Under Cover — Story, Setting & Ideas

(0 User reviews)   42
Martyn, Wyndham, 1875-, Megrue, Roi Cooper, 1883-1927, Kirkpatrick, William Arber-Brown, 1880- [Illustrator] Project Gutenberg 2012 Not confirmed
Smuggling -- Fiction; Mystery fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 64,515
Reading time 281 min
Text sections 7

For Under Cover — Story, Setting & Ideas, the stored edition analysis reports 64,515 words, 4 hr 41 min estimated reading time, and 7 detected text sections.

The text analysis averages about 11.9 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 “Smuggling -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on how the opening, middle, and later excerpts of this 1914 smuggling mystery shape a first reading, focusing on setting, dialogue, and the use of a missing chapter.
Share
Editorial Edition Score 4.7/5

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.

Edition quality

Read the Text

verybody else. I’m here to learn foreign banking systems. My father says it will do me good.”

Denby laughed. “I’ll bet you know less about it than I do.” The idea of Monty Vaughan, heir to the Vaughan millions, working like a clerk in the Crédit Lyonnais was amusing.

“Does your father make you work all summer?” he demanded.

“I’m not working now,” Monty explained. “I never do unless I feel like it. I’m waiting for a friend who is sailing with me on the Mauretania next week and I’ve just had a wire to say she’ll be here to-morrow.”

“She!” echoed Denby. “Have you married without my knowledge or consent? Or is this a honey-moon trip you are taking?”

A look of sadness came into the younger man’s face.

“I shall never marry,” he returned.

But Steven Denby knew him too well to take such expressions of gloom as final. “Nonsense,” he cried. “You are just the sort they like. You’re inclined to believe in people too much if you like them, and a husband who believes in his wife as you will in yours is a treasure. They’ll fight for you, Monty, when you get home again. For all you know the trap is already baited.”

“Trap!” Monty cried reproachfully. “I’ve been trying to make a girl catch me for three years now and she won’t.”

“Do you mean you’ve been finally turned down?” Steven Denby asked curiously. It was difficult to suppose that a man of his friend’s wealth and standing would experience much trouble in offering heart and fortune.

“I haven’t asked yet,” Monty admitted. “I’ve been on the verge of it hundreds of times, but she always laughs as I’m coming around to it, and someone comes in or something happens and I’ve never done it.” He sighed with the deprecating manner of the devout lover. “If you’d only seen her, Steve, you’d see what mighty little chance I stood. I feel it’s a bit of impertinence to ask a girl like that to marry me.”

Steven patted him on the arm. “You’re just the same,” he said, “exactly the silly old Monty I used to know. Next time you see your charmer, risk being impertinent and ask her to marry you. Women hate modesty nowadays. It’s just a confession of failure and we’re all hitched up to success. I don’t know the girl you are speaking of but when you get home again instead of declaring your great unworthiness, tell her you’ve left Paris and its pleasures simply to marry her. Say that the Bourse begged you to remain and guide the nation through a financial panic, but you left them weeping and flew back on a fast Cunarder.”

“I believe you are right,” Monty said. “I’ll do it. I ought to have done it years ago. Alice is frightfully disappointed with me.”

“Who is Alice?” the other demanded. “The lady you’re crossing with on the Mauretania?”

“Yes,” said Monty. “A good pal of mine; one of those up-to-date women of the world who know what to do and say at the right moment. She’s a sort of elder sister to me. You’ll like her, Steve.”

Denby doubted it but pursued the subject no further. He conceived Alice to be one of those capable managing women who do so much good in the world and give so little pleasure.

“What are you doing in Paris now?” Monty presently demanded. It occurred to him that it was odd that Denby, too, should be in the city now.

“Writing a book on the Race Courses of the World,” he said, smiling. “I am now in the midst of Longchamps.”

Monty looked at him doubtfully. He had never known that his friend had any literary aspirations, but he did remember him as one who, if he did not choose to tell, would invent airy fairy fancies to deceive.

“I don’t believe it,” he said.

“You are quite right,” Denby admitted. “You’ve got the key to the mystery. I’ll confess that I have been engaged to guard Mona Lisa. Suspicious looking tourists such as you engage my special attention. Don’t get offended, Monty,” he added, “I’m just wandering through the city on my way to England and that’s the truth, simple as it may seem. I was desolate and your pleasing countenance as you bought a franc’s worth of north wind was good to see. I wondered if you’d remember me.”

