The Astonishing Adventure of Jane Smith — Reading Notes

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Wentworth, Patricia, 1878-1961 Project Gutenberg 2020 Not confirmed
Detective and mystery stories; Cousins -- Fiction; Adventure stories Readers of public-domain and historical texts
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Edition facts

Words 86,235
Reading time 375 min
Text sections 12

The catalog record for The Astonishing Adventure of Jane Smith — Reading Notes provides practical reading context through 86,235 words, 6 hr 15 min estimated reading time, and 12 detected text sections.

The text analysis averages about 13.6 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.

Patricia Wentworth's 1923 novel opens with a secret council of anarchists and a heroine who stumbles into a web of espionage, hidden passages, and family secrets. The author's diction and dialogue reveal character through understatement and tension.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
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Read the Text

isations had been crowded into it. The unshaded electric light glared down upon men of many types and nationalities. It did not flatter them.

The air was heavy with the smoke of bad tobacco and the fumes of a very indifferent gas fire. There was a table in the middle of the room, and some dozen of the men were seated at it. The rest stood in groups, or leaned against the walls.

Of the four who formed the Inner Council three were present. Most of the Delegates had expected that the head of The Council, the head of the Federated Organisations, that mysterious Number One whom they all knew by reputation and yet had never seen in the flesh, would be present in person to take the chair. But the Delegates who had entertained this expectation were doomed to disappointment. Once again Number One’s authority had been delegated to the other three members of The Council. Of these, Number Three was Molloy, the big, handsome Irishman who rented the flat. He sat facing the door, a fine figure of a man in the late forties. Number Two leaned forward over the fire, warming his hands, his pale, intellectual face expressionless, his eyes veiled. Belcovitch, who was Number Four, was on his feet speaking. They were large, bony feet, in boots which had most noticeably not been made for him. He spoke fluently, but with a heavy foreign accent.

“Propaganda,” he said, and laughed; really he had a very unpleasant laugh—“propaganda is what you call rot, rubbish, damn nonsense. What else have we been about for years—no, generations—and where are we to-day?”

Number Two drew his chair closer to the fire with an impatient jerk. Number Four’s oratory bored him stiff. The room was cold. This gas fire was like all gas fires. He pulled his fur coat together and spoke sharply:

“Molloy, this room’s most infernally cold, and where in the world does the draught come from?”

“Propaganda is dead,” said Number Four. He looked over his shoulder with dislike at Number Two, and mopped his brow with a dirty handkerchief. Molloy, just opposite him, turned a little and laughed.

“You bring the cold with you, Number Two,” he said. “Here’s Number Four as hot as his own speeches. You’ve got all the fire, and the door’s shut, and a screen in front of it, so what more do you want?”

“Propaganda is dead,” repeated Number Four. He stood with his back to the door. Only the top panel of it showed above the black screen which had been drawn across it. The screen had four leaves. On each leaf a golden stork on one leg contemplated a golden water-lily. The light shone on the golden birds and the golden flowers.

Number Four thrust his handkerchief back into his pocket, and rapped sharply on the table. It was covered with a red cloth which had seen better days. Number Fourteen had upset the ink only a few moments before, and a greenish-purple patch was still spreading amidst the crimson.

Belcovitch leaned forward, both his hands on the table, his raucous voice brought to a dead level. “Instead of propaganda, what?” he said. “Instead of building here, teaching there, what? That is what I’m here to-night to tell you. To-morrow you all go to your own places, each to his post; but before you go, I am authorised to prepare you for what is to come. It will not be to-day, but it may be to-morrow, or it may not be for many to-morrows yet. One final stage is lacking, but in essentials The Process is complete. Propaganda is dead, because we no longer need propaganda. Comrades”—his voice sank a little—“there are enough of us. Every city in the world has its quota. What The Process will effect”—he paused, looked round, caught Number Two’s slightly sardonic expression, and struck the table with his open hand—“what The Process will effect is this,” he cried—“in one word, Annihilation of the whole human race! Only our organisation will be left.”

