FIRST BOOKS: Two Lovers Too Many - Joan Fleming

Don't be fooled by the title or the odd illustrations on the DJs of Two Lovers Too Many (1949). It may seem like a melodramatic hospital romance novel based on the title and illustrations, but this debut crime novel from Joan Fleming is an innovative work incorporating aspects of the detective, suspense and horror novels. In fact, Fleming is prophetic in predicting how scientific discoveries and advances can be perverted in the hands of a criminally minded individuals bent of exacting revenge. Her insight into the possible exploitation of science is nightmarishly resonant for our violently troubled 21st century.

As the title implies, the story is about a lover's triangle -- or rather quadrangle as we will learn by the midpoint. Despite what the title says there are actually three men vying for a woman’s attention.  Daisy Walkern, a vapid femme fatale concerned with only herself and sexual conquests, is rescued from her life as single mother by Alan Walkern, the gallant but very homely and disabled (he has a club foot) physician. He marries Daisy and becomes stepfather to her unruly child Barney. While married to Alan, Daisy becomes pregnant and they eventually have a second son, Peter. But while married to Walkern Daisy continues her life of teasing and taunting any man who will pay attention to her.

When the book opens Alan Walkern is dead. And one of Daisy's "lovers" is dead, apparently a suicide by gun.  Paul Lathbury is found in the hayloft of a barn shot dead.  But the gun is nowhere to be found. How then can the death be a suicide?  Did someone remove the gun to prevent anyone thinking the handsome, well-liked, highly successful man killed himself? Another young doctor, Alastair Southery, is assigned as a locum tenens to fill in for Dr. Walkern until a new physician can be hired. Alastair begins an innocuous investigation with only a few questions concerning Paul's death. But the most senior physician in town, Dr.  Forty, an associate of Dr. Lathbury and Dr. Walkern is not satisfied with the police work. He is also concerned about an odd coincidence.  Dr. Walkern supposedly died from aplastic anemia and Dr. Lathbury whom Alastair is working for, is currently being treated for the same condition.  How is it that both of the town's doctor's contracted anemia within months of each other when prior to that both men had no signs of any chronic illness? Dr. Forty is relentless in pursuing this medical coincidence.  He even suggests that Walkern's death and Paul Lathbury's death are related because they were linked to Daisy Walkern.

Though he at first dismisses Dr Forty's wild speculation that someone is killing men who cross Daisy -- could it be Daisy herself? -- Alastair finds himself cast into the role of a medical detective.  He begins subtly questioning everyone in the village, eventually spying on them and doing a little snooping into their homes and personal belongings. When a medicine bottle turns up missing he begins to think that Dr. Forty's theories may have some truth in them. Alastair discovers that what can cure illness can also induce illness and he is determined to expose the murderer and prevent more deaths.

Some of the supporting characters provide welcome relief in a story fraught with tension and danger.  Alastair befriends a seven year boy, the son of a talented portrait painter Calliope Eldernell who earns her primary income as a servant in the Lathbury home. Both Calliope and her son Tim serve as the common sense characters who seem to be Alastair's only friends and provide the groundwork for what ultimately is a happy ending for this trio. Tim is a delight and Calliope, a troubled woman who doubts her own artistic talent, provides hope in a book that is largely doom-laden and focused on the darkness within everyone else in the village.

Fleming's first crime novel is utterly fascinating. She has created both a medical detective novel and a horror novel simultaneously. The murder method turns out to be diabolical.  It's a modus operandi first introduced as a fictional murder method back in the late 19th century by a handful of astute short story writers like L. T. Meade, but not truly explored by 20th century crime writers until the WW2 era. A master of innovation in the crime novel Fleming has never been noted to follow genre formula. She often employs imaginative twists and trenchant satiric touches both of which are on display in this first novel that promised so much. Many of her later novels are superior and this first effort definitely predicted great things for her. It’s a shame so few people know of her work and that 95% of her crime novels are out of print. 

The Holm Oaks - P. M. Hubbard

Jake Haddon and wife Elizabeth move into his uncle's home, a surprise inheritance. The house is located on a wooded estate but the forest of Holm Oaks was sold to neighbor Dennis Wainwright. Haddon has access to a right of way through the forest, but Wainwright seems unneighborly about the way Jake and Elizabeth, an avid birdwatcher who has spotted a night heron roosting in the trees, are spending time there.  Contentious relations follow. The problem is exacerbated when Jake begins an odd romance with Carol Wainwright, Dennis' wife. The two have secret trysts in the forest, talk of love, but never do much other than hold hands and embrace. Sex does not occur. Not even kissing! But Dennis senses that something is up between the two.

