Diana of Kara-Kara — Text and Context

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Wallace, Edgar, 1875-1932 Project Gutenberg 2021 Not confirmed
Orphans -- Fiction; Detective and mystery stories; Girls -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 61,884
Reading time 270 min
Text sections 8

For Diana of Kara-Kara — Text and Context, the stored edition analysis reports 61,884 words, 4 hr 30 min estimated reading time, and 8 detected text sections.

The text analysis averages about 10.8 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 “Orphans -- Fiction,” connecting these edition facts with the source record’s subject description.

Edgar Wallace's 1924 novel opens with a lawyer's sentimental attachment to orphans, introducing Diana as an orphan with a bank balance. The excerpts show her managing a household, dealing with a suspicious window cleaner, and securing a safe, blending detective elements with domestic comedy.
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Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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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.

Edition quality

Read the Text

re Mr. Collings’ weakness.

In ordinary intercourse as between lawyer and client, he was a stern, reserved man with a cold passion for compromise. Litigants entered his office charged with bubbling joy that their enemies had delivered themselves into their hands; they came talking five figure damages and the stark ruin of men and corporations who and which had offended them. They slunk out again into the glare of an Australian sun, their cases demolished, their spirits broken, their futures clouded. Mr. Collings did not believe in litigation. He believed that things could be arranged.

If it was possible for a murdered man to walk into Mr. Collings’ office and say: “I’ve got an excellent case against Binks: he has just shot me dead. Do you think I can get damages?” Mr. Collings would reply: “I very much doubt it. There is a great deal to be said for Binks. And aren’t you in rather an awkward position yourself? You are carrying about a bullet which undoubtedly is the property of Binks. You never know what point of view a jury will take. You had better let me try to settle this.”

But in the matter of orphans Mr. Collings was slightly unbalanced. He was strictly brought up by parents who compelled him to read books on Sunday that were entirely devoted to orphans and good organ-grinders and little girls who quoted extensively from precious books and died surrounded by weeping negroes. In such literature the villains of the piece were young scoundrels who surreptitiously threw away their crusts and only ate the crumbly part of bread; desperadoes who kicked dogs and threw large flies into spiders’ webs and watched the spider at his fell work with glee.

“She is an orphan,” said Mr. Collings again, and blew his nose loudly.

“She has been an orphan for ten years,” said Mr. William Cathcart cynically.

Mr. Collings was stout, bald, given to afternoon naps; Mr. Cathcart was thin, narrow-faced, not so bald, and never slept at all, so far as anybody knew. He hated orphans. They stood for questions of _cestui que use_, problems of _cy-pres_, perplexities of _donatio mortis causa_ and the Guardianship of Infants Act. He never saw an orphan without his hand going instinctively to his hip pocket.

“And the most irregular orphan I have ever met,” continued Mr. William Cathcart remorselessly. “An infant in law with a bank balance of a hundred thousand! I refuse to drop a tear--positively!”

Mr. Collings wiped his eyes.

“She _is_ an orphan,” he insisted. “Mrs. Tetherby gave her the money during her lifetime: there is nothing irregular in that. If I gave an--an orphan”--he swallowed hard--“a penny, a pound--a thousand--is that a breach of the law, an impropriety, even though it is practised _de die in diem_?”

Mr. Cathcart considered.

“You might in certain circumstances be acting _de sont tort_,” he said.

Mr. Collings pondered this; found the term almost inapplicable, but not so much so that he could be offensive in a gentlemanly way. Wisely he returned to lamb.

“Mrs. Tetherby was inert. Stout women are often inert----”

“Lazy,” suggested the dyspeptic Cathcart.

“She was fond of Diana. Few aunts are fond of nieces. Her will proves that. She left everything----”

“There was nothing to leave,” interrupted Mr. William Cathcart with sour satisfaction. How that man hated orphans! “There was nothing to leave because in her lifetime she gave Diana full control of her money.”

