Cleek: the Man of the Forty Faces — Reading Companion
Edition facts
The catalog record for Cleek: the Man of the Forty Faces — Reading Companion provides practical reading context through 116,425 words, 8 hr 27 min estimated reading time, and 10 detected text sections.
The text analysis averages about 18.7 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 “Detective and mystery stories,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
he looked round, but she could see nothing and nobody. The Heath was a white waste that might have been part of the scenery in Lapland for all there was to tell that it lay within reach of the heart and pulse of the sluggish leviathan London. Over it the vapours of night crowded, an almost palpable wall of thick, wet mist, stirred now and again by some atmospheric movement which could scarcely be called a wind, although, at times, it drew long, lacey filaments above the level of the denser mass of fog and melted away with them into the calm, still upper air.
Miss Lorne hesitated between two very natural impulses--to gather up her skirts and run, or to stand her ground and demand an explanation from the person who was undoubtedly following her. She chose the latter.
"Who is there? Why are you following me? What do you want?" she flung out, keeping her voice as steady as the hard, sharp hammering of her heart would permit.
The question was answered at once--rather startlingly, since the footsteps which caused her alarm, had all the while proceeded from behind, and slightly to the left of her. Now there came a hurried rush and scramble on the right; there was the sound of a match being scratched, a blob of light in the grey of the mist, and she saw standing in front of her, a ragged, weedy, red-headed youth, with the blazing match in his scooped hands.
He was thin to the point of ghastliness. Hunger was in his pinched face, his high cheekbones, his gouged jaws; staring like a starved wolf, through the unnatural brightness of his pale eyes, from every gaunt feature of him.
"'Ullo!" he said with a strong Cockney accent, as he came up out of the fog, and the flare of the match gave him a full view of her, standing there with her lips shut hard, and, the hand-bag clutched up close to her with both hands. "You wot called, was it? Wot price me for arnswerin' of you, eh?"
"Yes, it was I that called," she replied, making a brave front of it. "But I do not think it was you that I called to. Keep away, please. Don't come any nearer. What do you want?" "Well, I'll take that blessed 'and-bag to go on with; and if there aren't no money in it--tumble it out--let's see--lively now! I'll feed for the rest of this week--Gawd, yuss!"
She made no reply, no attempt to obey him, no movement of any sort. Fear had absolutely stricken every atom of strength from her. She could do nothing but look at him with big, frightened eyes, and shake.
"Look 'ere, aren't you a-goin' to do it quiet, or are you a-goin' to mike me tike the blessed thing from you?" he asked.
"I'll do it if you put me to it--my hat! yuss! It aren't my gime--I'm wot you might call a hammer-chewer at it, but when there's summink inside you, wot tears and tears and tears, any gime's worth tryin' that pulls out the claws of it."
She did not move even yet. He flung the spent match from him, and made a sharp step toward her, and he had just reached out his hand to lay hold of her, when another hand--strong, sinewy, hard-shutting as an iron clamp--reached out from the mist, and laid hold of him; plucking him by the neckband and intruding a bunch of knuckles and shut fingers between that and his up-slanted chin.
"Now, then, drop that little game at once, you young monkey!" struck in the sharp staccato of a semi-excited voice. "Interfering with young ladies, eh? Let's have a look at you. Don't be afraid, Miss Lorne--nobody's going to hurt you."
Then a pocket torch spat out a sudden ray of light; and by it both the half-throttled boy and the wholly frightened girl could see the man who had thus intruded himself upon their notice.
"Oh, it is you--it is you again, Mr. Cleek?" said Ailsa with something between a laugh and a sigh of relief as she recognized him.
"Yes, it is I. I have been behind you ever since you left the house in Bardon Road. It was rash of you to cross the heath at this time and in this weather. I rather fancied that something of this kind would be likely to happen, and so took the liberty of following you."
"Then it was you I heard behind me?"
"It was I--yes. I shouldn't have intruded myself upon your notice if you hadn't called out. A moment, please. Let's have a look at this young highwayman, who so freely advertises himself as an amateur."
The first pages of Cleek: the Man of the Forty Faces introduce a detective whose methods are as theatrical as his alias. A constable on point duty at Blackfriars Bridge is distracted by a Frenchwoman's charm—her 'almond eyes' and 'big Parisian hat'—while a suspect bolts past. The woman's accent, rendered as 'mos' wonnerful, you Anglais poliss,' signals a performance, not a coincidence. Hanshew builds tension through sensory detail: the 'thin, shrill piping' of a police whistle cuts through traffic noise, and the fleeing man in a 'grey frock-coat and a shining topper' is glimpsed through a break in vehicles. This opening establishes Cleek's world as one where appearance is weapon and witness alike.
The Lion's Smile: A Case in Misdirection
In a later excerpt, Cleek explains how a circus lion's fatal snap was no accident but a calculated murder. The beast's 'smile' was actually a sneeze, triggered by snuff sifted onto the victim's hair. Hanshew presents this as a puzzle of misdirection: the nephew never approached the lion, yet orchestrated its reaction. Cleek's reasoning—'the very simplicity of the plan was its passport to success'—echoes the opening's theme of deceptive surfaces. The solution hinges on a detail invisible to onlookers, much like the Frenchwoman's act hid a fugitive's escape. This pattern recurs: Hanshew trains readers to question what is seen, from a constable's distraction to a lion's grimace.
Voice and Vulnerability: Cleek's Interior Turn
After solving the circus case, Cleek walks home 'afoot,' struck by envy of the young couple's happiness. The narrative shifts to his interior: 'the old feeling of savage resentment… bit at the soul of him.' This moment of self-pity is rare in detective fiction of the era, which often keeps the sleuth opaque. Hanshew uses it to humanize Cleek, linking his brilliance to a 'stone-cold silence' and a longing for reward. The antidote he chooses—promising his companion Dollops a holiday for every hour lost—shows a softer side. These passages contrast with the earlier, flamboyant deduction, suggesting that Cleek's many faces include a private one, glimpsed only in solitude.
Theatricality in Dialogue and Description
Hanshew's prose leans into performance. The Frenchwoman's dialogue—'Sair, I have to give you much gratitude'—is a deliberate caricature, signaling her role as decoy. Similarly, Cleek's farewell to Scarmelli—'send me a slice of the wedding cake'—is a stage exit, complete with a moralizing nod to Burns. The author uses dialect and gesture as clues: the constable's 'tingling' at her touch, the 'shyly drooped head.' Even the setting—'Dead Man's Corner'—carries a theatrical name. This style suits a detective who is himself a performer, shifting identities as easily as his 'forty faces.' Readers attuned to these flourishes will find the text rewards attention to how things are said, not just what is said.
Hanshew's novel rewards readers who enjoy piecing together clues from behavior and speech as much as from physical evidence. The excerpts show a detective story that values atmosphere and character as much as plot mechanics. Pay attention to moments when characters perform—whether a French accent or a lion's sneeze—for these are where the truth hides in plain sight.
There’s something tender about watching a detective hide in plain sight, swapping faces like borrowed coats. That same quiet marvel stayed with me after reading Tom Swift and His Photo Telephone or the Picture That Saved a Fortune — A Closer Reading—not the gadgetry, but how a single captured image can hold a person’s whole story, waiting to be noticed. It lingered like a half-remembered smile.
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