Aaron Rodd, Diviner — Story, Setting & Ideas

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Oppenheim, E. Phillips (Edward Phillips), 1866-1946 Project Gutenberg 2016 Not confirmed
Detective and mystery stories, English; English fiction -- 20th century Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 65,027
Reading time 283 min
Text sections 6

For Aaron Rodd, Diviner — Story, Setting & Ideas, the stored edition analysis reports 65,027 words, 4 hr 43 min estimated reading time, and 6 detected text sections.

The text analysis averages about 12.0 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 “Detective and mystery stories, English,” connecting these edition facts with the source record’s subject description.

In this 1920 mystery, Aaron Rodd, a shy and awkward diviner, navigates London's underworld of thieves and spies. The opening chapters reveal a tense alliance with Harvey Grimm, a diamond cutter, and a mysterious young woman in black. Oppenheim contrasts Rodd's diffidence with the criminal energy around him.
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Editorial Edition Score 4.7/5

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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

There was a moment's silence. Mr. Harvey Grimm, with the beatific smile of opulence, was whistling softly to himself. His companion's thoughts had apparently travelled back into the past.

"Well," the latter said at last, "I will imitate your candour. The document I was examining with so much interest when you came in, is a seven-year-old lease, long since cancelled. The few black boxes you see around the room are, with one exception, bogus. I sit here from morning till night and nothing happens. I sit here and brood."

"Dear me! Dear me!" his visitor murmured sympathetically.

"By turning my chair around," Aaron Rodd continued, "I can just catch a glimpse of the river across the Gardens there. I sit and watch, wonder whether a tug will go past next or a lighter, watch the people in the gardens, wonder where they are going, why they are loitering, why hurrying. I speculate about the few passers-by down in the street there. Sometimes I close my eyes and I fancy myself in Lincoln's Inn, seated in a padded morocco chair, with a Turkey-carpet on the floor, and rows of boxes, black tin boxes, with wonderful names inscribed upon them in white lettering, reaching to the ceiling, and my secretary poring over my engagement book, wondering when it would be possible for me to squeeze in half an hour for an important client."

"Too much of the dreamer about you," Harvey Grimm pronounced. "Perhaps, after all, it is the fault of your work. It's a sedative profession, you know, Aaron. It wouldn't suit me to have to sit and wait for clients."

"It's the black bogey of my life," the other assented, with a thin note of passion in his tone. "If only one could get out and work, even if one didn't get a penny for it!"

"And financially?" Harvey Grimm enquired, with an apologetic cough.

"On the rocks," was the bitter reply. "You can understand," he went on, with a heedless sarcasm, "what a wonderful thing it is for me to welcome a capitalist in my shabby office."

"And an old friend," was the cheerful reminder. "Come, come, Aaron, we must look into this. I must place some of my affairs in your charge."

Aaron Rodd's lip curled with bitter incredulity.

"Some of your affairs! I had a taste of those in the old days, Ned--I mean Harvey. You brought me to the brink of Sing-Sing, you drove me over here to make a fresh start."

Harvey Grimm waved his hand. These reminiscences were indelicate.

"My dear fellow!" he protested. "Now come, answer me a few questions. Such affairs of business as have fallen to your lot have been conducted with--er--discretion?"

"If you mean have I preserved my reputation," the lawyer replied grimly, "I have. I have no temptation to do otherwise."

"That is capital," his friend declared. "That helps us at once. And now, I think," he went on, glancing at his neat little wristwatch, "lunch."

Aaron Rodd's first movement was almost eager. He checked himself, however. Then a glance at his visitor's immaculate toilet and distinctly opulent appearance reassured him.

"There will be no trouble, I presume," he said a little diffidently, "as to the settlement of our bill? I warn you before we start that a shilling and a few coppers----"

Harvey Grimm laid his hand almost affectionately upon the other's shoulder.

"My dear Aaron," he expostulated, "you are a little confused. You have not yet taken in the position. A capitalist is, of course, a relative term. I will not press that point. But let me assure you that I have a suite of rooms at the Milan, ample credit for any meals I choose to take there, even money to pay for them, if necessary."

"I am not fit to go to the Milan," Aaron Rodd muttered, brushing himself vigorously.

"That is entirely your mistake," his friend replied, rising to his feet and lighting another cigarette. "A judicious shabbiness is to-day an approved form of eccentricity. With your ascetic face, my dear Aaron, that little wisp of black tie, your clean but frayed collar, your sombre, well-worn clothes, you would be mistaken by the casual observer for either a Chancery lawyer with an indifferent housekeeper, or a writer of dramatic blank verse, which every one admires but no one buys. Reassure yourself, Aaron. I predict that as a companion you will do me every credit."

