The Breaking Point — Edition Insights

(1 User reviews)   259
In Category - Mystery Collections
Rinehart, Mary Roberts, 1876-1958 Project Gutenberg 1999 Not confirmed
Detective and mystery stories; Man-woman relationships -- Fiction; Murder -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 117,634
Reading time 512 min
Text sections 15

The Breaking Point — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 117,634 words, 8 hr 32 min estimated reading time, and 15 detected text sections.

The text analysis averages about 13.1 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.

Rinehart's novel uses layered scenes—choir practice, intimate conversations, and a tense search—to build suspense around a doctor's hidden identity and a community's unraveling trust.
Share
Editorial Edition Score 4.8/5

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

in her voice, and Elizabeth glanced at her.

“All right. But it's out of your way, isn't it?”

“Yes. I--You're so funny, Elizabeth. It's hard to talk to you. But I've got to talk to somebody. I go around by Station Street every chance I get.”

“By Station Street? Why?”

“I should think you could guess why.”

She saw that Clare desired to be questioned, and at the same time she felt a great distaste for the threatened confidence. She loathed arm-in-arm confidences, the indecency of dragging up and exposing, in whispers, things that should have been buried deep in reticence. She hesitated, and Clare slipped an arm through hers.

“You don't know, then, do you? Sometimes I think every one must know. And I don't care. I've reached that point.”

Her confession, naive and shameless, and yet somehow not without a certain dignity, flowed on. She was mad about Doctor Dick Livingstone. Goodness knew why, for he never looked at her. She might be the dirt under his feet for all he knew. She trembled when she met him in the street, and sometimes he looked past her and never saw her. She didn't sleep well any more.

Elizabeth listened in great discomfort. She did not see in Clare's hopeless passion the joy of the flagellant, or the self-dramatization of a neurotic girl. She saw herself unwillingly forced to peer into the sentimental windows of Clare's soul, and there to see Doctor Dick Livingstone, an unconscious occupant. But she had a certain fugitive sense of guilt, also. Formless as her dreams had been, vague and shy, they had nevertheless centered about some one who should be tall, like Dick Livingstone, and alternately grave, which was his professional manner, and gay, which was his manner when it turned out to be only a cold, and he could take a few minutes to be himself. Generally speaking, they centered about some one who resembled Dick Livingstone, but who did not, as did Doctor Livingstone, assume at times an air of frightful maturity and pretend that in years gone by he had dandled her on his knee.

“Sometimes I think he positively avoids me,” Clare wailed. “There's the house, Elizabeth. Do you mind stopping a moment? He must be in his office now. The light's burning.”

“I wish you wouldn't, Clare. He'd hate it if he knew.”

She moved on and Clare slowly followed her. The Rossiter girl's flow of talk had suddenly stopped. She was thoughtful and impulsively suspicious.

“Look here, Elizabeth, I believe you care for him yourself.”

“I? What is the matter with you to-night, Clare?”

“I'm just thinking. Your voice was so queer.”

They walked on in silence. The flow of Clare's confidences had ceased, and her eyes were calculating and a trifle hard.

“There's a good bit of talk about him,” she jerked out finally. “I suppose you've heard it.”

“Oh, gossip. You'll hear it. Everybody's talking about it. It's doing him a lot of harm.”

“I don't believe it,” Elizabeth flared. “This town hasn't anything else to do, and so it talks. It makes me sick.”

She did not attempt to analyze the twisted motives that made Clare belittle what she professed to love. And she did not ask what the gossip was. Half way up Palmer Lane she turned in at the cement path between borders of early perennials which led to the white Wheeler house. She was flushed and angry, hating Clare for her unsolicited confidence and her malice, hating even Haverly, that smiling, tree-shaded suburb which “talked.”

She opened the door quietly and went in. Micky, the Irish terrier, lay asleep at the foot of the stairs, and her father's voice, reading aloud, came pleasantly from the living room. Suddenly her sense of resentment died. With the closing of the front door the peace of the house enveloped her. What did it matter if, beyond that door, there were unrequited love and petty gossip, and even tragedy? Not that she put all that into conscious thought; she had merely a sensation of sanctuary and peace. Here, within these four walls, were all that one should need, love and security and quiet happiness. Walter Wheeler, pausing to turn a page, heard her singing as she went up the stairs. In the moment of the turning he too had a flash of content. Twenty-five years of married life and all well; Nina married, Jim out of college, Elizabeth singing her way up the stairs, and here by the lamp his wife quietly knitting while he read to her. He was reading Paradise Lost: “The mind is its own place, and in itself can make a Heaven of Hell, a Hell of Heaven.”

