Toying with fate; or, Nick Carter's narrow shave — Reading Companion

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Carter, Nicholas (House name) Project Gutenberg 2022 Not confirmed
New York (N.Y.) -- Fiction; Detective and mystery stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 75,640
Reading time 329 min
Text sections 45

Toying with fate; or, Nick Carter's narrow shave — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 75,640 words, 5 hr 29 min estimated reading time, and 45 detected text sections.

The text analysis averages about 11.3 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 “New York (N.Y.) -- Fiction,” connecting these edition facts with the source record’s subject description.

A 1903 Nick Carter detective story where the detective recruits a reformed crook, Jack Redmond, to infiltrate a target, only for Redmond to face a violent threat. The catalog subjects 'New York (N.Y.) -- Fiction' and 'Detective and mystery stories' are only partially supported by excerpts, which focus on a tense negotiation and a murder attempt in an unspecified setting.
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Editorial Edition Score 4.8/5

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  • 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.

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Read the Text

THE MYSTERIOUS OLD MAN.

“Move on, old man, and go home!”

It was the stern voice of one of New York’s finest policemen that uttered these words.

“Home! I wonder where it is?” muttered the old man to whom the policeman had spoken, and a shudder ran through his frame, as he slowly moved down the street.

As he reached the corner near old St. John’s Church, on Varick Street, he paused, rubbed his eyes and gazed dreamily around him.

For some time before the policeman had addressed him he had been standing inside the church, looking through the railings into the churchyard.

His form was bent by decrepitude and sorrow, and his hair was as white as the flaky snow that clung to the steeple of the old church, the bells of which had just sounded the knell of the dying year.

The old man only halted on the corner for a minute, and then, crossing Beach Street, he shuffled along until he reached the center of the block, where he came to a standstill in front of an old-fashioned house, which was unoccupied.

Then, as if a faintness had come over him, he grasped the rusty iron railing to prevent himself falling to the ground, and he closed his eyes, as though the sight of the snow-covered houses was too much for him.

The policeman had followed him at a distance, and was watching him from where he was standing on the corner.

“Poor devil!” muttered the guardian of the peace, as he swung his nightstick back and forth. “I wonder who he is! He seems weak! Perhaps at one time he amounted to something. God save me from ever coming to his condition. I wonder why he stands so long in front of that old empty house, which has been closed for twenty years, to my knowledge! I’ll watch him a while, but I won’t molest him, poor devil!”

As the policeman concluded his soliloquy the old man straightened up and walked up to the door of the house, the old knocker on which he caught hold of and gave it a rap.

But suddenly, as if struck by some painful recollection, his hand fell to his side and he staggered back to the middle of the sidewalk.

“Strange,” the policeman ejaculated, noting this action. “Perhaps he lived there at one time.”

The old man looked up at the house, at which he gazed long and intently.

Then, suddenly arousing himself, he ambled back to the corner, stopping near the policeman. He looked confusedly around him, from the left to the right, and the policeman gazed at him closely, but spoke not a word. On his part, he did not seem to see the man in uniform. He stood bewildered, appearing not to know which way to turn.

“Why don’t you go home, old man?” the policeman asked, this time in a softened tone of voice.

“Home!” the old fellow ejaculated--his voice was like a wail, a heartbroken sob. “Home! where is it?”

“The Lord bless you, man, how can I tell you, if you can’t tell yourself?”

“Twenty years ago--twenty years behind darkened walls--and this----” He muttered the words in such a forlorn tone that the policeman stared at him.

“Your brain is turned, old gentleman.”

The old man laughed and looked up into his questioner’s face with a quizzical expression.

“My brain is clear, my friend,” he replied, in a clear, harsh tone. “I have come from a prison--the world is strangely altered since I was in it before.”

“In it before? Why, what do you mean? I suppose you will try and persuade me that you have been dead and have risen from the grave.”

“Figuratively speaking, I have--I have been dead to the world--in prison at Sing Sing. Mark me well--Sing Sing Prison--for twenty years--to-day I was released. See me now. I am old, decrepit, hardly able to walk. Once I stood erect, my hair was as black as the raven’s wing, and now--look at me, a wreck without home or friends. Wife, children, all gone! I have never seen nor heard of them since the day I was taken out of yonder house a prisoner, by the unjust, hard, and cruel decree of a so-called court of justice. Twenty years! A prisoner, buried alive, as it were.”

