Kate plus 10 — Story, Setting & Ideas

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Wallace, Edgar, 1875-1932, Towne, Charles H. [Illustrator] Project Gutenberg 2025 Not confirmed
Detective and mystery stories; Crime -- England -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 54,961
Reading time 239 min
Text sections 6

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Edgar Wallace's 1917 crime novel introduces detective Michael Pretherston, who navigates a London underworld of titled rogues, a mysterious princess, and a gang led by the enigmatic Kate. The opening chapters establish a brisk, ironic tone and a puzzle involving eighty-three pearls.
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Editorial Edition Score 4.7/5

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Read the Text

EE PEARLS ON A STRING

The Earl of Flanborough pressed a bell push by the side of his study table and, after an interval of exactly three seconds, pressed it again, though the footman’s lobby could not have been far short of fifty yards from the library and the serving man was never born who could sprint that distance in three seconds.

Yet, in such awe was his lordship held that morning by his man-servants, his maid-servants and everything within his gates, that Sibble, the first footman, made the distance in five.

“Why the dickens don’t you answer my bell when I ring?” snapped the Earl and glared at his red-faced servant.

Sibble did not reply, knowing by experience that, even as silence was insolence, speech could be nothing less than impertinence.

Lord Flanborough was slightly over middle age, thin, bald and dyspeptic. His face was mean and insignificant and if you looked for any resemblance to the somewhat pleasant faces of the Feltons and Flanboroughs of past generations which stared mildly or fiercely, or (as in the case of the first Baron Felton and Flanborough, a poet and contemporary of Lovelace) with gentle melancholy from their massive frames in the long hall, you looked in vain. For George Percy Allington Felton, Earl of Flanborough, Baron Felton and Baron Sedgely of Waybrook, was only remotely related to the illustrious line of Feltons and had inherited the title and the heavily mortgaged estates of his great-uncle by sheer bad luck. This was the uncharitable view of truer Feltons who stood, however, more remotely in the line of succession.

Lord Flanborough had been Mr. George Felton of Felton, Heinrich and Somes, a firm which controlled extensive mining properties in various parts of the world, and the one bright spot in his succession to the peerage lay in the fact that he brought some two millions sterling to the task of freeing the estates of their encumbrances.

He was a shrewd man and an unpleasant man, but he had never been so objectionably unpleasant until he assumed the style and title of Flanborough and never so completely and impossibly unpleasant in the period of his lordship as he had been that morning.

“Now, what did I want you for?” asked Lord Flanborough in vexation. “I rang for something--if you had only answered at once instead of dawdling about, I should--ah, yes--tell Lady Moya that I wish to see her.”

Sibble made his escape thankfully.

Lord Flanborough pulled at his weedy moustache and looked at the virgin sheet of paper before him. Then he took up his pen and wrote:

“Lost or Stolen: Valuable pearl chain consisting of eighty-three graduated pearls. Any person giving information which will lead to their recovery will receive a reward of two hundred pounds.”

He paused; scratched out “two hundred pounds” and substituted “one hundred pounds.” This did not satisfy him and he altered the sum to “fifty pounds.” He sat considering even this modest figure and eventually struck out that amount and wrote, “will be suitably rewarded.”

He heard the door click and looked up.

“Ah--Moya. I am just tinkering away at an advertisement,” he said with a smile.

The Lady Moya Felton was twenty-two and pretty. She re-collected in her admirable person many of the traditional family graces which had so malignantly avoided her parent. Well-shaped and of a gracious carriage, though no more than medium in height, the face with its delicacy of moulding was wholly Felton. If the stubborn chin, the firm mouth and the china-blue eyes had come from the dead and gone Sedgelys, the hair of bronze gold was peculiarly Feltonesque.

When she spoke, however, the carping critic might complain that her voice lacked the rich quality upon which the family prided itself, for the Feltons were orators in those days when a parliamentary speech read like something out of a book. Moya’s voice was a trifle hard and without body; it was also just a little unsympathetic. Lord Flanborough boasted with good cause that his daughter was a “practical little woman” and at least one man beside her father could testify to this quality.

“Dear, don’t you think it is a little absurd--advertising?” asked the girl.

She seated herself at the other side of the desk and, reaching out her hand, opened a silver box and helped herself to one of her father’s cigarettes.

“Why absurd, darling?” asked Lord Flanborough testily; “lost property has been found before now, by means of advertising. I remember years ago when I was in the city, there was a fellow named Goldberg--”

The Earl of Flanborough's irritable bell-ringing in Chapter I sets a tone of comic impatience that runs through Edgar Wallace's Kate plus 10. The Earl, a dyspeptic millionaire who inherited a title by 'sheer bad luck,' is a specimen of the author's brisk character sketches: mean-faced, insignificant, and surrounded by servants who know that 'even as silence was insolence, speech could be nothing less than impertinence.'

