The Red Room — Text and Context

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In Category - Mystery Collections
Le Queux, William, 1864-1927, Cuneo, Cyrus, 1879-1916 [Illustrator] Project Gutenberg 2012 Not confirmed
Detective and mystery stories; England -- Fiction; Murder -- Fiction; Secret service -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 73,455
Reading time 320 min
Text sections 9

The Red Room — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 73,455 words, 5 hr 20 min estimated reading time, and 9 detected text sections.

The text analysis averages about 15.6 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.

An editorial note examining how the opening, middle, and later excerpts of William Le Queux's 'The Red Room' guide a first reading, focusing on narrative voice, setting details, and the handling of mystery.
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Editorial Edition Score 4.7/5

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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.

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Read the Text

Little did I dream the reason why the Eckhardt tyre was being so closely scrutinised by strangers. Little, likewise, did I dream of the curious events which were to follow, or the amazing whirl of adventure into which I was to be so suddenly launched.

But I will set it all down just as it happened, and try to present you with the complete and straightforward narrative--a narrative which will show you what strange things can happen to a peaceful, steady-going, hard-working citizen in this Greater London of ours to-day.

Mr. Kirk opened his front door himself that evening, and conducted me to a cosy study at the end of the hall, where a fire burned brightly.

In a black velvet lounge coat, a fancy vest, and bright, bead-embroidered slippers, he beamed a warm welcome upon me, and drew up a big saddle-bag arm-chair. From what I had seen of the house, I was surprised at its taste and elegance. There was certainly no sign of poverty there. The study was furnished with solid comfort, and the volumes that lined it were the books of a studious man.

The cigar he offered me was an exquisite one, though he himself preferred his well-coloured meerschaum, which he filled from an old German tobacco bowl. In one corner of the room stood his pet, a large grey parrot in a cage, which he now and then addressed in the course of his conversation.

One of his eccentricities was to think audibly and address his thoughts to his queer companion, whose name was Joseph.

We must have been chatting for fully half an hour when I mentioned to him that two other persons had called that afternoon to inspect the new Eckhardt tyre, whereupon he suddenly started forward in his chair and exclaimed:

"One of the men wore a dark beard and was slightly bald, while the other was a fair man, much younger--eh?"

I explained that my manager, Pelham, had seen them, whereupon he breathed more freely; yet my announcement seemed to have created within him undue consternation and alarm.

He pressed the tobacco very carefully and deliberately into his pipe, but made no further comment.

At last, raising his head and looking straight across at me, he said:

"I may as well explain, Mr. Holford, that I had an ulterior motive in asking you in this evening. The fact is, I am sorely in want of a friend--one in whom I can trust. I suppose," he added--"I suppose I ought to tell you something concerning myself. Well, I'm a man with many acquaintances, but very few friends. My profession? Well, that is surely my own affair. It often takes me far afield, and sometimes causes me to keep queer company. The fact is," he said, after a moment's hesitation, "I'm a dealer in secrets."

"A dealer in secrets!" I echoed. "I don't quite follow you."

"The secrets sometimes confided to my keeping would, if I betrayed them, create a worldwide sensation," he said slowly, looking straight into the fire. "At times I am in possession of ugly facts concerning my fellow-men which would eclipse any of the scandals of the past twenty years. And at this moment, as I tell you, I am in sad need of a friend."

He was quick to notice the expression upon my face.

"I want no financial aid," he hastened to assure me. "On the contrary, if at any time I can be of any little assistance to you, I generally have a few pounds lying idle."

I thanked him, my curiosity growing greater. He was seated in a big, high-backed grandfather's chair, his head leaning against the padded side, his gaze, a trifle melancholy, fixed upon the dancing flames. At his back was an open roll-top writing-table, very tidy, with a clean blotting-pad, and everything in its place, spick and span.

"To be quite frank with you, Mr. Holford," he said, "I may as well tell you that an incident has occurred which has rendered it necessary that I should come to you, a comparative stranger, for friendship and assistance. Ah," he added, with a sharp and curious glance at me, "I see that you don't trust me! You should never judge a man by his clothes."

"I never do," I protested. "But you haven't explained the reason why you are so anxious for my friendship!"

For a few minutes he was silent. Then, of a sudden, he turned to the big grey parrot and asked in a shrill, squeaky tone, almost a croak: "Shall I tell him, Joseph? Shall I tell him?"