He did a certain amount of serious reading every year.

On Sunday mornings, during the service, Elizabeth earnestly tried to banish all worldly thoughts. In spite of this resolve, however, she was always conscious of a certain regret that the choir seats necessitated turning her profile to the congregation. At the age of twelve she had decided that her nose was too short, and nothing had happened since to change her conviction. She seldom so much as glanced at the congregation. During her slow progress up and down the main aisle behind the Courtney boy, who was still a soprano and who carried the great gold cross, she always looked straight ahead. Or rather, although she was unconscious of this, slightly up. She always looked up when she sang, for she had commenced to take singing lessons when the piano music rack was high above her head.

So she still lifted her eyes as she went up the aisle, and was extremely serious over the whole thing. Because it is a solemn matter to take a number of people who have been up to that moment engrossed in thoughts of food or golf or servants or business, and in the twinkling of an eye, as the prayer book said about death, turn their minds to worship.

Nevertheless, although she never looked at the pews, she was always conscious of two of them. The one near the pulpit was the Sayres' and it was the social calendar of the town. When Mrs. Sayre was in it, it was the social season. One never knew when Mrs. Sayre's butler would call up and say:

“I am speaking for Mrs. Sayre. Mrs. Sayre would like to have the pleasure of Miss Wheeler's company on Thursday to luncheon, at one-thirty.”

When the Sayre pew was empty, the town knew, if it happened to be winter, that the Florida or Santa Barbara season was on; or in summer the Maine coast.

The other pew was at the back of the church. Always it had one occupant; sometimes it had three. But the behavior of this pew was very erratic. Sometimes an elderly and portly gentleman with white hair and fierce eyebrows would come in when the sermon was almost over. Again, a hand would reach through the grill behind it, and a tall young man who had had his eyes fixed in the proper direction, but not always on the rector, would reach for his hat, get up and slip out. On these occasions, however, he would first identify the owner of the hand and then bend over the one permanent occupant of the pew, a little old lady. His speech was as Yea, yea, or Nay, nay, for he either said, “I'll be back for dinner,” or “Don't look for me until you see me.”

And Mrs. Crosby, without taking her eyes from the sermon, would nod.

Of late years, Doctor David Livingstone had been taking less and less of the “Don't-look-for-me-until-you-see-me” cases, and Doctor Dick had acquired a car, which would not freeze when left outside all night like a forgotten dog, and a sense of philosophy about sleep. That is, that eleven o'clock P.M. was bed-time to some people, but was just eleven o'clock for him.

When he went to church he listened to the sermon, but rather often he looked at Elizabeth Wheeler. When his eyes wandered, as the most faithful eyes will now and then, they were apt to rest on the flag that had hung, ever since the war, beside the altar. He had fought for his country in a sea of mud, never nearer than two hundred miles to the battle line, fought with a surgical kit instead of a gun, but he was content. Not to all the high adventure.

Had he been asked, suddenly, the name of the tall blonde girl who sang among the sopranos, he could not have told it.

The Sunday morning following Clare Rossiter's sentimental confession, Elizabeth tried very hard to banish all worldly thoughts, as usual, and to see the kneeling, rising and sitting congregation as there for worship. But for the first time she wondered. Some of the faces were blank, as though behind the steady gaze the mind had wandered far afield, or slept. Some were intent, some even devout. But for the first time she began to feel that people in the mass might be cruel, too. How many of them, for instance, would sometime during the day pass on, behind their hands, the gossip Clare had mentioned?

She changed her position, and glanced quickly over the church. The Livingstone pew was fully occupied, and well up toward the front, Wallie Sayre was steadfastly regarding her. She looked away quickly.

Came the end of the service. Came down the aisle the Courtney boy, clean and shining and carrying high his glowing symbol. Came the choir, two by two, the women first, sopranos, altos and Elizabeth. Came the men, bass and tenor, neatly shaved for Sunday morning. Came the rector, Mr. Oglethorpe, a trifle wistful, because always he fell so far below the mark he had set. Came the benediction. Came the slow rising from its knees of the congregation and its cheerful bustle of dispersal.

