The Thing from the Lake — Inside the Classic
Edition facts
For The Thing from the Lake — Inside the Classic, the stored edition analysis reports 62,153 words, 4 hr 31 min estimated reading time, and 7 detected text sections.
The text analysis averages about 13.8 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 “Haunted houses -- Connecticut -- Fiction,” connecting these edition facts with the source record’s subject description.
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How this score is calculated
- 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
There was a narrow, flagged path to the veranda, where the planking moved and creaked under our weight while my companion unlocked the front door. Rather astonishingly, the air of the long-closed place was neither musty nor damp, when we stepped in. Instead, there was a faint, resinous odor, very pleasant and clean; perhaps from the cedar of which the woodwork largely consisted.
The house was partially furnished. Not, of course, with much that I would care to retain, but a few good antiques stood out among their commonplace associates. A large bedroom on the north side, which I appointed as my own at first sight, held an old rosewood set including a four-posted, pineapple-carved bed. I threw open the shutters in this room and looked out.
I received the first jar to my satisfaction. On this side of the place, the grounds ran down a slight slope for perhaps half a block to the five-acre hollow of shallow water and lush growth which the agent called a lake. From it flowed a considerable creek, winding behind the house and away on its journey to the Sound. For that under-water marsh I felt a shock of violent dislike.
"You don't care for the lake?" my companion deprecated, at my elbow. "Fine trout in that stream, though! I'd like you to see it in the sunshine."
"I should care more for it if it was a lake, not a swamp," I answered.
"Oh, but that is only because the old dam is down," he exclaimed eagerly. "That lets all the water out, you see. Why, if the dam were put back, you'd have as pretty a lake for a canoe as there is in the State! Its natural depth is four or five feet all over, and about eight or ten where the stream flows through to the dam. Even yet, a few wild duck stop there spring and fall, and when I was a boy I've seen heron. Put back the dam, Mr. Locke, and I'll guarantee you'll never say swamp again!"
"We will try it," I said. "Now let us find a lawyer and see how quickly I can be put in possession."
We drove back to the little town from which we had that morning started out, and where my agent lived; my sleek car following his small one with somewhat the effect of a long-limbed panther striding behind an agitated mouse.
It appeared that the sale was simply consummated. I do not mean that all the formalities were completed in a day. But by nightfall I could feel myself the owner of the place.
Perhaps it was the giddiness of being a land-owner for the first time, or perhaps it was the abject wretchedness of the only hotel in town that inspired the whim which seized me during my solitary dinner. I had spent one night here, and did not welcome the prospect of a second. A return to New York was not practicable, because I had arranged to meet several contractors and an architect at the farm, next morning, to discuss the alterations I wanted made. Why not drive out to my new house this evening and sleep tonight in the rosewood-furnished bedroom?
The idea gained favor as I contemplated it. I could go over the house tonight and sketch more clearly what I wanted done, while I would be on the ground when my men arrived next morning. There was an allure of camping out about it, too.
In the end I went, of course.
It was dark when I stabled my roadster in the barn that was part of my new possessions; where the car seemed to glitter disdain of the hay-littered, ragged shelter. Equipped with a flashlight, suitcase and bundle, I followed a faint path that wound its way to the house through wet blackberry vines whose thorns had outlived the winter. My steps broke the blank silence that brooded over the place. At this season there was no insect life; nor any other stirring thing within hearing or sight. But just as I stepped upon the veranda, I heard a vague sound from the lake that lay a few hundred feet to the north. There was no wind, yet the water had seemed to move with a sound like the smacking of soft, glutinous lips. Or as if some soft body drew itself from a bed of clinging mud. I wondered idly if the tide could run this far back from Long Island Sound.
The narrator’s first impression of the house is not one of dreariness but of a cry for help—a beleaguered house, not a haunted one. This distinction, drawn in the opening chapter, sets the tone for a story that treats the supernatural as a siege rather than a haunting. The house, a dilapidated New England farm, is described as “wooing” the narrator like a determined woman, a personification that hints at the strange attachments to come.
The excerpts reveal a careful layering of evidence: a braid, a pomander, a small handprint in dust. These physical traces anchor the uncanny in the tangible, while the narrator’s struggle against an invisible enemy—one that whispers of a forbidden book—introduces a psychological tension between knowledge and loyalty.
A House That Woos and Warns
The house is introduced not as a passive setting but as an active presence. The narrator feels it “cried out to me for help” and later admits it “coaxed my liking as had no other place I had ever seen; it wooed me like a determined woman.” This personification is reinforced by the agent’s sales pitch—shade, orchard, bargain—but the narrator’s response is oddly personal. The house’s ugliness is acknowledged, yet it inspires a vision of transformation: “creamy stucco; broad white porches and a gay scarlet roof.”
The contrast between the mundane real-estate transaction and the narrator’s emotional pull creates an early tension. The agent’s practical talk of keys and measurements is undercut by the narrator’s sense of something more. The house is both a fixer-upper and a site of siege, a duality that persists throughout the excerpts.
Traces of Desire Michell
The narrator finds physical remnants of a woman named Desire Michell: a braid, a pomander, and a handprint in dust on a writing table. The handprint is described with precise detail: “a slim hand … the palm had been daintily cupped, the fingers slender, smooth and long in proportion to the absurd size of the whole affair.” This attention to scale—a small hand in a large print—suggests something both human and off-kilter.
These objects are treated as evidence, not mere curiosities. The narrator cannot “put this souvenir away with the braid and the pomander” but instead places it alongside them as “witness of Desire Michell’s reality.” The word witness is telling: the objects testify to her existence, yet she remains unseen, known only through traces and her own cryptic warnings about leaving and barriers.
The Enemy’s Whisper and the Forbidden Book
The narrator’s adversary is not a ghost but a presence that “blackened the starlight” and communicates through a “dreadful suavity,” likened to a snake’s mesmerizing dance. This entity tempts the narrator with knowledge of a book that “held all I longed to know” about Desire. The temptation is framed as a betrayal: “How could I trust my enemy? If such a book existed … there was a taint of disloyalty to Desire in the thought of reading without her knowledge.”
The conflict is internal as much as external. The narrator’s “fastidiousness” wars with curiosity, and the idea of the book “followed me through my days like a wizard’s familiar.” The excerpts do not reveal whether the book is real or a trap, but the tension between seeking truth and honoring a promise drives the narrative forward.
Readers should attend to the way Ingram uses physical objects—a handprint, a braid, a pomander—as anchors for the supernatural. The narrator’s struggle is not just against an external entity but against his own desire for certainty. The excerpts leave unresolved whether the book exists or is a lure, and whether Desire Michell is victim or something else. The story rewards attention to small details and the narrator’s shifting perceptions.
There’s something about Locke’s lonely resistance in The Thing from the Lake—that sense of a world glimmering just past our own—that made me think of another old favorite, where distant gods drift through a half-remembered dusk. I keep returning to that quiet ache in both, the way certain books feel less like stories and more like echoes. The Gods of Pegana — Themes and Context carries that same faded, wistful light.
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