The Secret of Chimneys — Edition Insights
Edition facts
The source record for The Secret of Chimneys — Edition Insights measures this digital text at 80,823 words, 5 hr 52 min estimated reading time, and 34 detected text sections.
The text analysis averages about 10.7 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.
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
gentlemen when their dignity was ruffled, seeing that elderly matrons had ample opportunities to buy picture postcards, and flirting with everything under a catholic forty years of age. The last task was rendered easier for him by the extreme readiness of the ladies in question to read a tender meaning into his most innocent remarks.
Miss Taylor returned to the attack.
“Why does he call you Joe, then?”
“Oh, just because it isn’t my name.”
“And why Gentleman Joe?”
“The same kind of reason.”
“Oh, Mr. Cade,” protested Miss Taylor, much distressed, “I’m sure you shouldn’t say that. Papa was only saying last night what gentlemanly manners you had.”
“Very kind of your father, I’m sure, Miss Taylor.”
“And we are all agreed that you are quite the gentleman.”
“No, really, I mean it.”
“Kind hearts are more than coronets,” said Anthony vaguely, without a notion of what he meant by the remark, and wishing fervently it was lunch time.
“That’s such a beautiful poem, I always think. Do you know much poetry, Mr. Cade?”
“I might recite ‘The boy stood on the burning deck’ at a pinch. ‘The boy stood on the burning deck, whence all but he had fled.’ That’s all I know, but I can do that bit with action if you like. ‘The boy stood on the burning deck’—whoosh—whoosh—whoosh—(the flames, you see) ‘Whence all but he had fled’—for that bit I run to and fro like a dog.”
Miss Taylor screamed with laughter.
“Oh, do look at Mr. Cade! Isn’t he funny?”
“Time for morning tea,” said Anthony briskly. “Come this way. There is an excellent café in the next street.”
“I presume,” said Mrs. Caldicott, in her deep voice, “that the expense is included in the Tour?”
“Morning tea, Mrs. Caldicott,” said Anthony, assuming his professional manner, “is an extra.”
“Life is full of trials, isn’t it?” said Anthony cheerfully. Mrs. Caldicott’s eyes gleamed, and she remarked with the air of one springing a mine:
“I suspected as much, and in anticipation I poured off some tea into a jug at breakfast this morning! I can heat that up on the spirit lamp. Come, father.”
Mr. and Mrs. Caldicott sailed off triumphantly to the hotel, the lady’s back complacent with successful forethought.
“Oh, Lord,” muttered Anthony, “what a lot of funny people it does take to make a world.”
He marshalled the rest of the party in the direction of the café. Miss Taylor kept by his side, and resumed her catechism.
“Is it a long time since you saw your friend?”
“Just over seven years.”
“Was it in Africa you knew him?”
“Yes, not this part though. The first time I ever saw Jimmy McGrath, he was all trussed up ready for the cooking pot. Some of the tribes in the interior are cannibals, you know. We got there just in time.”
“Very nice little shindy. We potted some of the beggars, and the rest took to their heels.”
“Oh, Mr. Cade, what an adventurous life you must have led!”
“Very peaceful, I assure you.”
But it was clear that the lady did not believe him.
It was about ten o’clock that night when Anthony Cade walked into the small room where Jimmy McGrath was busy manipulating various bottles.
“Make it strong, James,” he implored. “I can tell you, I need it.”
“I should think you did, my boy. I wouldn’t take on that job of yours for anything.”
“Show me another, and I’ll jump out of it fast enough.”
McGrath poured out his own drink, tossed it off with a practised hand and mixed a second one. Then he said slowly:
“Are you in earnest about that, old son?”
“Chucking this job of yours if you could get another?”
“Why? You don’t mean to say that you’ve got a job going begging? Why don’t you grab it yourself?”
“I have grabbed it—but I don’t much fancy it, that’s why I’m trying to pass it on to you.”
Anthony became suspicious.
“What’s wrong with it? They haven’t engaged you to teach in a Sunday school, have they?”
“Do you think anyone would choose me to teach in a Sunday school?”
“Not if they knew you well, certainly.”
“It’s a perfectly good job—nothing wrong with it whatsoever.”
“Not in South America by any lucky chance? I’ve rather got my eye on South America. There’s a very tidy little revolution coming off in one of those little republics soon.”