For the first time a grim, hard smile parted the lips of the man who was making out with rather weary fingers the accustomed card to affix to his door.

"The needy adventurer is what I feel like in these days," he observed.

Aaron Rodd, Diviner opens with an unexpected streak of January sunshine falling across the Embankment Gardens, a detail that immediately establishes the novel’s interest in contrasts: light against mist, the natural against the artificial, and the ordinary against the strange. The protagonist, Aaron Rodd, is described as a “tall, gaunt young man” with a “rather long, pale face” and “deep-set eyes,” dressed in “dismal black.” His first encounter is with a young lady in deep black who smiles at him spontaneously, a breach of convention that surprises the diffident Rodd. The scene sets up a world where chance meetings and hidden motives drive the plot.

The narrative quickly shifts to Rodd’s interactions with a cast of characters who speak in distinct voices: the ex-publican Jacob Potts, who warns Rodd about the young lady’s associates, and Harvey Grimm, a jaunty diamond cutter who admits to having “the funks” after handling large sums of money. The dialogue is peppered with colloquialisms and hints of criminal activity, suggesting that Rodd is drawn into a web of theft and deception.

A Shy Protagonist in a Shadowy World

Aaron Rodd is introduced as a “shy and awkward being,” a recluse who is “soberly, even sombrely dressed.” His diffidence is immediately contrasted with the boldness of the young lady who smiles at him “with perfect spontaneity.” This dynamic recurs throughout the excerpts: Rodd is often passive, observing and being drawn into situations rather than initiating them. He is described as having “the air of a recluse,” which makes him an unlikely figure to be involved in diamond heists and underworld dealings.

Yet his profession—diviner—suggests an ability to perceive hidden truths. The novel’s title positions him as a seeker, but the excerpts show him more often receiving advice than giving it. Jacob Potts warns him to “steer clear” of the young lady’s associates, while Harvey Grimm urges caution about their joint criminal enterprise. Rodd’s responses are measured; he protests that the young lady is not a “wrong ‘un” but admits her associations are “mysterious.” This tension between his innate caution and the dangerous company he keeps forms the core of his character.

Voices of the Underworld: Dialogue and Dialect

The excerpts are rich with distinct speech patterns that differentiate characters and convey social standing. Jacob Potts, an ex-publican, speaks in a thick Cockney dialect: “It's 'aving the lads turn agin me that's done it” and “I never in my born days knowed money chucked about like them as was at the back of that Dutchman.” His language is earthy and direct, full of contractions and dropped consonants. In contrast, Harvey Grimm speaks with a jaunty, almost theatrical confidence: “Put on your hat, my friend” and “I've got the funks.” His speech is more polished but still colloquial.

The young lady’s dialogue is formal and slightly foreign: “But it is astonishing, this!” and “We seem so far here from everything that is bright and beautiful and cheerful.” Her phrasing suggests she is not English, a point Rodd confirms when he asks, “You are not English?” The variety of voices creates a layered social world, from the Embankment Gardens to the criminal haunts of Wapping. Oppenheim uses dialect not merely for color but to signal character and background.

Money, Morality, and the Threat of Exposure

Money is a constant presence in the excerpts, often discussed in terms of large sums and moral compromise. Harvey Grimm boasts of handling “nearly a hundred thousand pounds’ worth of diamonds” and being “fifteen thousand pounds each to the good.” Yet he admits to having “the funks” and wants to “cry off for a time,” suggesting that the wealth comes with risk. Jacob Potts describes a job where “two ‘undred quid for each of those boys” was offered, a sum that tempts his lads to betray him.

The threat of exposure looms: Grimm mentions that Brodie was “hot on the scent last time,” and Potts hints at “things ‘inted to me about them that I shouldn’t like altogether to put into words.” The characters operate in a world where loyalty is fragile and money can corrupt. Rodd, who is financially independent according to Potts, seems motivated more by curiosity or a sense of justice than by greed. His role as a diviner may involve uncovering truths that others wish to hide.

Readers should pay attention to the way Oppenheim builds suspense through dialogue and indirect revelation. The excerpts offer only fragments of the larger plot, but they establish a pattern of characters who speak around the truth. Rodd’s diffidence makes him an unusual detective; his insights may come from listening rather than acting. The novel’s title suggests he has a special gift, but the excerpts leave that gift undefined. Approach the text as a puzzle in which every conversation may contain a clue.

There’s something about Aaron Rodd’s quiet unease that stayed with me—how he moves through a world that doesn’t quite fit him. It reminded me of the patient, longing tone in Dorothy South: A Love Story of Virginia Just Before the War — Text and Context, where the softest feelings feel just as weighty as any secret. Both left me thinking about what it means to be tender in hard places.

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