“Remember you!” Monty snorted. “Am I the kind to forget a man who saved my life?”

The novel opens in a Paris emptied of its wealthy residents, where the American Monty Vaughan, irritated by street vendors, sits at a café. The prose establishes a leisurely, observant tone, contrasting the tourist crowds with the knowing Parisian. This setting, described as Paris in her 'greenest livery,' immediately signals a world of leisure and hidden knowledge—a prelude to the smuggling plot. The early pages introduce Monty as a pleasant, aimless young man, setting up his role as an unwitting participant in the intrigue.

The Missing Chapter as a Structural Clue

The etext transcriber notes that the original book jumps from CHAPTER FIVE to CHAPTER SEVEN, with no chapter numbered SIX. This gap is not an error but a deliberate structural choice. For a first reader, this absence creates a moment of disorientation, hinting that something has been omitted or that the narrative is playing with chronology. The missing chapter may correspond to a scene of action or revelation that the authors chose to leave implicit, trusting the reader to infer from later references. Pay attention to how characters allude to events that might have occurred in that gap—such as Denby's delayed arrival or the shifting of the necklace—as these references often carry more weight than explicit flashbacks.

Dialogue as a Tool for Concealment

The excerpts are dense with dialogue that reveals character through evasion and command. In the middle excerpt, Taylor instructs Miss Cartwright with sharp, clipped phrases: 'There’s no “buts” and no “supposes” in it.' The repetition of short imperatives—'be careful,' 'don’t forget'—creates a rhythm of control. Meanwhile, Monty’s exclamations ('I thought you’d been held up and robbed') and Denby’s calm replies ('I didn’t happen to have them with me') show how each speaker uses language to manage information. Notice how often characters repeat key phrases (like 'under no circumstances') to reinforce stakes. The dialogue does not merely advance plot; it performs the act of hiding and revealing, making every exchange a potential trap.

The Necklace as a Shifting McGuffin

The pearls are never described in detail, yet they drive every action. Their physical location changes constantly: hidden in a shoe, carried by Denby, then not carried, then placed in a tobacco-pouch. This instability is the engine of suspense. The characters speak of the necklace in terms of its absence or potential presence—'if I had been held up the pearls wouldn’t have been taken'—rather than its value or appearance. For a first reader, tracking who believes the necklace is where, and when, becomes a puzzle. The object itself remains abstract, a placeholder for trust and betrayal. The frontispiece caption, 'He found Denby’s gun under his nose,' suggests that physical objects (guns, pearls) are always within reach but unseen, a motif of hidden proximity.

Setting as a Character in the Smuggling Plot

The novel moves from the open cafés of Paris to the enclosed spaces of the Harrington mansion, where windows and shades become signals. The garden, the French windows, the pulled-down shade—these are not mere backdrops but active elements in the scheme. Taylor’s instructions to Miss Cartwright rely on visual cues from the garden: 'pull down one of these window-shades. My men and I can see these from the garden.' The setting thus becomes a network of surveillance, where every architectural feature can be repurposed for espionage. The contrast between the public, tourist-filled Paris of the opening and the private, watched interiors of the later excerpts underscores the theme of concealment. A first reader should note how spaces are described in terms of sightlines and access, not just atmosphere.

As you read, attend to the rhythm of the dialogue and the placement of physical objects. The missing chapter is not a flaw but a deliberate gap that invites inference. The authors, Megrue and Martyn, trust the reader to piece together motives from what is left unsaid. Let the setting guide you: every window, garden, and shoe may hold a clue. This is a mystery built on small, precise details rather than grand revelations.

Reading how that 1914 mystery hinges on its missing chapter, I remembered finding an old, annotated paperback on my grandfather’s shelf—margins full of pencil. It felt like eavesdropping on a slow conversation. That’s the same quiet thrill I get from A Lost Cause — A Reader’s Guide. Some books leave their gaps open for you to sit with, quietly, for years.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What did you think of this book?

Answer a few questions and save a private reflection on this device.

Your progress 0 / 10
1

Which reading stage best describes you?

2

Did this book hold your interest?

3

Would you pass this book on to a friend?

4

How much effort did this book require?

Related eBooks