"Good night!" answered the loquacious bird. "Good night! Good night! Josef!"

"Well," my host said slowly, knocking the ashes from his pipe into the fender, "it is a matter, a serious and very curious affair, of which as yet the public have no knowledge. Some things are not allowed to leak out to the papers. This is one of them. I wonder," he went on thoughtfully, after a pause--"I wonder if I told you whether you would keep the secret?"

"Certainly," I said, full of curiosity, for I could not see Kirk's motive in asking my assistance, and my natural caution now asserted itself.

"By the way," he echoed suddenly, "do you know any other language besides English?"

"I know French fairly well," I replied, "and a smattering of Italian."

"Nothing else? German, for instance?"

I replied in the negative.

He rose, and relit his pipe with a spill. Then he chatted for some minutes with Joseph, all the time, it seemed, reflecting upon what he should say to me. At last, reseating himself in his old-fashioned chair, he again looked me straight in the face and said:

"You have given me your promise of silence, Mr. Holford. I accept it from one whom I have watched closely for a long time, and whom I know to be a gentleman. Now I am going to tell you something which will probably alarm you. A crime, a very serious crime, has been committed in London during the past forty-eight hours, and I, Kershaw Kirk, am implicated in it--or, rather, suspected of it!"

I sat staring at the man before me, too surprised to reply. He had always been an enigma, and the mystery about him was increasing.

"Tell me more," I urged at last, looking into the face of the suspected criminal. "Who is the victim?"

"At present I am keeping the affair a strict secret," he said. "There are reasons, very potent reasons, why the public should not know of the tragedy. Nowadays publicity is the curse of life. At last the Home Office have recognised this. I told you that I am a holder of secrets. Well, besides myself, not more than three persons are aware of the astounding affair."

"And you are suspected as the assassin?" I remarked.

"Unfortunately, I shall be," was his reply, and I saw that his countenance fell; "I foresee it. That is why I require your aid--the aid of a man who is honest, and who is a gentleman as well."

And he broke off again to chatter to Joseph, who was keeping up a continual screeching.

"I am anxious to hear details of the affair," I said eagerly.

"I wish I could tell you the details," he answered, with a bitter smile; "but I am not aware of them myself. The affair is a mystery--one of which even the police must be kept in ignorance."

"Haven't the police been informed?"

"No," was his prompt reply. "In certain cases information to the police means publicity. In this case, as I've already told you, there must be no publicity. Therefore, though a crime has been committed, it is being kept from the police, who, not knowing the facts, must only bungle the inquiries, and whose limited scope of inquiry would only result in failure."

"You interest me, Mr. Kirk. Relate the known facts to me," I said. "Why, pray, will you be suspected of being a murderer?"

"Well," he said, with a long-drawn sigh, "because--well, because I had everything to gain by the death of the murdered person. He had filched from me a very valuable secret."

"Then the murdered person was not your friend?"

"No; my enemy," he replied. "You, Mr. Holford, as an Englishman, will no doubt think it impossible that I may be arrested, tried in secret, and sent to penal servitude for life for a crime of which I am innocent. You believe that every man in this isle of unrest of ours must have a fair trial by judge and jury. Yet I tell you that there are exceptions. There are certain men in England who would never be brought before a criminal court. I am one of them."

At first I was inclined to regard Kirk as a madman, yet on looking into his face I saw an expression of open earnestness, and somehow I felt that he was telling me the curious truth.

"I certainly thought there were no exceptions," I said.

"I am one of the few," he replied. "They dare not place me in a criminal dock."

"For certain reasons"--and he smiled mysteriously--"reasons which you, if you become my friend, may some day discover. I live here in this by-road of a London suburb, but this is not my home. I have another--a long way from here."

And, turning from me suddenly, he addressed questions to Joseph, asking him his opinion of me.

"Where's your coat?" screeched the bird. "Where's your coat? Good night!"

The whole scene was strangely weird and incongruous. Kirk at one moment speaking of a remarkable tragedy and at the next chaffing his pet.

At last, however, I fixed my host to the point, and asked him straight out what had occurred.

"Well," he said, placing down his pipe and resting His protruding chin upon his right hand, as he gazed across at me, "just follow me for a few moments, and I'll describe, as best I can, all that is known of the affair--or, rather, all I know of it. Do you happen to know Sussex Place, Regent's Park?"