Within a few pages, the story shifts to Michael Pretherston, a detective whose casual manner—'As long as it isn’t to take me out to lunch, I don’t care'—belies his sharp instincts. The excerpts reveal a world where aristocrats, chorus girls, and professional thieves mingle, and where a princess may be a fraud. The title's arithmetic hints at a puzzle: Kate plus ten what? The opening chapters plant clues without revealing the sum.

A Detective Who Talks Back

Michael Pretherston is no brooding sleuth. When Sir Ralph Sapson calls at Scotland House, Michael greets him with a joke: 'I daresay you wonder why I have called,' says Sir Ralph. 'As long as it isn’t to take me out to lunch, I don’t care,' Michael replies. This irreverence is consistent. Earlier, when a sergeant asks about a strange shriek in the night, Michael suggests 'The Colonel in hysterics' with deliberate callousness. The detective’s humor is a shield, but it also signals a mind that refuses to be awed by titles or emergencies.

Wallace gives Michael a distinctive voice: clipped, dry, and fond of deflating pretension. When Sir Ralph mentions a Polish princess, Michael retorts, 'The world is filled with the wives of princes who are large land-owners in Poland.' The detective’s skepticism is not cynicism but a professional habit. He listens, but he does not believe until he sees evidence.

The Gang’s Unlikely Meeting

Chapter IX presents a remarkable scene: Michael confronts a criminal gang in their own lair, lecturing them on morality. 'You are a gang of thieves,' he tells them, 'and you are all going to long terms of penal servitude.' Yet he singles out Kate for exemption: 'She is a young girl… you will get her out of this gang.' The gang’s response is not violence but laughter, prompted by Mr. Mulberry’s suggestion to 'sing Hymn 847.'

The moment is absurd and tense. Wallace balances the detective’s moralizing with the criminals’ theatrical indifference. Colonel Westhanger, who follows Michael to the door and bolts it 'with the oiled bolts,' is a study in nervous villainy. The scene ends with a 'hollow shriek' from the house—a sound that Michael dismisses but that clearly unsettles him. The reader is left to wonder what crime the gang is planning, and what role Kate plays in it.

The Princess and the Policeman

Sir Ralph Sapson’s visit to Michael in Chapter X introduces a second plot thread: the Princess Bacheffski. Sir Ralph is 'worried over two matters,' one of which involves the princess, who is 'the wife of Prince Dimitri Bacheffski, who is a large land-owner in Poland.' Michael’s skepticism is immediate: 'What has she done, stolen your watch?' The princess, we learn, had a row with her husband and came to London, where Sir Ralph has seen 'a great deal of her.'

Wallace uses the princess to complicate the narrative. Is she a victim, a con artist, or something else? The excerpt cuts off before Sir Ralph explains the second matter, but the structure suggests that the two threads—the gang and the princess—will converge. Michael’s offhand manner masks his attention to detail: he notes that Sir Ralph has never called before, and he files away the princess’s name for future reference.

Eighty-Three Pearls and a Missing Sum

The title Kate plus 10 is a riddle. The opening chapter mentions 'Eighty-three pearls on a string,' but the excerpts do not explain the connection. The pearls may be a clue, a motive, or a red herring. Wallace’s method is to scatter details without immediate explanation. The Earl’s bell-ringing, the gang’s hymn-singing, the princess’s arrival—all are pieces of a puzzle that the reader must assemble alongside Michael.

The excerpts suggest a story that moves between high society and low crime, with a detective who is equally at home in both. The arithmetic of the title hints at a calculation: Kate plus ten what? Ten accomplices? Ten pearls? Ten steps in a plan? The answer is not given in the opening chapters, but the clues are planted with care. A first-time reader should pay attention to numbers, names, and the moments when Michael’s humor falters.

Wallace writes with a reporter’s economy and a comedian’s timing. The excerpts offer no resolution—the crime is unnamed, the princess’s motives unclear, and Kate’s role ambiguous. A first reading benefits from tracking the arithmetic hinted at in the title and the recurring motif of performance: characters sing hymns, stage entrances, and play roles. The detective’s irreverence is a guide: trust nothing, note everything, and expect the sum to surprise.

Reading about Pretherston’s brisk puzzle with those eighty-three pearls, I remembered sitting on a rainy porch with Kate plus 10, feeling the same low hum of cheerful menace. Years before, Lucius Davoren; or, Publicans and sinners, vol. 3 — Edition Insights gave me that identical ache—a world where honesty hides behind peeling wallpaper, and every quiet door hides a small, moral wreck. Funny how old books keep those afternoons warm.

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