Surprise! Every now and then I like to remind myself I'm living in the 21st century. I'll be posting reviews of notable contemporary writers whose work is largely influenced by the guys and gals I love and whose books I think you ought to check out as well. Here's the first in a new category aptly called NEW STUFF.
I remember coming across in the Rue Morgue Press catalog this new series featuring a sardonic writer of mysteries, thrillers and romance novels. When I learned that the second book Ten Little Herrings earned an Edgar nomination I thought it was time to acquaint myself with Ethelred Tressider, the hack writer, and Elsie Thirkettle, his literary agent. So, of course I started with this one - the first book.
I remember coming across in the Rue Morgue Press catalog this new series featuring a sardonic writer of mysteries, thrillers and romance novels. When I learned that the second book Ten Little Herrings earned an Edgar nomination I thought it was time to acquaint myself with Ethelred Tressider, the hack writer, and Elsie Thirkettle, his literary agent. So, of course I started with this one - the first book.
The book begins with a "Postscript" and ends with a section titled "In The Beginning." I thought I was in for a 21st century spin on the old inverted detective novel so masterfully handled by R. Austin Freeman and made popular on TV in "Columbo". But I was wrong. There is a hint that the reader knows that Tressider is up to something other than just tracking down a murderer, but the book does indeed follow the format of a traditional whodunit.
After an opening chapter introducing the jaded Tressider and his brash, vulgar agent Elsie (whose outbursts seem forced and not too funny) the book settles in for an intriguing blend of whodunit and con game thriller. Tressider's ex-wife Geraldine has apparently committed suicide. The police find a rental car in her name parked near the shoreline, inside the car an oddly written suicide note signed "Cordially yours, G Tressider (Mrs.)," and some clothes set out on the beach. When a strangled woman's body is found nearby and Tressider is asked to confirm its identity, he has a compulsion to discover what really happened. The plot takes a very strange turn with the introduction of a serial killer targetting blond women and the discovery of a secret Swiss bank account in Geraldine's name.
Tressider likes to talk about the construction of his books, how he misleads readers and his mixed feelings about "red herrings" to which the title alludes. He tells of how he built his first novel All on a Summer's Day out of a very simple premise - the misinterpretation of how a date was written - and how his hero Sergeant Fairfax in a single day solved a case ready to be filed as unsolved. That any novel could hinge on something as seemingly insignificant as whether 6/7 means July 6 or June 7 seems to poke fun at the minutiae that tend to flood traditional whodunits.
I'm not really sure if Tyler has an affection for the crime novel or if, like Tressider, he is plain fed up with all genre fiction. Because of his unmarketable multisyllabic name, Tressider writes all his books under appropriate pseudonyms: Amanda Collins for romance, J.K. Elliott for historical novels, Peter Fielding for mysteries. But as he tells us of each one he systematically condemns each genre. He belittles the detective novel and its obsession with plot gimmickry. He calls romance novels phony, insults the audience that devours them, and mentions how much he loathes writing sex scenes. He chose the end of the 14th century as the topic for his historical novels because "[it] is a well established fact that nobody had sex between 1377 and 1399." An embittered writer? Yes. The voice of the author L.C. Tyler himself? Unclear. But to be sure there are valid points made in all the digs. There are also playful and knowledgeable allusions to authors and fictional characters from the Golden Age plus a few mentions of contemporary writers so Tyler definitely knows his stuff. But does he really love the genre? I began to wonder if it was all play or if there was an undercurrent of ridicule rippling through his ideas.
Whether or not Tyler thinks well of the detective novel is probably a moot point. It certainly doesn't detract from the book as a whole. It is soundly written, cleverly plotted and very funny (often coarsely so). If the reader catches on to Tressider's game early (as I did – at the exact moment the game occurs to him, in fact) this should not deter from finishing the book. There are several surprises in store. Not the least of which, as Tressider says to Elsie, is this:
"…I have to point out that here was your other mistake. You thought this was a detective story. In fact, it was love story all along."
L.C. Tyler's Mysteries (all dates are from the UK editions)
The Herring Seller's Apprentice (2007) - Edgar nomination as "Best Paperback Original"
Ten Little Herrings (2009) - Edgar nomination as "Best Paperback Original"
The Herring in the Library (2010)