Doctor Dick Livingstone stood up and helped Doctor David into his new spring overcoat. He was very content. It was May, and the sun was shining. It was Sunday, and he would have an hour or two of leisure. And he had made a resolution about a matter that had been in his mind for some time. He was very content.

He looked around the church with what was almost a possessive eye. These people were his friends. He knew them all, and they knew him. They had, against his protest, put his name on the bronze tablet set in the wall on the roll of honor. Small as it was, this was his world.

Half smiling, he glanced about. He did not realize that behind their bows and greetings there was something new that day, something not so much unkind as questioning.

Outside in the street he tucked his aunt, Mrs. Crosby, against the spring wind, and waited at the wheel of the car while David entered with the deliberation of a man accustomed to the sagging of his old side-bar buggy under his weight. Long ago Dick had dropped the titular “uncle,” and as David he now addressed him.

“You're going to play some golf this afternoon, David,” he said firmly. “Mike had me out this morning to look at your buggy springs.”

David chuckled. He still stuck to his old horse, and to the ancient vehicle which had been the signal of distress before so many doors for forty years. “I can trust old Nettie,” he would say. “She doesn't freeze her radiator on cold nights, she doesn't skid, and if I drop asleep she'll take me home and into my own barn, which is more than any automobile would do.”

“I'm going to sleep,” he said comfortably. “Get Wallie Sayre--I see he's back from some place again--or ask a nice girl. Ask Elizabeth Wheeler. I don't think Lucy here expects to be the only woman in your life.”

Dick stared into the windshield.

“I've been wondering about that, David,” he said, “just how much right--”

“Balderdash!” David snorted. “Don't get any fool notion in your head.”

Followed a short silence with Dick driving automatically and thinking. Finally he drew a long breath.

“All right,” he said, “how about that golf--you need exercise. You're putting on weight, and you know it. And you smoke too much. It's either less tobacco or more walking, and you ought to know it.”

David grunted, but he turned to Lucy Crosby, in the rear seat:

“Lucy, d'you know where my clubs are?”

“You loaned them to Jim Wheeler last fall. If you get three of them back you're lucky.” Mrs. Crosby's voice was faintly tart. Long ago she had learned that her brother's belongings were his only by right of purchase, and were by way of being community property. When, early in her widowhood and her return to his home, she had found that her protests resulted only in a sort of clandestine giving or lending, she had exacted a promise from him. “I ask only one thing, David,” she had said. “Tell me where the things go. There wasn't a blanket for the guest-room bed at the time of the Diocesan Convention.”

“I'll run around to the Wheelers' and get them,” Dick observed, in a carefully casual voice. “I'll see the Carter baby, too, David, and that clears the afternoon. Any message?”

Lucy glanced at him, but David moved toward the house.

“Give Elizabeth a kiss for me,” he called over his shoulder, and went chuckling up the path.

Mrs. Crosby stood on the pavement, gazing after the car as it moved off. She had not her brother's simplicity nor his optimism. Her married years had taken her away from the environment which had enabled him to live his busy, uncomplicated life; where, the only medical man in a growing community, he had learned to form his own sturdy decisions and then to abide by them.

Black and white, right and wrong, the proper course and the improper course--he lived in a sort of two-dimensional ethical world. But to Lucy Crosby, between black and white there was a gray no-man's land of doubt and indecision; a half-way house of compromise, and sometimes David frightened her. He was so sure.

She passed the open door into the waiting-room, where sat two or three patient and silent figures, and went back to the kitchen. Minnie, the elderly servant, sat by the table reading, amid the odor of roasting chicken; outside the door on the kitchen porch was the freezer containing the dinner ice-cream. An orderly Sunday peace was in the air, a gesture of homely comfort, order and security.

“I'll unpin your veil for you,” she offered, obligingly. “You've got time to lie down about ten minutes. Mrs. Morgan said she's got to have her ears treated.”

“I hope she doesn't sit and talk for an hour.”

“She'll talk, all right,” Minnie observed, her mouth full of pins. “She'd be talking to me yet if I'd stood there. She's got her nerve, too, that woman.”

“I don't like to hear you speak so of the patients who come to the house, Minnie.”

“Well, I don't like their asking me questions about the family either,” said Minnie, truculently. “She wanted to know who was Doctor Dick's mother. Said she had had a woman here from Wyoming, and she thought she'd known his people.”

Mrs. Crosby stood very still.