“You always were keen on revolutions—anything to be mixed up in a really good row.”
The novel opens not in an English drawing-room but in Bulawayo, where Anthony Cade is shepherding a Castle's Select Tour—"seven depressed-looking females and three perspiring males." The scene immediately establishes Christie's ear for comic contrast: the tourists admire Cade's "tall lean figure" and "sun-tanned face," while his old friend Jimmy McGrath, a thickset man who might "keep a saloon," greets him with a blunt "What the hell are you doing with this pack of females?" This brisk, bantering dialogue sets the tone for a narrative that moves between continents and social registers, pairing adventure with the conventions of the country-house mystery.
Diction and the Adventurer's Voice
Christie gives Anthony Cade a distinctive, laconic voice that marks him as a man accustomed to improvisation. When McGrath asks why he took a tour-guide job, Cade replies, "A regrettable necessity for cash. I can assure you it doesn't suit my temperament." The formal phrasing—"regrettable necessity"—is undercut by the self-aware humor. Later, when Bundle offers to be nice to him, he parries: "I'd rather you were nice to me on the water, in a boat." The clipped, ironic responses contrast with the more elaborate speech of characters like Mr. Fish, who drawls, "Young man, do you know how they get the water out of a mine?" and answers his own question: "By pumping—but its almighty hard work." This variety in dialogue registers class, nationality, and personality without lengthy exposition.
Description as Character Clue
Christie often embeds character traits in physical description. Cade is introduced through the tourists' eyes: "his tall lean figure, his sun-tanned face, the light-hearted manner with which he settled disputes and cajoled them all into good temper." The description does more than sketch appearance—it signals competence and charm. Bundle, meanwhile, is defined by her "shrewd penetration" and "sharp grey eyes." When she mimics a tourist's reaction to the house—"'Eh! Gladys, they've got two pennyworth of pictures here, right enough'"—the imitation reveals her class awareness and wry detachment. Even minor figures like Mr. Fish are given telling details: he "walked gently away," a verb choice that suggests both physical lightness and evasiveness.
Structure of Suspense Through Dialogue
Christie builds suspense not through description but through what characters say—and what they leave unsaid. When Anthony asks Bundle about her French governess, the exchange is a model of oblique interrogation: "Where did you get your French governess from?" / "The man's bewitched... I got her from an Agency." Anthony's follow-up—"What about her references?"—is met with increasingly clipped answers until he concludes, "H'm!" The reader, like Bundle, senses that more is at stake than a governess's credentials. Similarly, when Mr. Fish asks whether Lord Caterham's guests are suspected, Anthony replies, "It was an outside job—I remember now," while "looking straight in front of him." The flat denial, combined with the narrator's note of his fixed gaze, creates a gap between spoken words and implied knowledge.
Setting as Social and Theatrical Space
Chimneys itself is introduced through Bundle's irreverent monologue: "Once a week they take the dust sheets off and chars-à-bancs full of tourists come and gape." She dismisses the house as "deadly dull," yet Anthony's observation—"Yet history has been made here once or twice"—hints at a more layered past. The country house functions as a stage where characters perform roles: the host, the American visitor, the French governess. Christie uses the setting to juxtapose public spectacle (tourists, guided tours) with private intrigue (unfastened windows, midnight adventures). The lake scene, where Anthony rows Bundle out to question her, isolates the characters from the house's formal spaces, allowing for the kind of confidential exchange that drives the plot forward.
Readers attentive to Christie's dialogue will find that the novel's clues are often embedded in offhand remarks and verbal tics—a character's hesitation, a too-quick denial, a joke that lands oddly. The excerpts show a writer who trusts her audience to read between lines of banter. Pay particular attention to what characters say when they think they are not being observed, and to the small inconsistencies in their stories. The pleasure of The Secret of Chimneys lies less in the final revelation than in the deft, economical way Christie sets her puzzle in motion.
That lingering feeling—how a chance meeting can unravel so much—stayed with me long after The Secret of Chimneys. There’s a certain quiet ache in how people carry their pasts, which I found again in Mr. Carteret and Others — Key Ideas to Explore. It felt less like reading and more like remembering something I hadn’t quite lived yet.
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.