William Le Queux opens The Hunchback of Westminster with a preface that frames the novel as a true account, claiming the author heard a “weird and thrilling narrative of hidden treasure” and felt compelled to publish it. This claim of authenticity is reinforced by the narrator, private detective Hugh Glynn, who describes his practice in Stanton Street, WC, and his regret at leaving a barrister’s career for detective work. The first chapter introduces a client, José Casteno, who entrusts Glynn with a “strange and terrible mission.” The excerpts show a story built around a stabbing in Embankment Mansions, a missing Colonel Napier, and a valet who insists the corpse is not his master. The catalog subjects—detective and mystery stories, adventure stories, and London fiction—are all supported, but the excerpts also reveal a strong interest in palaeography and rare documents, which the catalog does not mention.

A Detective’s Voice and Vocation

Hugh Glynn narrates in a confiding, slightly rueful tone. He admits his “big brass plate” reading “Mr Hugh Glynn, Secret Investigator” initially attracted only humdrum cases—wives tracking husbands, employers tracing cash leaks. He calculates it would take “exactly forty-seven and a half years” to save £1,000 and marry Doris Napier. This self-deprecating voice, combined with his barrister background, gives the detective an amateurish air that contrasts with the professional mystery. The excerpts show Glynn’s narration is personal and emotional, especially when he fears for Doris’s safety. The catalog labels this a detective story, but the voice is less hard-boiled than confiding, more like a memoir than a procedural.

The Role of Rare Documents

The preface emphasizes Le Queux’s “hobby of palaeography” and his collection of “rare and valuable historical documents.” This interest colors the story: the narrator mentions manuscripts sought for Lord Cuthbertson, and the treasure is linked to ancient parchments. The excerpts do not reveal the full nature of the treasure, but they show that documents are central to the plot. The catalog subjects do not include palaeography or historical documents, yet the excerpts suggest these are key to the mystery. Readers should note that the story’s engine is not just a crime but a quest for hidden knowledge encoded in old papers.

Mistaken Identity and Disappearance

The excerpts contain a newspaper report describing a “Mystery of Whitehall Court.” A valet named Richardson examines a body found in Colonel Napier’s bedroom and declares it is not his master but a stranger who resembles him. Two friends confirm this. Meanwhile, Colonel Napier and his daughter Doris have “suddenly and mysteriously disappeared.” The report asks: “Who is the man who has been found stabbed to death in Colonel Napier’s bed?” This setup—a corpse misidentified, a double disappearance—is a classic mystery trope. The catalog’s “detective and mystery stories” subject fits, but the excerpts show the mystery hinges on identity confusion, not just a straightforward crime.

The excerpts suggest The Hunchback of Westminster is a hybrid: part detective puzzle, part adventure tale with a treasure hunt, and part London crime story. Readers should pay attention to the role of documents and the narrator’s personal stakes, as these elements may drive the resolution. The preface’s claim of truth adds an extra layer, inviting scrutiny of how Le Queux blends fact and fiction.