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Missing men
- Language
- EN
- Format
- EPUB
- Size
- 368 KB
Description
This is a detective short story written in the early 20th century, composed with a narrative focus on the investigation conducted by a character named Lavender. The work is structured as a concise mystery, following the sleuth’s methodical examination of a series of disappearances in Chicago. The story involves real-world settings connected to the theatre and stage performers, incorporating clues such as traces of greasepaint, a safe, and references to an actress, Sidney Kane. The narrative reveals connections between the missing individuals, including a comedian and a picture broker, suggesting identity exchanges and concealed motives rooted in family secrets and theatrical aliases.
Set within the context of American literature of the period, the story exemplifies detective fiction’s emphasis on logical deduction and observational detail. The plot hinges on the interpretation of physical clues and subtle hints, ultimately leading Lavender to uncover the intertwined identities and motives behind the vanishings. It exemplifies early 20th-century detective stories grounded in urban settings and character-driven mysteries.
Set within the context of American literature of the period, the story exemplifies detective fiction’s emphasis on logical deduction and observational detail. The plot hinges on the interpretation of physical clues and subtle hints, ultimately leading Lavender to uncover the intertwined identities and motives behind the vanishings. It exemplifies early 20th-century detective stories grounded in urban settings and character-driven mysteries.
From the opening pages
My friend Lavender dwelt up four flights of steps, a wearisome climb unless one were in training. Only the little landings at the end of every flight kept me from perishing of thirst and fatigue on more than one ascent. So at least I told Lavender. The journey offered no difficulties to that agile young man himself. The trouble with me was that I inclined toward—well, stoutness. “The rooms are comfortable,” he would reply to my protests, “the windows afford an excellent view of an interesting corner of town, and the stairs are at once a protection and a blessing. The exercise I get in going up and down is distinctly beneficial, while four flights are sufficiently formidable to daunt bores and any but very determined clients and friends. Thus my practice is kept within reasonable bounds, my bank account is not the envy of the criminal class, and my circle of intimates does not overflow the social space at my disposal. Besides, the rooms are cheap.” The really important thing about Lavender’s rooms was their convenience to transportation. Overlooking a minor business section, not too far from the Chicago Loop to be remote, the windows fronted north and west and beneath them to the north actually lay an elevated railroad station. And Morley of the Central Detail, who patronized the “L,” never found the place too far nor the steps too numerous. He was a clever young detective sergeant of the regular force, who occasionally visited Lavender—clever chiefly in that he had sense enough to come to Lavender when he was in difficulties. One morning he came up the steps in an unusually bad humor, and that is part of the story I have to tell. I had spent the night with Lavender and we had just finished breakfast, sent up by the restaurateur on the corner, when we heard Morley’s footsteps and shortly beheld his morose countenance. He gave me a patronizing nod and shook hands warmly with Lavender. We listened to his tale of woe. It seemed this time that one Peter Vanderdonck, a picture broker of some importance, had disappeared and that Morley was at his wit’s end. “Usually,” said he, “there’s some sort of a clue, but in this case there isn’t any thing that resembles one. I can’t get started without a clue of some kind,” he grumbled with pathetic profanity.
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