Double Identity — Edition Insights
Edition facts
The source record for Double Identity — Edition Insights measures this digital text at 19,145 words, 1 hr 24 min estimated reading time, and 2 detected text sections.
The text analysis averages about 11.8 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 “Authorship -- Fiction,” 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
That was the end. Or rather the beginning--the beginning of Fleetwood's strange new emotional pattern.
At any rate he felt better having at least established the point of departure, even if it didn't make the riddle of his growing metamorphosis one whit clearer. He boosted himself away from the drinking fountain and continued along the hallway with the eerie feeling that he was moving toward some prearranged meeting with Destiny.
He was still a soul adrift, so to speak, when he pushed his way out of the Grande and stood pondering in the afternoon sun. The sidewalk, the street, the traffic, the confused and crowded skyline--all of these things, in turn, presented new problems of identification and orientation, as though he was seeing them all for the first time and didn't know quite what to make of them. And yet.... And yet--what? It was as though his mind had made another sudden turning and again brought him up against the blank wall. The past, even the immediate past that included the events in the Grande Apartments, slipped away from him and were lost. When he tried to think back there were only words in his mind in place of faces, places, events--words like caper, rod, dame, murder. They brought with them no mental association with anything real or experienced. He passed a hand slowly over his eyes. Surely he was losing his mind.
With heavy concentration he forced his attention to the row of automobiles along the curb. He had the feeling that one of them belonged to him, but he hadn't the slightest idea of which one it might be. He closed his eyes and waited. The spell would pass. The others had.
He opened his eyes and hopefully surveyed the row of cars for a second time. There was something about the blue convertible. He moved forward, thinking to check the registration slip, when a smart-looking woman in green tweed walked up to the car, got inside, glanced at him curiously and quickly started the engine. He edged back, coloring about the neck and ears.
He waited a bit longer but the lost feeling didn't leave him. If anything it only grew stronger. He turned aimlessly back toward the Grande Apartments, then started with a gasp of dismay.
The Grande Apartments were gone, and in their place was an establishment called The Handy Drug Store! Fleetwood tried to think clearly, more clearly than he ever had before. It wasn't any good; there wasn't any logical answer. Warily, he approached the store and went inside.
He by-passed the cigarette counter and the magazine racks, noted their contents curiously, and climbed aboard a stool at a long counter. At least it was a place to sit down and rest. A girl approached from the other side of the counter and made a quick pass at the area in front of him with a paper napkin.
Fleetwood turned and looked at her, and it happened. His eyebrows shot up, his heart stood still. He felt faintly ill in a surprised, elated sort of way. Never had he dreamed that there could be such a creature. This girl, this ... this fragment of heaven! She couldn't possibly be real. She was so extraordinarily ordinary!
"What would you like?" the girl said, and Fleetwood tingled anew just at the sound of her voice; its tone was so enchantingly flat and nasal. Never had he dreamed that it was possible for any woman to speak with so little innuendo. He was shaken to the very core. He realized that because of this girl something very important was happening to him, but he couldn't quite put his finger on it. The mystery of the disappearing Grande Apartments faded from his mind.
"I beg your pardon?" he murmured in an effort to induce the girl to speak again.
"I said, what do you want?" the girl repeated, and her grey-brown eyes looked into his unconcernedly.
It was too good to be true! Here she was, this extraordinary female person, apparently eager, even impatient, to fulfill his slightest wish, just for the naming. Fleetwood took a firm grip on the edge of the counter. If this was a dream he didn't want to interrupt it by being too rash. His eyes dwelt on her hair, tabulating the exact measure of its fascinating dullness.
"Bourbon and water?" he said cautiously. "Double?" He couldn't remember exactly what it meant, but it seemed a likely entry.
"Huh?" the girl said. "What was that?"
When a fictional detective punches a villain and then argues with his own author about finishing a story, the reader is thrust into a meta-narrative that questions who really holds the pen. In Double Identity, Grant Dermitt's hero Fleetwood Cassidy has developed a will of his own—literally. The opening excerpt shows Cassidy in classic hardboiled action: he floors a man named Mario, retrieves stolen jewels, and trades barbs with a blonde. But the story quickly pivots to a tense negotiation between creator and creation, where Cassidy refuses to return to the page, citing exhaustion and a newfound girlfriend. The excerpts reveal a deliberate contrast between the pulpy adventure Dermitt wants to write and the mundane details Cassidy insists on, such as his love interest Kitty's "mud colored" eyes and "narrow as a string" mouth.
