The Broken Thread — Edition Insights
Edition facts
For The Broken Thread — Edition Insights, the stored edition analysis reports 69,275 words, 5 hr 2 min estimated reading time, and 8 detected text sections.
The text analysis averages about 16.2 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 “Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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.
Read the Text
She looked at him suddenly with a fixed expression, and then said:
"You haven't told me your name. I only know you as Snookie's rescuer-- you know," and she laughed.
"My name's Remington--Raife Remington," he replied. "The guv'nor lives at Aldborough Park, not far from Tunbridge Wells."
Her face changed in an instant. She seemed to suddenly hold her breath, though quite imperceptibly. For a moment all the colour left her soft cheeks, but as quickly she recovered all her self-possession, and exclaimed, in a changed tone:
"Is your father Sir Henry Remington?"
"Yes. Why? Do you happen to know him?"
"I--er--oh, no, I don't!" she replied, endeavouring to conceal her consternation at the discovery. "Only--well--I--of course, had no idea that you were the son of a gentleman so well-known as Sir Henry."
"My misfortune, perhaps," he laughed, airily. "The guv'nor has brains-- has been a member of Parliament for twenty years, and all that--I haven't any."
"They say I haven't, at Cambridge."
She was silent for some moments. What strange freak of Fate had thrown them together--he, the very last man on earth she desired to meet. And yet, she had found him such a bright, cheerful companion!
Her eyes were turned to where Mutimer and her friend, Maud Wilson, were strolling along the seafront.
The young fellow at her side was actually the son of Sir Henry Remington! The baronet's name burned into her brain--it was branded there, as though seared by a red-hot iron.
The amazing revelation staggered her. That man seated so idly in the chair, his legs stretched out, displaying the latest make in 'Varsity socks, was actually the son of Sir Henry!
She could not believe it.
Raife, on his part, was not exactly blind to the fact that mention of his father's name had unduly surprised her.
"I fancy you know the guv'nor--eh?" he exclaimed, chaffing her. "Do you? Tell me. Perhaps you've met him somewhere? He's at Upper Brook Street in the season, and at Mentone in winter. We have a villa there."
"No, Mr Remington, I have never had the pleasure of meeting your father," was her rather strained response. "But all the world has heard of him. One sees his picture in the papers very often. I only read yesterday his scathing criticism in the House of Commons on the Navy estimates, and his serious warning regarding the new super-dreadnought-- which is building on the Clyde--the vessel which is to be the most powerful battleship afloat."
"You know more than I do, Miss Tempest," he laughed. "I never read the guv'nor's speeches. I heard too much about ships at home, before I went up to Cambridge."
"I suppose so," she laughed, and then, as though uneasy and anxious to get away, she added: "Look! Your friend is coming back with Maud. We must go," and she rose, a tall, graceful figure in neat black.
"No. Don't go yet," he urged, still remaining seated. "You surely aren't in such a great hurry! It's only just past ten."
"I have to go back to the hotel," she declared.
"Have you so very much to do--and is my society so terribly boring?" the young fellow asked, with a mischievous laugh.
"Certainly not," was her reproachful reply, and, as though against her will, she re-seated herself. "You really ought not to say that," she added.
"But you seem very anxious to get away. Why?" The girl held her breath, and her great blue eyes were downcast. No. She dare not raise her gaze to his lest he should suspect the terrible truth--he, the son of Sir Henry Remington!
"Well," she replied at last. "Because I have some letters to write, and--and to tell the truth, I have a dressmaker coming at half-past ten."
"I suppose in a woman's life one's dressmaker is set upon a very high pedestal. All women must bow to the Goddess of Fashion."
"You are horribly philosophic."
"My philosophy is induced by your attitude towards me, Miss Tempest," he declared. "You are a mystery. You were bright and merry until you knew my name, and then--well, then you suddenly curled into your shell. Really, I confess I can't make you out!"
One more experienced than he would probably have discerned that a great and staggering blow had fallen upon his newly-found little friend. She was at a loss how to act--or what to say.
Her heart was thumping hard within her. What if he should discover the terrible secret which she alone knew! Fearing lest he should grow suspicious, she was all anxiety to get away--to place him and his memory behind her for ever.
