The Secret Victory — Key Ideas to Explore

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McKenna, Stephen, 1888-1967 Project Gutenberg 2015 Not confirmed
Man-woman relationships -- Fiction; World War, 1914-1918 -- England -- Fiction; England -- Social life and customs -- 20th century -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 100,605
Reading time 438 min
Text sections 15

This digital edition of The Secret Victory — Key Ideas to Explore is described by source-level measurements including 100,605 words, 7 hr 18 min estimated reading time, and 15 detected text sections.

The text analysis averages about 16.3 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 “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.

McKenna's novel scrutinizes London social maneuvering during World War I, using the 'Pinto parties' as a microcosm of obligation and artifice. The narrative moves between drawing-room performances and the pressures of wartime, exposing the gap between public pose and private reality.
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Editorial Edition Score 4.8/5

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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

g for a fantastic miracle to happen, hoping to see Barbara, breathless and dusty from the train, coming into his hotel. The London telegram killed his faith in romance.

And the excited column of small type killed his faith in women, for Barbara had apparently walked into the street and married the first man that she saw....

“Who’s this Oakleigh?,” asked his host, squeezing the last drop of relish out of the story. “I’ve never heard of him.”

“He’s a very nice fellow,” Eric found himself answering. Oakleigh henceforth was to have the stolen intoxication of glorying in Barbara when she was well and comforting her when she was ill, of seeing her great eyes change from mockery to tenderness and from tenderness to ecstasy; but Oakleigh could never have from her those fifteen fevered months when their hearts had beaten together... “I’ve known him ever since I was at Oxford. He used to be in the House; and then he ran a paper... He has a place in Ireland—”

“What they call ‘a suitable alliance’?,” suggested his host.

“It’s rather a disappointing finish to her career...”

The gossiping discussion rambled on, introducing name after name of the men whom Lady Barbara had been expected to marry. Eric waited for his own and, when it was not cited, relapsed into reverie. He had received a letter that morning from his sister, telling him that she was engaged and asking whether he would be home in time for the wedding. If he had ever doubted, there was now no question of returning to England; he was too well known to be left in peace. The Oakleighs and Neaves, the Knightriders and Lorings, the Pentyres and Carstairs, the Maitlands and Poynters all moved in the same little set of three or four hundred people. Fifteen years before he had dreamed at Oxford of the day when he would burst upon their startled world and hold it captive; the dream had sustained him through the mortification of neglect and the despair of ill-health until of a sudden the reality threw his dream into shadow. In London, in Boston, in Tokio he was recognized in the street; to escape the fulfilment of his own prayers he had to travel by unfamiliar lines and hide himself in unknown hotels; for ultimate and enduring sanctuary he must retire to a land untouched by books and theatres.

After three months’ desultory wandering he returned to Tokio and booked a passage to China. Already his health was improving; and, if he could lose all touch with English ways of thought, he might begin to lose touch with himself, to shed his personality, almost to change his identity; upcountry it must be possible to find a civilization and scenery so strange that it would absorb him. As he left his hotel for the shipping office, he was handed a cable from his American agent:

“_Following from Lane Lashmar Hampshire England for you care of me despatched fourteenth your father seriously ill think you should return as soon as possible._”

Eric studied the time of despatch and retransmission with stupid deliberation, giving himself time to recover from the shock. This meant, of course, that his father was dying, was perhaps already dead; and it was his duty to be shocked. Lashmar on the fourteenth, New York on the sixteenth, Tokio on the eighteenth;—the war had made cabling a slow business... He was a selfish brute not to have told his mother where he was going instead of leaving her to track him through his American agent and, before that, through his London agent. His father had never been ill since he was a child, but he had overworked for years; this probably meant a stroke....

Eric discovered that he was quite dispassionate; perhaps he was too much numbed to feel. He must of course return immediately; if anything happened, the eldest son must be at hand. Once in England, he must let the future take care of itself.