I replied in the affirmative. It was, as you probably know yourself, a highly respectable crescent of large houses overlooking the park. Entrance was gained from the road in the rear, for the houses faced the park, perhaps one of the pleasantest rows of residences in London. The occupiers were mostly City merchants or well-to-do ladies.

"Well," he said, "in one of those houses there has lived for the past five years or so Professor Ernest Greer, the well-known chemist, who, among other appointments, holds the Waynflete Professorship of Chemistry at Oxford University. Though his age is only about fifty-five, his whole career has been devoted to scientific research, with the result that he has amassed a considerable fortune from royalties gained from the new process he patented four years ago for the hardening of steel. I dare say you've often seen his name mentioned in the papers. He was a most popular man, and, with his daughter Ethelwynn, often went into society. In addition to the Regent's Park house, they had a pretty seaside cottage down at Broadstairs."

"I've seen the Professor's name very often in the papers," I remarked, "in connection, I think, with the British Association. I read, not long ago, an account of one of his interesting lectures at the London Institution."

"Then you realise his high standing," said Kirk, interpolating an aside to Joseph. "Well, Mrs. Greer is dead, and the household at Regent's Park consists of the Professor, Ethelwynn, her maid Morgan, two housemaids, a female cook, and the butler Antonio Merli, an elderly Italian, who has been in the Professor's service for nearly twenty years. On the evening before last--that was Sunday--at twenty minutes to five o'clock, the Professor and his daughter were together in the large upstairs drawing-room, which overlooks the park, where Antonio served tea. Five minutes later Antonio re-entered and handed his master a telegram. The Professor, having read it, placed it upon the fire, and remarked that he would be compelled to go to Edinburgh that night by the 11:30 from King's Cross, but would return in three days' time, for the girl had accepted an invitation for the grand ball at Sutherland House to-morrow."

"The Professor sent no reply to the message?" I asked, much interested.

"No; but half an hour later his actions struck his daughter as somewhat peculiar, for, having suddenly glanced up at the clock, he rose, crossed to one of the three long windows--the end one--and drew up the blind. Then, after a pause, he lowered it again. Then twice he pulled it up and down quickly, and returned again to where he was sitting. At least, that is his daughter's story."

"He signalled to somebody--using the Morse code, I should say."

"Exactly my theory, Mr. Holford. I note that you follow me," exclaimed the friendless man. "You possess a keen sense of deduction, I see!"

"Apparently you don't believe this statement of Miss Ethelwynn's?" I said.

He sniffed quickly, but did not at first reply.

"The fact that he drew the blinds up and down at a preconcerted hour shows that he communicated with somebody who was awaiting the signal outside in Regent's Park," he remarked at last.

"At eight he dined, as usual, with his daughter, and after dinner the faithful Antonio packed his kit-bag and suit-case, putting in only sufficient clothes for a stay of three days. At her father's order Ethelwynn telephoned to the station-master's office at King's Cross and secured a sleeping berth in the 11:30 express for Edinburgh. At a quarter to eleven o'clock he kissed his daughter good night, and went away in a cab to the station, promising faithfully to be back to take her to the ball."

"And he disappeared--I suppose?"

"No, he didn't," my companion exclaimed, as, turning to the bird, he said, "Mr. Holford jumps to conclusions just a little too quickly, doesn't he, Joseph?" And he slowly relit his pipe, which had again gone out.

"First," he went on, "let me tell you of the arrangement of the Professor's house. The whole of the ground and first floors are devoted to reception rooms. The remaining two floors and attics are bedrooms. Now, on the first floor, reached by passing through what is known as the Red Room, a small boudoir at the back, and then through a short passage, one comes to a large and spacious studio, an addition made by a former owner, a well-known artist. The only entrance is through the Red Room. The Professor rented the house on account of this studio, and had it fitted up as a laboratory. Here, secure from intrusion, he frequently carried on his experiments, making those remarkable discoveries which have rendered him world-famous. The laboratory is shut off from the boudoir by this short passage, there being two doors, one in the boudoir itself and one at the entrance to the Professor's workshop. To both these doors are patent locks, of which the Professor keeps the keys, carrying them upon his watch-chain. No one else has a key, while the door from the conservatory over the porch is walled up. This is in order that no prying person shall enter in his absence and discover what experiments are in progress--a very natural precaution."

"Then they were secret experiments he was making?" I remarked.