The novel begins not with a crime but with a leisurely seaside appraisal. Two Cambridge undergraduates, Raife Remington and Edward Mutimer, stroll along Southport seafront in August, smoking cigarettes and rating the women. Their attention fixes on a girl in black leading a black pom—'ripping,' Raife declares. The description lingers on her attire: white kid gloves, a turquoise hat band, neat ankles in black silk. The voice is breezy, collegiate, full of 'By jove!' and casual admiration. This opening establishes a world of holiday flirtation and male camaraderie, but the title hints that this thread will break.
From Seaside to Sudan
The excerpts vault from Southport to Khartoum without transition. Raife, now in the Sudan, sits at a café on the 'broad plank walk,' drinking bad Greek wine and observing a city defined by absence: 'The womanless city, the cradleless city.' The prose shifts from flannel suits to 'dusky Arabs' in turbans and jibbas, from pearl buttons to 'myriad insects' and a 'certain smell.' The change is abrupt and disorienting. Le Queux contrasts the familiar seaside resort with an exotic, hostile landscape, but both settings share a structure of watching. In Southport, Raife follows the girl in black; in Khartoum, he surveys passers-by. The reader is left to infer how he arrived here—the excerpts provide no bridge.
A Stabbing and Its Aftermath
Raife's impulse to intervene when he hears 'blows and cries' in a native quarter leads to a knife wound in the shoulder. The narrator notes his 'unwise impulse of a normal man of the West' and the lesson in 'wisdom necessary in the Orient.' The regimental surgeon treats him, and Colonel Langton swears at the delay to their hunting expedition. Raife feels humiliated: 'he had made an ass of himself.' The episode echoes the opening: a woman again lands him in trouble. But where the girl in black was an object of desire, this woman is a victim—and barely seen. The stabbing is swift, the recovery slow. The excerpts offer no resolution, only Raife's misery and the sense that his chivalry has misfired.
Recurring Patterns of Observation
Throughout the excerpts, characters watch and are watched. The opening scene is a sustained act of scrutiny: Raife and Teddy study the girl in black, noting her 'ineffable, unaffected grace.' In Khartoum, Raife selects a café 'as a point of vantage to observe the passers-by.' The narrative voice itself is observational, cataloguing details of dress, setting, and gesture. Yet observation often leads to misreading. Raife mistakes the girl in black for a simple holiday beauty; he misjudges the danger in the native quarter. The title 'The Broken Thread' may refer to a lost connection—between appearance and reality, between intention and consequence. The excerpts do not confirm this, but the pattern is suggestive.
Voice and Period Detail
Le Queux's prose is dense with period markers: 'lounge-suits,' 'pique coat and skirt,' 'pom,' 'vac.' The dialogue uses undergraduate slang—'ripping,' 'By jove!'—and the narration adopts a knowing, slightly world-weary tone. In Khartoum, the voice becomes more ethnographic, noting 'the stolid, sulky silence of the dusky Arabs' and the British conviction that 'he is pre-eminently the sahib.' The novel was published in 1916, during World War I, but the excerpts show no direct reference to the war. Instead, they evoke an earlier Edwardian world of empire and leisure, where a Cambridge man can travel to Sudan for big-game hunting. The language is of its time, and the racial attitudes are unexamined.
The excerpts offer a fractured narrative: a seaside flirtation, a colonial interlude, a violent incident. Readers should attend to how Le Queux builds suspense through setting and observation rather than plot. The title promises a mystery, but the opening chapters delay it. The girl in black may reappear; the stabbing may have consequences. The novel rewards patience with its period atmosphere and its quiet subversion of the hero's confidence. Approach it as a detective story that takes its time to arrive at the crime.
I keep thinking about that seaside flirtation in The Broken Thread, the way a glance could shift into something sharper. It reminded me, quietly, of The Empire Makers: A Romance of Adventure and War in South Africa — Text and Context, where the same restlessness follows men further from home, misunderstanding trailing behind like dusk.
There are no reviews for this eBook.
Take a moment to reflect on this book
Create a short personal record of your experience with this book.