Three weeks later he landed at San Francisco and arrived in New York two days before the armistice was signed. “Mother’s Son” was still running at the Grafton; he was met unexpectedly at the station, and, before the day was out, two reporters had called at the Majestic and sought an interview. He tried to dine by himself and was instantly caught up by a group of friends who set about organizing a banquet in his honour. A private party of twelve swept within twenty-four hours far beyond the organizer’s control. Half New York had been to one or other of the plays; scores of people had already met him, hundreds more wanted to meet him.

The opening of The Secret Victory immerses the reader in a tightly choreographed social world where invitations are obligations and every dinner party carries unspoken debts. McKenna’s prose lingers on the mechanics of reputation: a Brazilian couple, the Pintos, are passed from hostess to hostess like a currency of favor. The narrative voice is sharp, almost anthropological, as it tracks the ‘saga’ of their progress through London’s drawing rooms. This is not a backdrop but the novel’s primary engine—a system of mirrored surfaces where characters perform for one another, their conversations a blend of gossip and calculation.

The Architecture of Social Obligation

The excerpt reveals a society governed by unwritten rules of reciprocity. Lady Poynter telephones six friends in ‘twice six minutes’ to secure attendance at a Pinto dinner; the formula is ‘incorporated in the code of social honour.’ McKenna renders this network with clinical precision, showing how a man would ‘more readily have malingered on the eve of an attack than failed to succour a friend who was struck down by a Pinto invitation.’ The language of warfare—‘attack,’ ‘succour’—transforms social duty into a kind of combat. This structural metaphor recurs: the novel’s movement between scenes often hinges on such obligations, with characters navigating a landscape of debts and expectations as tangible as any battlefield.

Gossip as Narrative Engine

Dialogue in the excerpt functions less as revelation of character than as a performance of knowledge. Gerry Deganway’s anecdote about the Pintos—the railway contract, the bridges, the escape—is delivered with a ‘thin’ laugh, its accuracy secondary to its entertainment value. Carstairs counters with his own scheme to lease Herrig. The conversation is a contest of one-upmanship, each speaker adding to the ‘saga.’ McKenna’s ear for this rhythm is precise: the interruptions, the qualifying phrases (‘Now, let me see, what did I hear?’), the way a story is shaped for maximum effect. These exchanges do not advance plot so much as they build the texture of a world where truth is negotiable and reputation is currency.

Movement Between Public and Private Spaces

The excerpt shifts from the hotel’s public rooms to the intimacy of a handshake and a sharp question. Lady John Carstairs’s query—‘Do all English people make fun of a woman before eating her food?’—punctures the performance, offering a moment of directness. Eric’s reply (‘Only the better-bred’) deflects with irony, but the exchange signals a recurring pattern: the novel moves between crowded scenes of social display and quieter moments where characters step aside to speak more candidly. McKenna uses these transitions to expose the gap between public pose and private feeling, a structure that mirrors the trilogy’s larger arc from artifice to reality.

The Weight of the Unspoken

Beneath the glitter of the dinner-party preparations, the excerpt carries a current of tension. The Pintos are a ‘threat’ for three weeks; Deganway’s petulance hints at exhaustion; Carstairs’s mother wants to ‘stick him with Herrig on a long lease.’ These details accumulate without explicit commentary, creating a sense of pressure. McKenna’s method is indirect: he lets the reader infer the strain behind the polished surfaces. The novel’s structure—its movement from one social scene to another—depends on this accumulation of unspoken burdens. The reader is invited to watch for what characters do not say, for the moments when the mask of civility slips.

Readers attentive to McKenna’s structural choices will find a novel that rewards close attention to its transitions—the shift from a crowded room to a private exchange, from gossip to silence. The excerpts offer only a fragment, but they suggest a work where social performance is both the subject and the method. Approach The Secret Victory as a study in surfaces, and watch for the cracks.

That rainy afternoon, the drawling voices of the Pinto parties felt stifling, each guest a carefully wound clock. McKenna showed me their perfect bows, hiding broken springs. I closed the book and reached, almost by accident, for something quieter. It sent me to An English Squire — Inside the Classic, which smells of damp earth and honest duty. Different world, same unspoken weight.

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