Hardboiled Conventions and Their Subversion
The excerpts open with a textbook hardboiled scene: a detective named Fleetwood Cassidy punches a fat gangster, retrieves stolen jewels, and trades snappy dialogue with a femme fatale. The language is deliberately tough—"larded slobs," "rod Blanchard," "cooled him"—and the blonde's offer of partnership is couched in the era's pulp idiom: "the music we'd make together wouldn't exactly be Brahms. But it wouldn't be Guy Lombardo, either." Yet this familiar setup is undercut when the narrative shifts to Dermitt's study. Cassidy's creator is a bespectacled, cherubic figure who pleads with his character to finish one last story. The hardboiled tropes are revealed as manufactured, and Cassidy's rebellion against them—his refusal to be a cliché—becomes the real conflict.
The Author-Character Power Struggle
The core tension in Double Identity is the battle for control between Grant Dermitt and Fleetwood Cassidy. Dermitt tries to assert his authority: "I'll put you on paper, and you'll have to stay there until I'm done with you." But Cassidy counters with a threat of sabotage: "If you shove me back into that story you're going to have more trouble than you ever dreamed of." The negotiation includes a proposed salary—"so much an hour—retroactive"—and a promise from Dermitt to retire the character. This power dynamic is reinforced by the physical description: Dermitt is small and bespectacled, while Cassidy is the action hero. Yet Cassidy's weariness—"I'm tired, Dermitt. If I have to mix it up with any more gunmen or double-dealing dames I'll have a nervous breakdown"—suggests the character has absorbed the toll of his own adventures.
Subverting the Romantic Ideal
When Dermitt learns Cassidy has met a girl, he immediately assumes she fits the pulp heroine mold: "Limpid eyes, full of subtle invitation? Green flecked with gold?" Cassidy's responses systematically dismantle each expectation. Kitty's eyes are "mud colored. Flecked with sand." Her mouth is "narrow as a string" and "hard and cool." Her hair is "lusterless" and "brownish." Her figure is "definitely so-so." Dermitt's incredulous reactions—"Are you sure she's any kind of girl at all?"—highlight the gap between authorial fantasy and character reality. Cassidy's insistence on Kitty's ordinariness as "absolutely tremendous" suggests a rejection of the formulaic romance that typically drives pulp fiction. This subversion extends to the narrative itself: the story that Dermitt wants to finish, The Kippered Caper, is described only in passing, its title a joke on the genre's conventions.
Readers approaching Double Identity should attend to the way the excerpts frame the conflict not as a simple adventure but as a negotiation between two wills. The hardboiled dialogue and action are present, but they serve as a backdrop to the meta-fictional struggle. Pay attention to how Cassidy's descriptions of Kitty deliberately invert Dermitt's expectations—this pattern of subversion may extend to other elements of the story. The excerpts leave unresolved whether Cassidy will escape or be forced back to the typewriter, so the reader must watch for how the balance of power shifts in the full text.
I remember the ache of wanting a character to just be, apart from me. That pulpy revolt in Double Identity felt like my own fingers mid-keystroke, hesitating. Then I found The Woman of Knockaloe: A Parable — Themes and Context, where a quiet voice whispers through its own peculiar chains. Both left it lingering: the strange, tender loneliness of a story that needs a shape it keeps outgrowing.
Carter Scott
1 month agoAria Adams
3 weeks ago-
Katie May - 1 month ago
The plot is overly convoluted and confusing, with too many twists that undermine the story's credibility. The characters are underdeveloped, and the writing is mediocre. The title's promise isn't fulfilled, leaving a disappointing experience. -
Kevin Eric Ramirez - 3 weeks ago
Double Identity delivers a clever plot with unexpected twists that keep you guessing. The theme of identity is explored with intrigue and wit, and the characters are multilayered. The writing is sharp, and the pacing is perfect. A thoroughly satisfying mystery. -
Michael Nolan - 2 weeks ago
An enjoyable thriller with a unique premise and some surprising reveals. The characters are interesting, but the secondary plotlines feel rushed. The ending, while satisfying, could have been more developed. A solid read for mystery fans.
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Wyatt Campbell
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