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In Secret, by Robert W. (Robert William) Chambers
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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
- Published on: 2012-05-16
- Released on: 2012-05-16
- Format: Kindle eBook
Most helpful customer reviews
1 of 1 people found the following review helpful.
A book best forgotten
By Jared
In Secret (1919) certainly begins innocently enough.
Mr. Vaux of the Postal Inspection Service is interrupted by one of his many minions, a beautiful blonde heiress-cum-codebreaker, Miss Evelyn Erith. Evelyn has discovered a dodgy letter, sent to a German man in New York City. With her "hazel eyes, a winsome smile, and hair like warm gold", she talks Mr. Vaux into a series of spectacular hijinks. The two break in to the German man's home, aid in his arrest and then have a merry loot for his codebook. All the while, Vaux (engaged to another frothy blonde, although she's absent for this farce), does his best not to admire Evelyn's figure and her derring-do.
This airy rom-com takes up the first quarter of In Secret. Vaux is then quickly forgotten as Evelyn finds Kay McKay, Scottish-American war hero. McKay, as Evelyn knows from her decoding of the spy's cipher (oh, he was a spy - no German is to be trusted), is a wanted man - he knows "The Great Secret". Sadly, he's currently a ruined man - captured by the HUN, McKay has been forced into alcoholism. Somehow, he still escaped from his prison camp in Hunistan, but even back on the safe Yankee shores of New York, McKay is a gibbering wreck. In the course of a half dozen pages, Evelyn gives McKay the cure - sweating the booze out of him and helping him rediscover his inner man-manliness.
These first portions of the book form a familiar Chambers mash-up. The silly opening salvo gently pokes fun at governmental bureaucracy while watching beautiful people do slightly goofy things. All, one suspects (incorrectly) in the name of love. It is The Green Mouse or The Tracer of Lost Persons all over again; star-crossed twits finding their brides to be. Mr. Chambers then shifts gears to the drama of The Danger Mark or The Fighting Chance - harping on about the perils of alcohol and its poisonous influence on America's collective liver. As with those other books, alcoholism is not a disease, it is a factor caused by a pernicious external influence. The measure of Chambersian man (and woman) is how swiftly that influence can be shrugged off.
Of course, a childhood accident involving brandy-filled candies (The Danger Mark) is a far cry from alcohol-based interrogation techniques in German prison camps (In Secret), and that serves as a noisy warning shot before plunging into the rest of the book. Although the early pages are packed with familiar set-pieces, the rest of In Secret is something new entirely: jingoistic garbage. From August 1914, the British press spun atrocity stories of the "Rape of Belgium" and other dubious German war crimes. Partially, this was about weaving national fervor - the murder of an Archduke and the violation of the 1839 Treaty of London weren't the sort of tales that brought young men to volunteer. However, the tales of German war crimes also served a greater role - they helped win over America. And, as In Secret demonstrates, the American imagination was thoroughly ignited.
If anything, In Secret is a big bag of propaganda sweets. The core story alone is obvious enough in its intent: heroic Evelyn and Kay McKay pit themselves against a vast German horde. But beyond that, Mr. Chambers litters the book with cheap shots and denigrations.
First, the entire premise of the book is that the Germans have been violating Swiss neutrality for a half-century. There's an entire 'off the books' Swiss canton that belongs to Germany. The Germans are currently using it to dig a tunnel under Switzerland that they will use to circumvent the French fortifications entirely. There's something of the Bond villain in this oversized plot, but the lesson ('No act too evil') sinks in. The violation of Swiss neutrality is also something the author reiterates over and over again - just in case readers need something more legalistic to hang on to.
Second, the Germans are portrayed as subhuman. Evelyn and Kay McKay are straight limbed, blue eyed, blonde haired aryans. McKay nicknames Evelyn 'Yellow-Hair', giving an excuse to remind the reader of her fair beauty on every page. The 'Hun' and the 'Boche' (WW1 slang - so weird) are noted for their 'pig-eyes and bushy flat-backed heads', 'sullen' and 'dark eyed', who speak in 'guttural noises' and rarely enter the scene so much as 'rise from the ground'. (There is, of course, a terrible irony in all of this.) The Germans themselves never speak - they grunt and shamble about voicelessly. What communication the reader gets directly from the Germans is in the form of notes - diabolical screeds that could've been penned by the sinister Fu Manchu.
Again, there is a terrible irony with the language used - this isn't about winning a 'war', it is about removing the enemy from civilisation. Granted, if the narrator is to be believed, these 'mentally-mutilated' barbarians have already opted out of common decency. The role of the 'light' is to make sure that they are removed from the human race entirely.
Third, in order to keep the stakes high, Mr. Chambers makes sure that the German armies are everywhere, and no German can be trusted. Even in the cheerful opening chapters, the mysterious Mr. Lauffer, an American citizen for some years, is a foreign spy. The Swiss are not to be trusted as they are virtually German. Even their women, despite the fact that some have a 'handsome appearance' are evil to the core. Before Evelyn and McKay stomp around Switzerland, they're attacked in New York, off the coast of Britain and in McKay's idyllic Scottish home. The war, Mr. Chambers reminds, is everywhere.
In Secret was, of course, a bestseller, much to the chagrin of the New York Times, who refer to it as "another of Mr. Chambers's recklessly galloping tales in which he takes all manner of liberties with the possible, [and] ignores verisimilitude of people, of events, of life". Contrasting In Secret with the author's early novels, the reviewer bemoans that "such deterioration... is not surprising when one recalls the rapidity with which Mr. Chambers has turned out his tales. In the end literary quality is bound to be sacrificed for quantity".
The bizarre blending of his own tropes with the pre-digested atrocity tales of yellow journalism help support this conclusion - In Secret was a shameful, paint-by-numbers bestseller, far more about capitalising on a topical issue than creating a work of lasting merit. However, as Mr. Chambers's even later works (such as The Man They Hanged) show, the author's ability to create convincing characters and tell a good story (not just a 'galloping' one) never faded - but in the period of In Secret, it was certainly stalled.
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