“She was inert,” murmured Mr. Collings. “She loved this orphan child----”

“If there was one woman in the world who ought never to have been allowed----”

“Never ought have been,” corrected Mr. Collings gently.

“--to have charge of a girl of Diana Ford’s temperament, it is or was Mrs. Tetherby. A child of sixteen who has a raging love affair with a student----”

“A theological student,” insisted Mr. Collings. “Don’t forget that. A young woman may well feel that she could give her heart to a theological student when a medical student would have revolted all that was most sensitive in her nature.”

“A theological student makes it worse.”

“At least Mrs. Tetherby consulted us on that matter.” Mr. Collings was a shade reproachful. “Inert or energetic, she consulted us.”

“She consulted us to discover whether she would be liable to trial for murder if she waylaid and shot Mr. Dempsi. She said that she had set a dog on to him, but he was incapable of taking a hint. Those were her words.”

Edgar Wallace's Diana of Kara-Kara opens with a lawyer, Mr. Collings, who is emotionally unbalanced by orphans, a trait derived from his strict Sunday reading of orphan-centric literature. His partner, Mr. Cathcart, cynically describes Diana as "the most irregular orphan I have ever met," an infant with a bank balance. This contrast between sentiment and practicality sets the tone for a story that mixes detective work with domestic management.

The excerpts reveal Diana as a capable young woman who handles tradesmen, answers doors, and even secures a safe against potential thieves. Her dialogue includes a momentary lapse into dialect—"thoity" for thirty—which surprises another character. The narrative voice is brisk, with Wallace's characteristic wit and a focus on practical details.

A Lawyer's Sentimental Weakness

The description of Collings' upbringing—forced to read books about orphans and good organ-grinders—provides a satirical backdrop. Wallace's prose is precise: Collings blows his nose loudly when repeating "She is an orphan." This detail, along with the partners' physical descriptions (stout and bald vs. thin and narrow-faced), gives the opening a vivid, character-driven energy.

Diana's Household Management

The window cleaner, Stark, provides a moment of tension. He arrives unshaven, with his head askew, and examines the lock of the door. Diana recalls that Heloise had complained about him "nosing round The Study." When she returns with money, he asks about Mr. Selsbury and Mr. Trenter, but declines to see other men in the house. This encounter hints at potential threats, but Diana remains composed, closing the door on him.

The Arrival of Julius Superbus

The scene shifts quickly, with Diana feeling "unaccountably fagged" from the demands on her nervous energy. The narrative intercuts her domestic duties with the arrival of Superbus, creating a sense of accumulating pressures. The safe, now secured with the key, becomes a focal point: "those unaware of her obligations to Mr. Dempsi might imagine there was more" money inside. This line suggests that Diana is managing finances under some obligation, adding a layer of intrigue.

Voice and Structure in the Excerpts

The structure moves from the legal office to Diana's household, then to the arrival of Superbus. Each excerpt advances a different aspect: character introduction, domestic management, and a new character. The window cleaner scene builds suspense through small observations—his examination of the lock, his questions about the men in the house. The narrative does not explain his motives, leaving the reader to infer. This technique, combined with the brisk pacing, suggests a story that balances mystery with everyday complications.

The excerpts from Diana of Kara-Kara present a young woman who is both an orphan and a capable manager, navigating legal quirks, household chaos, and potential threats. Wallace's style is economical, using precise details and ironic humor. Readers should pay attention to the interplay between sentiment and practicality, as well as the small clues—like the key in an envelope—that may become significant. The story appears to blend detective elements with domestic comedy, offering a distinctive entry in Wallace's oeuvre.

There’s something tender about how that old lawyer keeps bank ledgers for orphans, like love translated into arithmetic. Diana’s safe feels less like a plot point than a quiet plea for order. That same ache for structure under chaos lingers in No More Parades, though there the walls are sturdier and the cracks deeper.No More Parades: A novel — Context and Discussion brings back that feeling of holding one’s breath over small comforts.

Evelyn Rodriguez
1 month ago

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