaming coffee at my elbow, sensibly left me alone to the enjoyment of it. Ever since that morning, I have realised that, to start the day exactly right, a man should breakfast by himself, amid just such surroundings, leisurely and without distraction. A copy of the morning's _Record_ was lying on the table, but I did not even open it. I did not care what had happened in the world the day before!

At last, ineffably content, I stepped out upon the driveway at the side of the house, and strolled away among the trees. At the end of a few minutes, I came to the high stone wall which bounded the estate of the mysterious Worthington Vaughan, and suddenly the wish came to me to see what lay behind it. Without much difficulty, I found the tree with the ladder against it, which we had mounted the night before. It was a long ladder, even in the daytime, but at last I reached the top, and settled myself on the limb against which it rested. Assuring myself that the leaves hid me from any chance observer, I looked down into the grounds beyond the wall.

There was not much to see. The grounds were extensive and had evidently been laid out with care, but there was an air of neglect about them, as though the attention they received was careless and inadequate. The shrubbery was too dense, grass was invading the walks, here and there a tree showed a dead limb or a broken one. Near the house was a wide lawn, designed, perhaps, as a tennis-court or croquet-ground, with rustic seats under the trees at the edge.

About the house itself was a screen of magnificent elms, which doubtless gave the place its name, and which shut the house in completely. All I could see of it was one corner of the roof. This, however, stood out clear against the sky, and it was here, evidently, that the mysterious midnight figures had been stationed. As I looked at it, I realised the truth of Godfrey's remark that probably from no other point of vantage but just this would they be visible.

It did not take me many minutes to exhaust the interest of this empty prospect, more especially since my perch was anything but comfortable, and I was just about to descend, when two white-robed figures appeared at the edge of the open space near the house and walked slowly across it. I settled back into my place with a tightening of interest which made me forget its discomfort, for that these were the two star-worshippers I did not doubt.

The distance was so great that their faces were the merest blurs; but I could see that one leaned heavily upon the arm of the other, as much, or so it seemed to me, for moral as for physical support. I could see, too, that the hair of the feebler man was white, while that of his companion was jet black. The younger man's face appeared so dark that I suspected he wore a beard, and his figure was erect and vigorous, in the prime of life, virile and full of power.

The Gloved Hand opens not with a crime but with a lawyer's fatigue. The narrator, Lester, returns from the Minturn case, a trial that has left him drained despite a partial victory. The heat of an unprecedented June presses down, and he tries to soothe himself with lines from Henley's ballade. This personal, almost literary beginning establishes a narrator who is both a legal professional and a reflective observer, setting the stage for a mystery that will unfold through careful observation and deduction rather than sudden violence.

The early chapters introduce a strange neighbor and a drama in the garden, but the excerpts quickly move to the aftermath of a murder. The narrative voice remains measured, even when describing the discovery of the body and the subsequent inquest. The reader is positioned alongside Lester, piecing together events from testimony and physical evidence.

The Narrator's Perspective

The story is told by Lester, a lawyer who is also the first-person narrator. His voice is calm and analytical, even when describing his own exhaustion. The opening lines show him trying to escape the heat through poetry, a detail that hints at a cultured, introspective character. Later, during the inquest, he cross-examines witnesses with precision, asking Sylvester about the uniqueness of fingerprints. This dual role—participant and observer—shapes the reader's experience. We see the case through his eyes, but he does not know everything, which creates suspense.

The excerpts do not reveal Lester's full backstory or his relationship to the other characters, but his professional demeanor suggests a reliable guide through the complexities of the investigation.

Fingerprints as Evidence

A central piece of evidence is the fingerprint. Sylvester, an expert, explains the classification system: flexure, stria, sinus, spiral, circle, or whorl, along with ridge counts and angles. He testifies that the prints on the victim's robe match those of Freddie Swain, the accused. However, Lester's cross-examination challenges the certainty, pointing out that other men might have similar prints. This exchange highlights the tension between scientific proof and legal doubt.

The excerpts show that the fingerprint evidence is strong but not absolute. Swain himself admits the prints puzzle him, and the investigation must consider other possibilities. The reader is left to weigh the probability of coincidence against the apparent damning evidence.

The Inquest Procedure

The inquest is depicted in detail, from the jury viewing the body to the testimony of witnesses. The coroner presides, and Lester acts as defense counsel. The atmosphere is formal, with the jury smoking cigars provided by the state after a good lunch. This mundane detail contrasts with the gravity of the crime, adding a touch of realism.

Swain's concern for Miss Vaughan's safety is a recurring theme. He insists she be moved from the house, and Lester and the doctor promise to arrange it after the funeral. This subplot suggests a personal stake beyond the legal case, though the excerpts do not reveal the nature of Swain's relationship with Miss Vaughan.

The Blood-Stained Glove

The title object appears in the chapter list: "The Blood-Stained Glove." While the excerpts do not describe the glove itself, its presence in the table of contents signals its importance. The glove is likely a key piece of physical evidence, possibly linked to the fingerprints or the murder weapon. The reader can anticipate that the glove will be examined, tested, and perhaps used to exonerate or condemn the suspect.

The excerpts focus more on procedural and scientific aspects than on the glove directly, but its mention in the chapter titles creates a promise of a later revelation. The careful reader will note that the investigation is still in its early stages, and the glove may hold the solution.

As you read, pay attention to how Lester's narration shapes your understanding of events. He is not an omniscient detective but a lawyer building a case. The fingerprints, the glove, and the testimony all require interpretation. The excerpts suggest that the truth may hinge on a single detail—a ridge angle, a bloodstain, or a moment of distraction. Approach the story as a puzzle to be solved alongside the narrator, and note how Stevenson uses legal procedure to structure the suspense.

I remember how Stevenson’s Gloved Hand lingered on the weight of a single fingerprint, the quiet patience of proof. That same unhurried dread lives in Suspense — Edition Insights, where every page feels like a held breath. Both know truth waits for the attentive, a kinship I’ve carried like a worn bookmark.

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