In the Fog — A Reader’s Guide
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This digital edition of In the Fog — A Reader’s Guide is described by source-level measurements including 25,695 words, 1 hr 52 min estimated reading time, and 3 detected text sections.
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which still burned there seemed to assure him that the room also was empty. He came back and bowed me toward the drawing-room. ‘She is above,’ he said; ‘I will inform the Princess of the Excellency’s presence.’
“Before I could stop him he had turned and was running up the staircase, leaving me alone at the open door of the drawing-room. I decided that the adventure had gone quite far enough, and if I had been able to explain to the Russian that I had lost my way in the fog, and only wanted to get back into the street again, I would have left the house on the instant.
“Of course, when I first rang the bell of the house I had no other expectation than that it would be answered by a parlor-maid who would direct me on my way. I certainly could not then foresee that I would disturb a Russian princess in her boudoir, or that I might be thrown out by her athletic bodyguard. Still, I thought I ought not now to leave the house without making some apology, and, if the worst should come, I could show my card. They could hardly believe that a member of an Embassy had any designs upon the hat-rack.
“The room in which I stood was dimly lighted, but I could see that, like the hall, it was hung with heavy Persian rugs. The corners were filled with palms, and there was the unmistakable odor in the air of Russian cigarettes, and strange, dry scents that carried me back to the bazaars of Vladivostock. Near the front windows was a grand piano, and at the other end of the room a heavily carved screen of some black wood, picked out with ivory. The screen was overhung with a canopy of silken draperies, and formed a sort of alcove. In front of the alcove was spread the white skin of a polar bear, and set on that was one of those low Turkish coffee tables. It held a lighted spirit-lamp and two gold coffee cups. I had heard no movement from above stairs, and it must have been fully three minutes that I stood waiting, noting these details of the room and wondering at the delay, and at the strange silence.
“And then, suddenly, as my eye grew more used to the half-light, I saw, projecting from behind the screen as though it were stretched along the back of a divan, the hand of a man and the lower part of his arm. I was as startled as though I had come across a footprint on a deserted island. Evidently the man had been sitting there since I had come into the room, even since I had entered the house, and he had heard the servant knocking upon the door. Why he had not declared himself I could not understand, but I supposed that possibly he was a guest, with no reason to interest himself in the Princess’s other visitors, or perhaps, for some reason, he did not wish to be observed. I could see nothing of him except his hand, but I had an unpleasant feeling that he had been peering at me through the carving in the screen, and that he still was doing so. I moved my feet noisily on the floor and said tentatively, ‘I beg your pardon.’
“There was no reply, and the hand did not stir. Apparently the man was bent upon ignoring me, but as all I wished was to apologize for my intrusion and to leave the house, I walked up to the alcove and peered around it. Inside the screen was a divan piled with cushions, and on the end of it nearer me the man was sitting. He was a young Englishman with light yellow hair and a deeply bronzed face.
“He was seated with his arms stretched out along the back of the divan, and with his head resting against a cushion. His attitude was one of complete ease. But his mouth had fallen open, and his eyes were set with an expression of utter horror. At the first glance I saw that he was quite dead.
“For a flash of time I was too startled to act, but in the same flash I was convinced that the man had met his death from no accident, that he had not died through any ordinary failure of the laws of nature. The expression on his face was much too terrible to be misinterpreted. It spoke as eloquently as words. It told me that before the end had come he had watched his death approach and threaten him.
The Grill Club, a sanctuary of discretion where members still blot ink with sand, provides the frame for a story within a story within a story. On the night after the great fog of 1897, four strangers share supper and, prompted by a newspaper report, trade accounts of a mysterious woman and a missing cigar-case. The fog itself is more than atmosphere—it is a narrative device that isolates characters, obscures identities, and allows each speaker to reshape the same events. Davis builds the tale through three distinct voices, each adding a new layer of deception and doubt.
The Club as Narrative Frame
The Grill Club is described with a reverence that borders on parody: it has blackballed a Prime Minister and elected a penniless barrister for his brogue. This setting is not mere color; it establishes a code of understatement and irony. The members never mention their membership, yet the club’s history—its golden Grill from Charles II, its manuscript of Tom and Jerry—creates a world where reputation is everything. The four men at the table are strangers, but their conversation quickly becomes a contest of credibility. Each speaker claims to have encountered the same woman, yet their versions diverge in crucial details. The club’s exclusivity mirrors the story’s structure: only those inside the room hear the full account, and even then, the truth remains elusive.
The Fog as Character and Concealment
The fog is more than a weather event; it is a plot mechanism that enables theft, mistaken identity, and sudden violence. One narrator describes stepping from a hansom cab into a “square of light” that opens in the night, only to find a woman’s body at his feet. The fog blurs boundaries between public and private, making every encounter ambiguous. Characters appear and vanish, their faces half-seen. The fog also isolates the club from the outside world, turning the supper table into a stage where each man performs his version of events. Davis uses the fog to justify the characters’ limited knowledge: they can only report what they saw through the mist, and what they saw may be unreliable.
The Princess and the Cigar-Case
The central object—a cigar-case containing diamonds worth twenty thousand pounds—passes through multiple hands, each transfer altering its significance. The Princess Zichy, described as alternately charming and predatory, uses a series of ruses to obtain the case. One narrator recalls her “grinning like a Cheshire cat” after thanking him for his help, a moment that reveals her audacity. The case itself becomes a test of trust: the narrator straps it around his body, yet it vanishes. The story’s suspense hinges not on the diamonds’ value but on the characters’ shifting perceptions of each other. The Princess’s final fate, discovered propped up in bed, is reported but not explained, leaving the reader to weigh the competing accounts.
Unreliable Narration and Layered Truth
Each of the three chapters presents a different narrator’s perspective, and the discrepancies between them are the story’s real subject. One speaker insists on the Princess’s innocence; another implies her guilt. Details such as the color of a dress or the timing of a train arrival shift between versions. Davis never provides an omniscient viewpoint, forcing the reader to judge credibility. The final chapter, told by a character who claims to have uncovered the plot, introduces yet another layer of motive. The story ends without a definitive resolution, leaving the club members—and the reader—to decide what really happened. This structure anticipates later detective fiction’s fascination with the limits of testimony.
Readers should attend to the gaps between the three narratives, noting where details align and where they diverge. The fog is not merely a setting but a metaphor for the opacity of human motive. Davis’s clubmen are not detectives but storytellers, each shaping the facts to suit his own vanity or suspicion. The pleasure of the tale lies not in solving the crime but in watching the truth dissolve into competing versions.
Years at the reference desk taught me how In the Fog relishes unreliable narrators, each retelling a shimmering half‑truth. That same shimmer haunts Amos Kilbright; His Adscititious Experiences With Other Stories — Themes and Context, where memory itself proves an eager, kind liar. Both shells hold a pearl of doubt, and I’ve loved them for that quiet refusal to settle.
Liam Martin
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