Blotted Out — Inside the Classic

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Holding, Elisabeth Sanxay, 1889-1955 Project Gutenberg 2022 Not confirmed
Young men -- Fiction; Man-woman relationships -- Fiction; Mystery fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 39,034
Reading time 170 min
Text sections 4

The source record for Blotted Out — Inside the Classic measures this digital text at 39,034 words, 2 hr 50 min estimated reading time, and 4 detected text sections.

The text analysis averages about 11.8 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 “Young men -- Fiction,” connecting these edition facts with the source record’s subject description.

Elisabeth Sanxay Holding's 1926 novel follows James Ross, a man determined to remain isolated, whose plans unravel when he discovers a mysterious child in his apartment. The excerpts reveal a psychological thriller focused on internal conflict and atmospheric tension rather than conventional mystery.
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Editorial Edition Score 4.6/5

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.

Edition quality

Read the Text

“Well?” Ross demanded.

“Note for you, sir,” answered the steward.

Ross grinned to himself at what he considered a new instance of Mrs. Barron’s enterprise. For a moment he thought he would refuse to take the note, so that he might truthfully say he had never got it; then he reflected that Mrs. Barron was never going to have a chance to question him about it, and he unlocked the door.

“We’ve docked, sir,” the steward said.

“I know it,” Ross agreed briefly.

He took the note, tipped the steward, and locked the door after him. Extraordinary, the way this lady had pursued him, all the way across! He was not handsome, not entertaining, not even very amiable; she knew nothing about him.

Indeed, as far as her knowledge went, he might be any sort of dangerous and undesirable character. Yet she had persistently—and obviously—done her best to capture him for her daughter.

He glanced at himself in the mirror. A lean and hardy young man, very dark, with the features characteristic of his family, a thin, keen nose, rather long upper lip, a saturnine and faintly mocking expression. They were a disagreeable family, bitterly obstinate, ambitious, energetic, and grimly unsociable.

And he was like that, too; like his father and his grandfather and his uncles. Without being in the least humble, he still could not understand what Mrs. Barron had seen in him to make her consider him a suitable son-in-law.

With Phyllis Barron it was different. He had sometimes imagined that her innocent and candid eyes had discerned in him qualities he had long ago tried to destroy. It was possible that she had found him a little likable.

But _she_ wouldn’t pursue him. He was certain that she had not written this note, or wanted her mother to write it. When he had realized his danger, and had begun to spend his time talking to the doctor, instead of sitting beside her on deck, she had never tried to recall him. Whenever he did come, she always had that serious, friendly little smile for him; but she had tried to make it very plain that, where she was concerned, he was quite free to come or to go, to remember or to forget.

Well, he meant to forget. His life was just beginning, and he did not intend to entangle himself in any way. He sighed, not knowing that he did so, and then, out of sheer idle curiosity, just to see how Mrs. Barron worked, he opened the note.

“Dear Cousin James—” it began.

But, as far as he knew, he hadn’t a cousin in the world. With a puzzled frown, he picked up the envelope; it was plainly addressed, in a clear, small hand, to “Mr. James Ross. On board the S. S. Farragut.”

“Must be a mistake, though,” he muttered. “I’ll just see.” And he went on reading:

You have never seen me, and I know you have heard all sorts of cruel and false things about me. But I beg you to forget all that now. I am in such terrible trouble, and I don’t know where to turn. I beg you to come here as soon as you get this. Ask for Mrs. Jones, the housekeeper. Say you have come from Cren’s Agency, about the job as chauffeur. She will tell you everything. You can’t refuse just to come and let me tell you about this terrible thing.

Your desperately unhappy cousin, Amy Ross Solway.

“Day’s End,” Wygatt Road, near Stamford.

He sat, staring in amazement at this letter.

“It’s a mistake!” he said, aloud.

But, all the same, it filled him with a curious uneasiness. Of course, it was meant for some one else—and he wanted that other fellow to get it at once; he wanted to be rid of it in a hurry.

He had nothing to do with any one’s Cousin Amy and her “terrible trouble.” He rang the bell for the steward, waited, rang again, more vigorously, again waited, but no one came.

