The Deep Lake Mystery — A Reader’s Guide

(0 User reviews)   1661
Wells, Carolyn, 1862-1942 Project Gutenberg 2014 Not confirmed
Fiction; Detective and mystery stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 73,182
Reading time 319 min
Text sections 11

The source record for The Deep Lake Mystery — A Reader’s Guide measures this digital text at 73,182 words, 5 hr 19 min estimated reading time, and 11 detected text sections.

The text analysis averages about 13.5 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 “Fiction,” connecting these edition facts with the source record’s subject description.

A detective novel where the discovery of Sampson Tracy's body, adorned with a flower wreath, orange, crucifix, and red feather duster, sets off a chain of clues and discussions among amateur sleuths, focusing on the unusual arrangement and a hammer-and-nail murder.
Share
Editorial Edition Score 4.7/5

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

consin in August, glad enough to get away from the city’s heat and noise and dirt.

Deep Lake, the choice of the Moores, was in Oneida County, which is designated among the Scenic Sections of Wisconsin as North Woods—Eastern.

And scenic it surely was. The last part of the train ride had shown me that, and when we were motoring from the railroad station to the Moore bungalow, I was impressed with the weird beauty all about.

It was dusk, and the tall trees looked black against the sky. Long shadows of hemlocks and poplars fell across the road, as the last glow of the sunset was fading, and the reflection in the lakes of surrounding scenery was clear, though dark and eerie-looking.

We passed several lakes before we reached the journey’s end.

“Here we are!” Moore cried at last, as we turned in at the gates of a most attractive estate.

A short road led to the front door and Lora came out to greet us.

I liked Kee Moore’s wife, though I never felt I knew her very well. She was of a reserved type and while amiable and cordial, she was not responsive and never seemed to offer or invite confidence.

But she greeted me heartily, and expressed real pleasure at having me there.

She was very good looking—a wholesome, bonny type, with an air of executive ability and absolute _savoir faire_.

Her hair was dead gold, bobbed and worn straight, I think they call it a Dutch bob. Anyway, she had a trace of Dutch effect and reminded me of that early picture of Queen Wilhelmina.

She sent me to my room to brush up but told me I needn’t change as the bungalow was run informally.

The place rejoiced in the name of “Variable Winds,” and though the Moores guyed the idea of having a name for such an unpretentious affair, they admitted it was at least appropriate.

I returned to the living room to find the group augmented by a few more people: one house guest and two or three neighbours.

Cocktails appeared and the cheery atmosphere dispelled the darksome and gloomy effects that had marked our drive from the station.

I found myself next my fellow guest, a pleasant-faced lady, who introduced herself.

“I’m Maud Merrill,” she vouchsafed. “I’m staying here, so you must learn to like me.”

“No trouble at all,” I told her, and honestly, for I liked her at once.

She was a widow, perhaps thirty or so, with white hair and deep blue eyes. I judged her hair was prematurely grayed, for her face was young and attractive.

“I’m an old schoolmate of Lora Moore’s,” she disclosed further, “and I’m up here for a fortnight. Are you staying long?”

“I’m invited indefinitely,” I returned. “I’ll stay a month, I think, if they seem to want me.”

“Oh, they will. They’ve both looked forward to your coming with real delight. And you’ll like it here. There’s no end of things to do. Fishing of course, and bathing and boating and golf and tennis and dancing and flirting—in fact, you can have just whatever sport you want.”

“Sounds rather strenuous. I had hoped for a restful time.”

“Yes, you can have that if you really want it. Let me give you a hint of the other guests. The beautiful woman is Katherine Dallas. She’s about to be married to our next-door neighbour. He isn’t here to-night. But one of his house guests is here. That tall, thin man,—he’s Harper Ames.”

I thanked her for her hints, though I wasn’t terribly interested. But it’s good to know a little about new acquaintances, and often prevents unfortunate speeches. Especially with me. For I’ve a shocking habit of saying the wrong thing and making enemies thereby.

At the table I found myself seated at my hostess’s right hand and the beautiful Mrs. Dallas on my other side.

It was a comfortable sort of party. The conversation, while not specially brilliant, was unforced and gayly bantering. Two youngsters were present, who added their flapper slang to the general fund of amusement.