“I think she should bring her questions to the family,” she said, after a silence. “Thank you, Minnie.”

Bonnet in hand, she moved toward the stairs, climbed them and went into her room. Recently life had been growing increasingly calm and less beset with doubts. For the first time, with Dick's coming to live with them ten years before, a boy of twenty-two, she had found a vicarious maternity and gloried in it. Recently she had been very happy. The war was over and he was safely back; again she could sew on his buttons and darn his socks, and turn down his bed at night. He filled the old house with cheer and with vitality. And, as David gave up more and more of the work, he took it on his broad shoulders, efficient, tireless, and increasingly popular.

She put her bonnet away in its box, and suddenly there rose in her frail old body a fierce and unexpected resentment against David. He had chosen a course and abided by it. He had even now no doubt or falterings. Just as in the first anxious days there had been no doubt in him as to the essential rightness of what he was doing. And now--This was what came of taking a life and moulding it in accordance with a predetermined plan. That was for God to do, not man.

She sat down near her window and rocked slowly, to calm herself. Outside the Sunday movement of the little suburban town went by: the older Wheeler girl, Nina, who had recently married Leslie Ward, in her smart little car; Harrison Miller, the cynical bachelor who lived next door, on his way to the station news stand for the New York papers; young couples taking small babies for the air in a perambulator; younger couples, their eyes on each other and on the future.

That, too, she reflected bitterly! Dick was in love. She had not watched him for that very thing for so long without being fairly sure now. She had caught, as simple David with his celibate heart could never have caught, the tone in Dick's voice when he mentioned the Wheelers. She had watched him for the past few months in church on Sunday mornings, and she knew that as she watched him, so he looked at Elizabeth.

And David was so sure! So sure.

The office door closed and Mrs. Morgan went out, a knitted scarf wrapping her ears against the wind, and following her exit came the slow ascent of David as he climbed the stairs to wash for dinner.

“David!” she called sharply.

He opened the door and came in, a bulky figure, still faintly aromatic of drugs, cheerful and serene.

“D'you call me?” he inquired.

“Yes. Shut the door and come in. I want to talk to you.” He closed the door and went to the hearth-rug. There was a photograph of Dick on the mantel, taken in his uniform, and he looked at it for a moment. Then he turned. “All right, my dear. Let's have it.”

“Did Mrs. Morgan have anything to say?” He stared at her.

“She usually has,” he said. “I never knew you considered it worth repeating. No. Nothing in particular.”

The very fact that Mrs. Morgan had limited her inquiry to Minnie confirmed her suspicions. But somehow, face to face with David, she could not see his contentment turned to anxiety.

“I want to talk to you about Dick.”

“I think he's in love, David.”

David's heavy body straightened, but his face remained serene.

“We had to expect that, Lucy. Is it Elizabeth Wheeler, do you think?”

For a moment there was silence. The canary in its cage hopped about, a beady inquisitive eye now on one, now on the other of them.

“She's a good girl, Lucy.”

“That's not the point, is it?”

“Do you think she cares for him?”

“I don't know. There's some talk of Wallie Sayre. He's there a good bit.”

“Wallie Sayre!” snorted David. “He's never done a day's work in his life and never will.” He reflected on that with growing indignation. “He doesn't hold a candle to Dick. Of course, if the girl's a fool--”

Hands thrust deep into his pockets David took a turn about the room. Lucy watched him. At last:

“You're evading the real issue, David, aren't you?”

“Perhaps I am,” he admitted. “I'd better talk to him. I think he's got an idea he shouldn't marry. That's nonsense.”

“I don't mean that, exactly,” Lucy persisted. “I mean, won't he want a good many things cleared up before he marries? Isn't he likely to want to go back to Norada?”

Some of the ruddy color left David's face. He stood still, staring at her and silent.

“You know he meant to go three years ago, but the war came, and--”

Her voice trailed off. She could not even now easily recall those days when Dick was drilling on the golf links, and that later period of separation.

“If he does go back--”

“Donaldson is dead,” David broke in, almost roughly.

“Maggie Donaldson is still living.”

“What if she is? She's loyal to the core, in the first place. In the second, she's criminally liable. As liable as I am.”

“There is one thing, David, I ought to know. What has become of the Carlysle girl?”

