Some Persons Unknown — A Reader’s Guide
Edition facts
The catalog record for Some Persons Unknown — A Reader’s Guide provides practical reading context through 72,186 words, 5 hr 14 min estimated reading time, and 8 detected text sections.
The text analysis averages about 16.7 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 “English fiction -- 19th century,” 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
Kenyon had been more unmanageable than usual. Unsettled and excitable from the moment he awoke and remembered who was coming in the evening, he had remained in an unsafe state all day. That evening found him with unbroken bones was a miracle to Ethel his sister, and to his great friend John, the under-gardener. Poor Ethel was in charge; and sole charge of Kenyon, who was eleven, was no light matter for a girl with her hair still down. Her brother was a handful at most times; to-day he would have filled some pairs of stronger hands than Ethel's. They had begun the morning together, with snob-cricket, as the small boy called it; but Kenyon had been rather rude over it, and Ethel had retired. She soon regretted this step; it had made him reckless; he had spent the most dangerous day. Kenyon delighted in danger. He had a mania for walking round the entire premises on the garden wall, which was high enough to kill him if he fell, and for clambering over the greenhouses, which offered a still more fascinating risk. Not only had he done both this morning, he had gone so far as to straddle a gable of the house itself, shrieking good-tempered insults at Ethel, who appealed to him with tears and entreaties from the lawn below. Ethel had been quite disabled from sitting at meat with him; and in the afternoon he had bothered the gardeners, in the potting-shed, to such an extent that his friend John had subsequently refused to bowl to him. In John's words Master Kenyon had been a public nuisance all day--though a lovable one--at his very worst he was that. He had lovable looks, for one thing. It was not the only thing. The boy had run wild since his young mother's death. There were reasons why he should not go to school at present. There were reasons why he should spend the long summer days in the sunshine, and open only the books he cared about, despite the oddity of his taste in books. He had dark, laughing eyes, and a face of astonishing brightness and health: astonishing because (as he said) his legs and arms were as thin as pipe-stems, and certainly looked as brittle. Kenyon was indeed a delicate boy. He was small and delicate and weak in everything but spirit. "He has the spirit," said John, his friend, "of the deuce and all!"
Ethel forgave easily, perhaps too easily, but then she was Kenyon's devoted slave, who cried about him half the night, and lived for him, and longed to die for him. Kenyon had toned himself down by tea-time, and when he sought her then as though nothing had happened, she was only too thankful to catch his spirit. Had she reminded him of his behaviour on the roof and elsewhere, he would have been very sorry and affectionate; but it was not her way to make him sorry, it was her way to show an interest in all he had to say, and at tea-time Kenyon was still full of the thing that had excited and unsettled him in the morning. Only now he was beginning to feel in awe, and the schoolroom tea had never been a seemlier ceremony.
These children seldom sat at table with their father, and very, very seldom listened for the wheels of his brougham as they were listening to-night. In the boy's mind the sound was associated with guilty apprehensions and a cessation of all festivities. But to-night Mr. Harwood was to bring back with him one of Kenyon's own heroes, one of the heroes of his favourite book, which was not a storybook. It has been said that Kenyon's literary taste was peculiar; his favourite book was _Lillywhite's Cricketers' Guide_; the name of the great young man who was coming this evening had figured prominently in recent volumes of _Lillywhite_, and Kenyon knew every score he had ever made.
"Do you think he'll talk to us?" was one of the thousand questions which Ethel had to answer. "I'd give my nut to talk to him! Fancy having C. J. Forrester to stay here! I've a sort of idea the governor asked him partly to please me, though he says he's a sort of relation. I only wish we'd known it before. Anyhow, it's the jolliest thing the governor ever did in his life, and a wonder he did it, seeing he only laughs at cricket. I wish he'd been a cricketer himself, then he'd kick up less row about the glass; thank goodness I haven't broken any to-day! I say, I wish C. J. Forrester'd made more runs yesterday; he's certain to have the hump."
The collection opens with 'Kenyon's Innings,' a story that immediately establishes a voice attuned to the restless energy of childhood. The prose mirrors the boy's volatility: sentences are short, verbs active ('shrieking,' 'straddle,' 'bothered'), and the perspective shifts between Ethel's exasperation and John's grudging affection. The narrative pace is breathless, matching Kenyon's 'unsafe state all day.'