“Now what I am instructed to tell you is this,”—he spoke evenly, swiftly, statement following statement—never had the attention of an audience been so fully his; and then suddenly the thread was broken. With a loud grating sound, Number Fifteen, sitting next to Molloy, pushed his chair back, and sprang to his feet.

“The door!” he shouted. “The door!” Every man in the room looked where Fifteen was looking. Above the water-lilies and the storks, where the top panel of the door had shown, there was a dark, empty space. The door was open.

The novel begins not with its heroine but with a clandestine meeting of the Federated Organisations, where Number Four Belcovitch declares 'Propaganda is dead' and the room is thick with smoke and suspicion. Wentworth establishes a world of coded numbers and veiled threats before introducing Jane Smith, whose ordinary name belies her entanglement in a conspiracy involving secret passages and a handkerchief marked with an embroidered 'R'. The author's dialogue is taut with unspoken meanings: when Anthony Luttrell says 'I'm chucking my job here' without giving a reason, the reader senses danger beneath the drawling calm.

Diction of Deception

Wentworth's word choices signal the gap between what characters say and what they mean. In the opening chapter, Number Two 'drew his chair closer to the fire with an impatient jerk'—the verb 'jerk' implying irritation that his words do not express. Later, Henry's question 'Did you ever tell any one?' is met with Anthony's 'You sound heated, Henry'—a deflection that reframes accusation as observation. The author uses physical details to undercut dialogue: Belcovitch 'mopped his brow with a dirty handkerchief' while arguing, the grime suggesting his rhetoric is equally soiled. Such touches make the reader distrust every polished phrase.

Voice and Silence

Characters reveal themselves through what they leave unsaid. When Anthony Luttrell pockets the handkerchief and claims 'It's one I found and dropped,' Henry's silence 'was broken by Luttrell'—the pause itself an accusation. Wentworth often lets the wind or a gesture speak: 'He said something, and the wind took his words away.' The novel's dialogue is layered with subtext; a character's tone is described as 'rather cold, drawling manner which Henry had known as a danger-signal.' The reader must attend to these vocal cues, as the plot turns on what is implied rather than stated.

Setting as Atmosphere

The physical environment mirrors the moral murk. The first scene's 'unshaded electric light' and 'indifferent gas fire' create a harsh, comfortless space. Later, a cliff-top conversation is battered by gusts that 'dropped suddenly into what, after the tumult, seemed like a silence.' Wentworth uses setting to heighten tension: the secret passages are described only through the act of stooping to shift a stone, the handkerchief found 'just where one stoops.' The reader never sees the passages fully, only their effects—a technique that keeps the threat half-glimpsed and more unsettling.

Structure of Suspicion

Wentworth withholds key information, forcing the reader to piece together motives from fragments. The council scene introduces numbered agents but no clear goal; the handkerchief appears before its significance is explained. Dialogue is often interrupted: 'I want to know whether you have any idea—hang it all, Tony, you must see what I’m driving at!' The dash signals a thought too dangerous to complete. By structuring scenes around such interruptions, the author creates a rhythm of revelation and concealment that keeps the reader alert to every half-finished sentence.

Readers should pay close attention to the physical objects—a handkerchief, a plan, a letter—that carry the plot's weight, and to the pauses between words. Wentworth's craft lies in what she does not say; the silences are as telling as the speeches. Approach the novel as a puzzle of voices and gestures, where every detail may be a clue.

Jane Smith’s quiet nerve under fire always put me in mind of another lonely watcher, the trapper who measures a forest’s hush for something unspeakable. Both books understand that courage rarely announces itself. It hides in a steady hand, a lowered voice. That kinship of restraint is a comfort, somehow, like finding an old friend’s marginalia. The Demon Trapper of Umbagog: A Thrilling Tale of the Maine Forests — Background and Themes holds that same patient breath.

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