Then, putting the note back in its envelope, he flung open the door and strode out into the passage, shouting “Steward!” in a pretty forcible voice. No one answered him. He went down the corridor, turned a corner, and almost ran into Mrs. Barron.

“Mr. Ross!” said she, in a tone of stern triumph. “So here you are! Phyllis, dear, give Mr. Ross one of our cards—with the address.”

Elisabeth Sanxay Holding opens Blotted Out with a scene of deliberate solitude: James Ross stands alone on a rainy deck, savoring his isolation and freedom from human connection. The narrative voice is precise and ironic, noting how Mrs. Barron has “marked him down” and how Ross outmaneuvers her social advances. This early passage establishes a protagonist who values autonomy above all, yet the prose undercuts his confidence—Phyllis Barron’s “quiet, thoughtful little face” already disturbs his peace. The catalog subjects list “Young men -- Fiction” and “Man-woman relationships,” but the excerpts focus less on romance than on Ross’s internal resistance to entanglement. The mystery element emerges not from a crime but from a locked-room puzzle: a baby appears in his apartment, and his assistant Eddy behaves suspiciously. Holding builds suspense through Ross’s fatigue and confusion, not through plot mechanics.

A Protagonist Defined by Avoidance

James Ross is introduced as a man actively escaping connection. The opening paragraph emphasizes his “feeling of complete isolation and freedom” and his determination to “remain alone.” He evades Mrs. Barron’s social advances and deliberately avoids Phyllis, whose presence gives him “a sort of qualm.” This pattern of avoidance shapes the narrative: Ross’s choices are driven by a desire to remain unencumbered. The excerpts show him repeatedly choosing solitude, yet the plot forces encounters upon him. The baby’s appearance in his locked apartment is a direct challenge to his control. Holding uses Ross’s internal monologue to reveal his discomfort with intimacy, making the psychological conflict more central than any external mystery.

Atmosphere and Sensory Detail

Holding builds tension through sensory details that reflect Ross’s state of mind. The opening scene uses cold rain and wind to underscore his isolation. Later, a snowstorm transforms the setting: “Thick and fast the flakes went spinning by… all the world was white. White and unimaginably still.” Ross, seeing snow for the first time, experiences “the odd tingle in the air, the sense of hushed expectancy.” These descriptions do more than set a scene; they mirror his disorientation. The snow’s stillness contrasts with his inner turmoil. Similarly, the sound of someone unlocking the door at night, the “faintest echo of his own sigh,” and Eddy’s “haggard and white” face all contribute to a mood of unease. The physical environment becomes an extension of the protagonist’s psychological state.

Unreliable Perceptions and Hidden Motives

Ross’s perceptions are repeatedly shown to be incomplete. He assumes the baby appeared through supernatural means, but quickly suspects Eddy has a key. Eddy’s reactions—his “tone of amazement” that seems forced, his evasive questions—hint at knowledge he conceals. Ross observes Eddy’s “attitude of misery and dejection” and feels “a little thread of pity, of regret and pain” in his dreams, suggesting subconscious awareness of something darker. The narrative withholds information, aligning the reader with Ross’s limited viewpoint. The catalog subject “Mystery fiction” applies, but the mystery is not a traditional whodunit; it is a puzzle of character and motive. Holding uses gaps in Ross’s understanding to create suspense, leaving the reader to question what Eddy knows and what Ross is failing to see.

Blotted Out rewards attention to its psychological undercurrents and atmospheric detail. Readers should note how Holding uses setting and sensory description to externalize the protagonist’s inner conflict. The mystery of the child and Eddy’s behavior is best approached as a catalyst for character revelation rather than a puzzle to be solved. The excerpts suggest a novel more concerned with the cost of isolation than with conventional plot resolution.

Reading Blotted Out, I kept thinking about that stubborn quiet in James Ross, how isolation feels less like a choice and more like a second skin. It reminded me of a similar ache in The Great Accident — Themes and Context, where lives also unravel in half-light. Strange, how two stories can share that same lonely weather.

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