This initial domestic scene—a garden, a gable, a potting-shed—belies the collection's later turn toward colonial crime and moral ambiguity. Hornung's language adapts: where Kenyon's story uses physical danger as a proxy for grief, later tales like 'After the Fact' employ a clipped, urgent dialogue to convey psychological pressure. The voice remains consistent in its attention to small, telling details—soil on a windowsill, a voice that 'was not real'—but the pace accelerates from the leisurely cricket of the opening to the taut, breathless confessions of the deck-house.
From Garden Walls to Bank Vaults: A Shift in Setting and Tension
The first story confines itself to a single estate: the garden wall, the greenhouses, the gable. The danger is physical, the stakes a boy's broken bones. By the time we reach 'After the Fact,' the setting has expanded to a bank in Geelong, a schooner, and a beach at Queenscliff. The language follows suit. In 'Kenyon's Innings,' the narrator describes a boy 'small and delicate and weak in everything but spirit'; the tone is fond, almost indulgent. In 'After the Fact,' the same narrator—now a character named Bower—reports a woman's confession with a stark, unadorned urgency: 'I knew he had done it; I can't tell you how I knew, but know I did.'
The pace changes accordingly. The early story lingers on a single day, building tension through repeated small crises. The later story compresses a bank robbery, a pursuit, and a confrontation into a few pages of dialogue. The sentences grow shorter, the paragraphs more fragmented. Where Kenyon's narrative had room for 'lovable looks' and 'astonishing brightness,' the later voice strips away ornament, leaving only the raw mechanics of guilt and desperation.
The Unreliable Voice: Confession and Concealment
Hornung's narrators are not always trustworthy, and the collection exploits this. In 'Kenyon's Innings,' the third-person perspective is limited to Ethel and John; we never enter Kenyon's mind. His motives remain opaque—'there were reasons why he should not go to school'—and the story's sympathy is earned through action, not introspection. In 'After the Fact,' the first-person narrator Bower is both participant and observer, but his account is filtered through his own biases. He admits to having been 'at school together' with the villain, and his reactions are colored by that history.
The most striking shift occurs in the woman's confession. Her speech is a torrent of self-justification and self-blame: 'I made a fool of myself. You must have heard about it in Geelong. Well, it's quite true; but it wasn't yesterday.' The repetition and hedging reveal a mind struggling to control a narrative that is slipping away. Hornung's ear for the rhythms of guilt—the false starts, the defensive clarifications—gives the passage a psychological density absent from the earlier, more straightforward adventure. The voice becomes a tool of concealment as much as revelation.
Pace as a Marker of Moral Complexity
The collection's pacing is not uniform; it varies with the moral weight of each story. 'Kenyon's Innings' moves at a child's tempo—quick bursts of excitement, long stretches of boredom. The prose is loose, allowing for digressions about 'snob-cricket' and the gardener's opinion. In 'After the Fact,' the pace is relentless. The woman's confession is a single, unbroken paragraph, punctuated only by dashes and exclamations: 'Oh, I know I was a fool to believe or listen to a word he said! I should have had him put in prison at the first.'
This acceleration reflects a world where consequences are irreversible. Kenyon's scrapes are forgiven; the bank robber's crimes are not. Hornung uses pace to signal genre: the early story is a comedy of manners, the later a thriller. But the shift is not merely technical. The faster pace in 'After the Fact' creates a sense of claustrophobia, of options narrowing. The deck-house scene, with its slammed door and 'evil mouth,' leaves no room for the leisurely resolutions of the opening. The language itself becomes a cage.
Readers attentive to Hornung's craft will notice how he calibrates voice and pace to match the moral temperature of each story. The collection rewards those who track these shifts: the same author who can spend a page on a boy's 'mania for walking round the entire premises on the garden wall' can later compress a woman's ruin into a single, breathless sentence. Pay attention to the moments when the prose slows—or speeds up—and ask what that change reveals about the characters' control over their own stories.
I kept thinking about how Hornung’s voice tightens as the stakes climb, almost like a held breath. There’s a quiet shelf-mate in The Last Entry — Reading Notes that carries that same lingering unease, though softer. It reminded me of closing a diary and feeling the room change, not dramatically, just enough to notice.
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.