The novel opens not with a crime but with a choir rehearsal, where the voices of the tenor, bass, and soprano blend in Dudley Buck's Festival Te Deum. This communal scene establishes a small-town setting and introduces Elizabeth Wheeler, who finds in the ritual a temporary escape from worldly concerns. Yet the harmony is fragile: the narrative quickly shifts to her private dreams of renunciation and romantic love, and later to a tense conversation where Clare Rossiter's veiled hostility and Wallie's jealous doubts fracture the surface calm. Rinehart uses these contrasting movements—from collective order to individual unease—to foreshadow the unraveling that follows.

Choral Beginnings and Domestic Interiors

The story’s first scene is a choir practice, where the physical details—the tenor’s protruding larynx, the bass’s buried chin, the soprano lifting on her toes at G flat—ground the reader in a specific, tactile world. Elizabeth’s pleasure in the blending of voices and her ritual of exchanging a rose-colored hat for a cassock suggest a desire for transformation. Yet the narrative quickly moves to her home, where Sunday luncheon and afternoon dreams of love replace cloistered aspirations. This oscillation between the sacred and the mundane, the public and the private, recurs throughout the novel, often signaled by a change of clothing or setting.

The Weight of Unspoken Tensions

In a later scene, Clare Rossiter’s visit to Elizabeth’s home introduces an “electric” atmosphere. Clare’s words are sympathetic, but her veiled hostility is palpable: she watches Elizabeth, plays up to Wallie, and casts doubt on Dick Livingstone’s identity. Wallie, left alone with Elizabeth, reveals his long-held feelings, and the conversation shifts from social pleasantry to raw disappointment. Rinehart captures this through small gestures—the dog placing a head on Wallie’s knee, his absent patting, the jealous look when Elizabeth returns from the mail. The scene builds tension not through action but through what is left unsaid, and through the characters’ physical responses to emotional strain.

Movement and Surveillance

The novel frequently tracks characters as they move through spaces, creating a sense of watchfulness. When Wilkins disappears around the staircase, Bassett sits down, trembling, unable to think. The search for Clark proceeds room by room, and the discovery is made—though the excerpt cuts off before revealing what. This pattern of movement, often from a public area to a private one, mirrors the narrative’s own shifts: from choir room to living room, from group harmony to isolated suspicion. The reader is positioned as an observer, following characters through doorways and around corners, aware that something is being hidden or sought.

Recurring Images of Renunciation and Doubt

Elizabeth’s early fantasy of a cloistered life—with “long vistas of pillars and Gothic arches” and a great organ—returns in altered forms. Later, she faces not renunciation but the erosion of trust: Dick has not written, and Clare’s insinuations plant doubt. Wallie’s sceptical mind, “fed by Clare’s malice,” begins to question Dick’s good faith. The image of the choir’s harmony gives way to discordant notes of suspicion. Rinehart weaves these motifs—the desire for purity, the intrusion of doubt—through the narrative, using them to underscore the characters’ internal conflicts as external events close in.

The Unreliable Postman

In a small town, the arrival of mail becomes a moment of tension. Elizabeth’s hope for a letter from Dick is unmet, and Wallie’s jealous question—“Has he written at all?”—exposes the fragility of their connection. The postman’s knock interrupts a charged conversation, and the empty-handed return deepens the unease. This small, recurring detail—the expectation of news that does not come—mirrors the larger pattern of withheld information and broken communication that drives the plot.

Readers attentive to Rinehart’s use of setting and gesture will find the novel’s suspense built not on sudden revelations but on the slow accumulation of small, telling details. The choir room, the living room, the staircase—each space carries its own emotional weight. Watch for how characters’ movements between these spaces, and the objects they handle (a music sheet, a dog’s head, a letter), signal shifts in loyalty and fear. The breaking point, when it comes, is less a single event than a threshold crossed many times.

That rainy afternoon, I kept circling back to the choir practice scene in The Breaking Point, the way suspicion curled through ordinary voices. My mind wandered to older thrillers, where secrets arrive by steamship. Later, I found myself flipping through Nick Carter Stories No. 138 May 1, 1915; The Traitors of the Tropics; or, Nick Carter's Royal Flush — Context and Discussion, noticing how that same unease, that hidden identity, simply changed its climate.

Joseph Lewis
3 weeks ago

5
5 out of 5 (1 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

Which reading stage best describes you?

2

How did the book work for you overall?

3

How likely are you to recommend this book?

4

How much effort did this book require?

Related eBooks