"Yes. And now for the mysterious sequence of facts. They are as follows: Next morning, when the servants opened the house, one of the maids found, lying upon the hall table, a note addressed to Miss Greer. When Ethelwynn opened it, she found it to be from her father, telling her with regret that he must be absent abroad for several months, but that she was not to feel uncomfortable, and giving her certain directions, as well as how to obtain money during his enforced absence."

Joseph, the parrot, set up a loud screeching, trying to attract his master's attention.

"Two hours later Antonio discovered upon the stairs leading up to the drawing-room a curious little gold and enamel charm in the form of a child's old-fashioned wooden doll--a beautifully-made little thing," he went on; "and half an hour later a maid, while cleaning the boudoir outside the locked door giving entrance to the laboratory, was surprised to find a small spot of blood upon the white goat-skin mat. This seems to have aroused Antonio's apprehensions. A telegram to the Professor at the North British Hotel in Edinburgh, sent by his daughter, brought, about three o'clock in the afternoon, a reply stating that he was quite well, and it was not until seven o'clock last evening that Ethelwynn communicated with me, her father having suggested this in the note she had received. I called upon her at once, and was shown the note, the little golden doll, and the ugly stain upon the mat. By then my curiosity became aroused. I went out to a telephone at a neighbouring public-house, and, unknown to anybody, got on to the reception clerk at the North British Hotel in Edinburgh. In answer to my inquiry, the young lady said that during the day a telegram had arrived addressed to Professor Greer, and it had been placed upon the board where telegrams were exhibited. Somebody had claimed it, but no one of the name was staying in the hotel."

"You have now said that the Professor was your friend," I remarked. "I understood you to say that he was an enemy."

"I'll explain that later," said my companion impatiently, drawing hard at his pipe. "Let me continue to describe the situation. Well, on hearing this from Edinburgh, I drove to King's Cross, and, somewhat to my surprise, found that Professor Greer had left London by the train he had intended. The sleeping-car attendant who had travelled with him up North was just back, and he minutely described his passenger, referring to the fact that he refused to have an early cup of tea, because tea had been forbidden by his doctor."

"A perplexing situation," I said. "How did you account for the bloodstain? Had any of the servants met with an accident?"

"No, none. Neither dog, nor cat, nor any other pet was kept, therefore the stain upon the mat was unaccountable. It was that fact which caused me, greatly against Miss Ethelwynn's consent, to seek a locksmith and take down the two locked doors of the laboratory."

And he paused, gazing once more straight into the flames, with a curious expression in those deep-set brown eyes.

"And what did you find?" I eagerly inquired.

"I discovered the truth," he said in a hard, changed tone. "The doors gave us a good deal of trouble. At the end of the laboratory, huddled in a corner, was the body of the Professor. He had been stabbed to the heart, while his face presented a horrible sight, the features having been burned almost beyond recognition by some terribly corrosive fluid-- a crime which in every phase showed itself to be due to some fiendish spirit of revenge."

"But that is most extraordinary!" I gasped, staring at the speaker. "The sleeping-car conductor took him to Edinburgh! Besides, how could the two doors be locked behind the assassin? Were the keys still upon the victim?"

"They are still upon the dead man's watch-chain," he said. "But, mark you, there is still a further feature of mystery in the affair. After her father's departure for the station, his daughter put on a dressing-gown and, sending Morgan to bed, seated herself in her arm-chair before the fire in the Red Room, or boudoir, and took a novel. She read until past four o'clock, being in the habit of reading at night, and then, not being sleepy, sat writing letters until a drowsiness fell upon her. She did not then awake until a maid entered at seven to draw up the blinds."

"Then she was actually at the only entrance to the laboratory all the night!"

"Within a yard and a half of it," said Kershaw Kirk. "But the affair presents many strange features," he went on. "The worst feature of it all, Mr. Holford, is that a motive--a very strong motive--is known to certain persons why I myself should desire to enter that laboratory. Therefore I must be suspected of the crime, and--well, I admit at once to you I shall be unable to prove an alibi!"

I was silent for a moment.

"Unable to prove an alibi!" I echoed. "But the police have as yet no knowledge of the affair," I remarked.

"No; I have, however, reported it in another quarter. It's a most serious matter, for I have suspicion that certain articles have been abstracted from the laboratory."

"And that means--what?"

