Simon — Background and Themes

(0 User reviews)   67
Clouston, J. Storer (Joseph Storer), 1870-1944 Project Gutenberg 2008 Not confirmed
Fiction; Detective and mystery stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 71,176
Reading time 310 min
Text sections 8

Before opening Simon — Background and Themes, the edition data offers a quick orientation: 71,176 words, 5 hr 10 min estimated reading time, and 8 detected text sections.

The text analysis averages about 14.0 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.

In J. Storer Clouston's 1919 mystery, a secretive traveler's economical and evasive habits are established in the opening chapter, while the Procurator Fiscal Simon Rattar's terse dialogue and guarded demeanor shape the investigative tone. The narrative shifts between the traveler's silent observations and the lawyer's cautious exchanges, with pace varying from slow, descriptive passages to brisk, dialogue-driven revelations.
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

Somebody was following, but at a little distance off, and after hesitating for an instant, he seemed to make up his mind to risk it, and turned swiftly and stealthily through the gates. A short drive of some pretentions ran between trees and then curved round towards the house, but there was no lodge or any sign of a possible watcher, and the man advanced for a few yards swiftly and confidently enough. And then he stopped abruptly. Under the shade of the trees the drive ahead was pitch dark, but footsteps and voices were certainly coming from the house. In an instant he had vanished into the belt of plantation along one side of the drive.

The footsteps and voices ceased, and then the steps began again, timidly at first and then hurriedly. The belt of shrubs and trees was just thick enough to hide a man perfectly on a moonless cloudy night like this. Yet on either side the watcher could see enough of what was beyond to note that he stood between the dark drive on one hand and a lighter space of open garden on the other, and he could even catch a glimpse of the house against the sky. Light shone brightly from the fanlight over the front door, and less distinctly from one window upstairs and through the slats of a blind in a downstairs room. For a moment he looked in that direction and then intently watched the drive.

The footsteps by this time were almost on the run. The vague forms of two women passed swiftly and he could see their faces dimly turned towards him as they hurried by. They passed through the gates and were gone, and then a minute later men's voices in the road cried out a greeting. And after that the silence fell profound.

THE PROCURATOR FISCAL

The procurator fiscal breakfasted at 8.30, punctually, and at 8.30 as usual he entered his severely upholstered dining-room and shut th door behind him. The windows looked into a spacious garden with a belt of trees leading up to the house from the gate, and this morning Mr. Rattar, who was a machine for habit, departed in one trifling particular from his invariable routine. Instead of sitting straight down to the business of breakfasting, he stood for a minute or two at the window gazing into the garden, and then he came to the table very thoughtfully.

No man in that northern county was better known or more widely respected than Mr. Simon Rattar. In person, he was a thickset man of middle height and elderly middle age, with cold steady eyes and grizzled hair. His clean shaved face was chiefly remarkable for the hardness of his tight-shut mouth, and the obstinacy of the chin beneath it. Professionally, he was lawyer to several of the larger landowners and factor on their estates, and lawyer and adviser also to many other people in various stations in life. Officially, he was procurator fiscal for the county, the setter in motion of all criminal processes, and generalissimo, so to speak, of the police; and one way and another, he had the reputation of being a very comfortably well off gentleman indeed.

As for his abilities, they were undeniably considerable, of the hard, cautious, never-caught-asleep order; and his taciturn manner and way of drinking in everything said to him while he looked at you out of his steady eyes, and then merely nodded and gave a significant little grunt at the end, added immensely to his reputation for profound wisdom. People were able to quote few definite opinions uttered by "Silent Simon," but any that could be quoted were shrewdness itself.

He was a bachelor, and indeed, it was difficult for the most fanciful to imagine Silent Simon married. Even in his youth he had not been attracted by the other sex, and his own qualities certainly did not attract them. Not that there was a word to be said seriously against him. Hard and shrewd though he was, his respectability was extreme and his observance of the conventions scrupulous to a fault. He was an elder of the Kirk, a non-smoker, an abstemious drinker (to be an out and out teetotaler would have been a little too remarkable in those regions for a man of Mr. Rattar's conventional tastes), and indeed in all respects he trod that sober path that leads to a semi-public funeral and a vast block of granite in the parish kirkyard.

The novel opens with a detailed portrait of a solitary passenger who changes compartments to avoid company and slips through ticket inspections with practiced ease. This economical, secretive figure sets a pattern of evasion that resonates through the story. The prose lingers on the desolate northern landscape seen from the train window, establishing a mood of isolation and watchfulness.

When the narrative shifts to the Procurator Fiscal, Simon Rattar, the voice becomes clipped and guarded. His responses are reduced to grunts and nods, and his dialogue is minimal. The contrast between the passenger's silent movements and the lawyer's verbal restraint creates a dual rhythm: one of physical stealth, the other of verbal economy.

A Voice of Few Words

Simon Rattar's speech is notably sparse. In the excerpted conversation with Mr. Carrington, his replies are limited to phrases like "Indeed?" and "Quite so; quite so." The narrator observes that his grunts and nods had seldom formed a greater proportion of his conversation. This verbal economy is not merely a character trait but a narrative device: it forces other characters to fill the silence, revealing their own intentions and suspicions. The reader, like Carrington, must interpret Simon's minimal cues—a flash of interest in his eye, a slight relaxation of his features. The text thus builds tension through what is left unsaid, making every small gesture significant.

Shifts in Narrative Pace

The story alternates between slow, atmospheric description and brisk, dialogue-driven exposition. The opening chapter moves at a deliberate pace, detailing the passenger's movements and the changing light over the moors. In contrast, the conversation between Carrington and Rattar accelerates, with Carrington delivering a rapid summary of his investigation. The narrator notes that Carrington seemed to have a singularly short memory, a comment that hints at deliberate omission or deception. This shift in tempo mirrors the investigative process: periods of patient observation punctuated by bursts of revelation. The reader must adjust to these changes, much like the characters adapt to new information.

Setting as a Character

The northern landscape is more than backdrop. The train journey through desolate brown hills and a winding lonely river under an autumnal sky establishes a mood of isolation and secrecy. Keldale House, glimpsed from the road, is described as a large mansion standing among trees—a vague but ominous image. The setting reinforces the theme of hidden knowledge: the moors conceal, the house stands apart, and the train compartments provide temporary refuge. Even the Kings Arms hotel is a site of gossip, where information is collected but unreliable. The physical environment mirrors the narrative's concern with what is seen and unseen, known and suspected.

Readers should attend to the interplay between what characters say and what they withhold. Simon's reticence is not mere taciturnity but a strategic silence that shapes the investigation. The landscape, too, rewards close attention: its emptiness and isolation are not incidental but integral to the story's atmosphere of suspicion. Approach the text as a puzzle of gestures, pauses, and landscape details, where meaning emerges from the gaps as much as from the words.

You know how some books stay with you less for the plot than for the quiet spaces between words? Simon left that imprint—the way silence itself becomes a character. I found myself thinking of Barbarians afterward, how that one also lingers in pauses and unspoken weights. Something about guarded men and careful glances seems to follow me home. Barbarians — Background and Themes feels like the same kind of company.

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

What did you think of this book?

Answer a few questions and save a private reflection on this device.

Your progress 0 / 10
1

Which reading stage best describes you?

2

Was reading this book enjoyable?

3

Would you recommend this book to another reader?

4

How easy was the book to follow?

Related eBooks