These two were Posy May and Dick Hardy, and though apparently about twenty they seemed to have world-wide knowledge and world-old wisdom.

“My canoe upset this afternoon,” Posy told the company with an air of being a heroine.

“You upset it on purpose,” declared Dick.

“Didn’t, either. I turned around too quickly——”

“Yes, and if I hadn’t been on the job you’d be turning around there yet.”

The opening chapter of The Deep Lake Mystery presents a corpse arranged with deliberate strangeness: a flower wreath on the brow, a garland across the chest, an ivory crucifix in one hand, an orange in the other, and a red feather duster plume behind the head, all framed by a red chiffon scarf. The narrator, Gray, immediately connects this to ancient burial practices, hinting at a ritualistic or symbolic motive. This bizarre tableau is the central image around which the investigation revolves.

The narrative voice is conversational, with Gray addressing the reader directly and quoting Abraham Lincoln on storytelling. The structure alternates between first-person recollection and dialogue-driven scenes, as Gray, his friend Keeley Moore, and other characters debate the meaning of the clues. The excerpts show a pattern of moving from vivid description to analytical discussion, a rhythm that likely continues throughout the book.

A Staged Death Scene

The description of Sampson Tracy’s body is the most striking element in the excerpts. The items placed on and around him—flowers, an orange, a crucifix, a feather duster, crackers, and a handkerchief—are not random. The narrator explicitly compares the arrangement to Indian or Egyptian funerary customs, suggesting the killer intended a symbolic statement. The red chiffon scarf acts as a unifying frame, tying the disparate objects together. This deliberate staging raises questions: is it a message, a mockery, or a misguided act of respect? The investigation hinges on interpreting this scene.

The Role of Imagination in Detection

A recurring debate in the excerpts concerns the use of imagination versus facts. Lora insists that imagination must not be used as a basis for argument, while Keeley Moore encourages speculative theories. The characters freely propose motives and scenarios—such as the Spanish story of The Nail—without evidence. This tension between creative theorizing and hard facts drives the plot. The reader is invited to weigh each suggestion, knowing that the truth may be more mundane or more bizarre than any guess. The narrative itself acknowledges this by having Gray note that they lack enough facts to settle even basic relationships among suspects.

Movement Between Scenes of Discovery and Discussion

The excerpts show a clear structural pattern: a discovery (the body, a clue) is followed by a discussion among the amateur detectives. The opening chapter describes the corpse in detail, then shifts to Gray’s recollection of how the investigation began. Later, the group debates the significance of the nail and hammer, the motives of various suspects, and the possibility of an accomplice. This back-and-forth creates a rhythm of revelation and analysis. The setting moves from the death chamber to a room where the characters gather, suggesting that much of the action takes place in conversation rather than in active pursuit.

Recurring Objects as Clues

Several objects recur in the excerpts, each potentially significant. The nail and hammer are discussed as the murder weapon, with speculation about whether they were brought to the scene or picked up impulsively. The red feather duster, mentioned in the initial description, is later referred to as part of “the feather-duster lot” of clues. The orange and crackers appear only in the death scene but are not explained. These items form a constellation of evidence that the characters try to connect. The narrative treats them as pieces of a puzzle, but the excerpts do not reveal how they fit together, leaving the reader to wonder which will prove crucial.

Readers approaching The Deep Lake Mystery should pay close attention to the arrangement of objects on the body and to the characters’ differing methods of reasoning. The story unfolds through dialogue and deduction rather than action, so tracking each theory and its basis is essential. The excerpts suggest that the solution may lie in interpreting the killer’s symbolic language, not just in physical evidence.

The rain slid down the window as I reached the end of The Deep Lake Mystery — A Reader’s Guide, the oddness of that feather duster still lingering. Something about the amateur sleuths’ patient, circular talk reminded me of another kind of patient waiting, so I pulled down my old copy of The Chaplain of the Fleet — Context and Discussion instead of shelving it. The afternoon simply folded into that quieter story.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Take a moment to reflect on this book

Create a short personal record of your experience with this book.

Your progress 0 / 10
1

Have you finished this book?

2

What was your overall reaction to the book?

3

Would you recommend this book to another reader?

4

How demanding did the text feel?

Related eBooks