“You had committed a crime?”

“No. I was innocent, but powerful conspirators plotted against me--the evidence was perjured--and I--I--was entombed.”

“You say you lived in yonder house twenty years ago?”

The excerpt opens not with a crime scene but with a negotiation: Nick Carter persuades a former criminal, Jack Redmond, to help him by invoking Redmond's interest in a woman named Margie. The dialogue is blunt—'Will you help me?'—and Redmond's consent is framed as a purchase: 'You've bought me.' This transactional relationship sets up a plot driven by loyalty and leverage rather than pure deduction.

A Crook's Bargain and a Disguise

The excerpt shows Carter using personal knowledge to recruit Redmond, a 'clever, all-around crook.' Redmond's past debt to Carter—'saved him from a term up the river'—is the leverage. The disguise is quickly executed: Redmond poses as 'Belmont,' a man believed dead, and successfully deceives Claude Lamont in a club annex. The narrative speeds through the setup, focusing on the immediate risk: Redmond's cover is blown within hours. A stranger enters his room, accusing him of being a 'spy and informer,' and threatens execution. The scene shifts from negotiation to a life-or-death confrontation, with Redmond overpowered and strangled. The excerpt ends with the murderer searching the body, leaving Redmond's fate uncertain.

Violence and Voice in the Excerpt

The prose is direct and physical. The murderer is described as 'wiry as a tiger' and 'a human wolf,' with 'demon hands' crushing Redmond's windpipe. Details like 'eyes bulged from his head, his tongue protruded' create a visceral, almost clinical depiction of strangulation. The dialogue is terse: 'Spy and informer, your time has come!' and 'You've got to die.' There is no forensic analysis or detective reasoning in this passage; instead, the action hinges on betrayal and brute force. The catalog subject 'Detective and mystery stories' is present in the setup, but the excerpt itself is a thriller sequence, not a puzzle-solving scene.

Setting and Catalog Mismatch

The catalog lists 'New York (N.Y.) -- Fiction' as a subject, yet the excerpt contains no geographical markers. The action takes place in a 'club annex,' a 'wine-room,' and Redmond's 'little den'—generic interiors that could be in any city. The only hint of place is the publisher's New York address in the front matter. The story's world is defined by social roles (detective, crook, clubman) rather than urban geography. Readers expecting a New York atmosphere will find the setting underdeveloped in these passages. The focus is on personal relationships and immediate danger, not on the city as a character.

The excerpt offers a narrow slice: a recruitment, a disguise, and a murder attempt, all within a few pages. The full novel likely expands on Carter's investigation and Redmond's fate, but the surviving text emphasizes action and moral ambiguity over detection. Readers should approach this as a period thriller where the detective's methods are more about manipulation than clue-gathering.

That rainy afternoon, Nick Carter’s tense gamble with Jack Redmond stayed with me—how trust and violence share such cramped quarters. It made me think of other stories where characters trade one cage for another, which is how I drifted to The Prince of the Captivity: The Epilogue to a Romance — Background and Themes. Odd, how one narrow shave can echo another, quieter kind of escape.

Dylan Hall
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Jack Allen
1 month ago

4.5
4.5 out of 5 (7 User reviews )

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  • ...
    Jacob Amy Lewis - 1 month ago
    While the premise is intriguing, the execution falls flat. The plot is convoluted, and the characters lack depth, making it hard to sympathize with Carter. The 'narrow shave' is resolved clichédly, and the writing feels dated. For a more compelling detective story, look elsewhere.

  • ...
    Nicholas Wolf - 1 month ago
    Nick Carter's latest adventure is a thrilling ride from start to finish. The plot twists and turns like a rollercoaster, keeping you on the edge of your seat. The narrow shave he experiences is not just a physical challenge but a test of his wits, and the author delivers a satisfyingly tense narrative. A must-read for any detective fiction fan.

  • ...
    Jill Coleman - 1 month ago
    An entertaining read overall, full of Nick Carter's signature daring exploits. The story moves at a good pace, but the ending feels a bit rushed compared to the meticulous setup. Still, it's a good way to pass a few hours if you're into old-school detective tales.


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