The narrator introduces himself as a garage owner in Chiswick, a trade that grounds the story in a specific, unglamorous London suburb. His first encounter with the mysterious neighbour is marked by close observation of the man's shifting appearance—sometimes shabby, sometimes smart—and the wife's suspicion that he is an adventurer. The prose lingers on material details: the 'forty-eight' engine, the glass-walled office, the neighbour's 'keen, dark, troubled eyes.' This opening establishes a narrator who is both practical and watchful, a chronicler of others' strange doings rather than a hero.

The Narrator's Limited Viewpoint

The excerpts never grant the reader access to any character's mind except the narrator's. He reports what he sees and hears, but his interpretations are often hedged: he 'judged' the neighbour's age, 'wondered' at his purpose, and 'put him down' as an adventurer based on his wife's instinct. This restricted perspective is crucial for a mystery collection, as it keeps the reader guessing alongside the narrator. When he later confronts Miss Greer, his internal questions—'Could I tell her?'—reveal his own uncertainty, not the truth. The reader must weigh his observations without the benefit of omniscience.

Setting as a Clue System

Locations in the excerpts are precisely named and described: Bath Road, Bedford Park; Charing Cross Station; a house on the cliffs between Broadstairs and Dumpton Gap. These are not generic backdrops but specific places that carry implications. The narrator's garage, with its glass windows, suggests a world of transparency and mechanical work, contrasting with the neighbour's erratic movements and the 'pretty newly-built red-roofed house' overlooking the Goodwins. The recurring mention of travel—luggage to the Continent, a hansom with suit-cases—hints at a network of movement that may be central to the plot. A first reader should note each named location as a potential piece of the puzzle.

The Unreliability of Appearances

From the neighbour's alternating shabbiness and smartness to Miss Greer's calm denial of her father's death, the excerpts repeatedly challenge the narrator's—and the reader's—ability to trust surface impressions. The narrator's wife 'generally led to correct conclusions,' yet the neighbour remains a mystery. Miss Greer, whom the narrator saw dead, is 'certainly alive, and living here in the flesh.' The text does not explain this contradiction; it simply presents it. The reader is left to wonder whether the narrator mis-saw, whether the woman is an impostor, or whether the earlier scene was staged. This pattern of deceptive appearances is a structural device, not a theme to be resolved early.

Pacing Through Delayed Revelation

The excerpts move from a slow, observational opening to a more urgent, travel-heavy middle section, but key revelations are withheld. The narrator mentions 'startling fact' and 'strange doings' without specifying them. He recalls Antonio's threats and Kirk's instructions, but the reader does not yet know the full context of the professor's death or the narrator's promise of silence. The later excerpt ends with the narrator standing at a window, 'full of keen anxiety,' before Miss Greer enters. This pattern of building tension through delay—rather than through action or dialogue—characterises the excerpts. A first reader should expect the narrative to continue this rhythm of setup and postponement.

Because the excerpts cover only the beginning and a later scene, the reader cannot yet judge how the mystery will unfold or whether the narrator's perspective will prove reliable. Pay attention to the small details he notices—clothing, luggage, gestures—as they may carry more weight than his own conclusions. The story rewards patience with its setting and its careful, limited point of view.

This editor’s tracing of Le Queux’s careful red herrings reminded me of sitting with a friend’s old paperback, wanting to slow down the mystery rather than solve it. Chalk face carried that same quiet hush—the sense that the room itself holds the story. Some books ask only that you listen to their spaces. Chalk face — Themes and Context felt like that, too.

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  • ...
    Edward Cody Myers - 4 weeks ago
    This is a well-written gothic horror with a strong sense of place. The suspense is palpable, and the ending has a clever twist. However, the pacing is uneven, with some parts dragging while others rush. The protagonist's reactions sometimes seem implausible. Overall, a decent read for horror fans.

  • ...
    Joseph Kayla Taylor - 4 weeks ago
    The Red Room relies too heavily on clichéd horror tropes, and the plot is predictable. The characters are thin, and the so-called twists are easy to see coming. The writing is competent but not enough to overcome the lack of originality. If you've read one haunted house story, you've read them all.

  • ...
    Richard Gentry - 3 weeks ago
    An atmospheric and chilling tale that masterfully builds tension. The Red Room is a classic haunted-house story with a modern twist, and the author's descriptive prose made me feel every shadow and creak. The psychological depth and unexpected ending elevate it beyond typical horror. A must-read for anyone who loves a good scare.


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