There follows a sort of symbolic rage expressed through legal battles about the forest and property rights. Wainwright wants to chop down the forest. The Haddons enlist the aid of a forestry council to prevent destruction. Then Wainwright puts up a fence and -- most bizarrely -- introduces some unruly and apparently violent pigs in the woods.  Elizabeth is fatally injured in a brutal encounter with a boar. Jake is certain that Wainwright means to kill his wife or him or both.

The setting, as is usual with Hubbard, is extremely well done.  The forest is imbued with menace. Throughout the entire book all of the Wainwright's actions and some of the Haddon's reactions are tainted with sinister ambiguity. This is Hubbard's hallmark as a suspense writer.  No one is ever really thoroughly good in a Hubbard novel.

Jake is depicted as a furtive man, spying on Dennis and Carol in early chapters, fantasizing about Carol, eventually falling in love with her. But his habit of lurking, eavesdropping and spying is as creepy and unsettling as the way Dennis comes across as a threatening, unfriendly neighbor.  Jake is the narrator and everything is filtered through his eyes so Dennis Wainwright is a villain from the get-go with little room for sympathy.

Late in the novel Elizabeth's sister Stella, a painter, shows up. She senses the house and forest are "not right". All her warnings to leave fall on deaf ears. Her antipathy for the entire area despite its wild beauty and tempting as a subject for her painting lead to an ugly argument.  Elizabeth kicks out her sister.  But Stella returns when all the warring with the Wainwrights leads to a violent death.

Overall, the book is very odd and sadly not one of my favorite Hubbard novels. It all turned out to be unsatisfying for me. The menace and weird spell-like hold the forest has over all the characters dissipates as the story focuses on Jake's infidelity. The whole thing devolves into a soap opera of hatred, jealousy and temporary madness.  There are better Hubbard books out there.

IN BRIEF: Who Killed Oliver Cromwell? - Leonard R. Gribble

 I've not read any of the Detective Inspector Anthony Slade mystery novels I've owned over the years until a few days ago.  If Who Killed Oliver Cromwell? (1938) is any indication of Gribble's style he seems to have been inspired by Edgar Wallace. While the title and premise succeeded in luring me into purchasing this copy, the story ended up very familiar.

Slade works for Department X2, some specialized section of Scotland Yard that is never really explained.  Maybe it's not even part of Scotland Yard.  I never understood the designation or what exactly they specialize in or why they get called upon.  In any case, he shows up at the scene of a murder at a masquerade party (or fancy dress ball as they call them in British GAD novels).  A well known financier named Stephen Ironsides comes dressed as his historical hero, Oliver Cromwell and someone stabbed him then made off with the weapon. The knife was stolen from another attendee, Peter Storand, who was dressed as a Roundhead. In fact, several people came dressed as historical figures associated with Cromwell and the Commonwealth of England era.  Sir Henry Dillocks at the suggestion of his daughter Frances comes as Charles I and she came as Henrietta Marie, his consort. This costumed trivia is an ironic overlay to the relationships of the primary characters: the murder victim was planning to marry Frances; Peter is in love with Frances and trying to dissuade her from agreeing to the marriage her father wants with Ironsides.

The story begins as a detective novel with the above eccentric plot details then, when it is discovered that the murder victim is an impostor, the book slowly morphs into an Edgar Wallace style thriller. As more suspects are found a subplot with gun runners, petty criminals and Ironsides' failing businesses complicate the plot.  It all starts to fall apart when Frances is kidnapped followed swiftly by the introduction of doppelgängers, plastic surgery, bribed servants, and ending with a forced marriage at sea performed by the ship's captain with the police in hot pursuit to stop it. Immediately, I thought of The Avenging Saint by Leslie Charteris, written several years before Gribble's book, which has exactly the same action-filled climax in the finale. While there are some unexpected incidents, much of Who Killed Oliver Cromwell? is laden with heavy melodrama and tiresome heightened dialogue sections that date the book.

I liked the relationship between Slade and his sergeant Clinton, but this too seems formulaic for an early GAD police procedural.  The comic Detective Sergeant is fairly standard in these types of mystery novels.  I wonder who was the first to have a murder mystery with the serious Detective Inspector in charge assisted by the somewhat whiny and comic sergeant.  Was it Wallace?  I haven't read enough of his books to know.

The villain is obvious from the start and his intricately thought out crimes and schemes are variously described as "fantastic" and "stupendous".  I'd use the adjective outlandish.  But of course it's fiction from a bygone era when these books were meant to thrill and excite. I guess in some ways it still succeeds.  I know my eyebrows were raised at a several points even if some of those surprises literally came in the last two pages in a written confession that explained two quasi-impossibilities related to the stabbing murder.

Gribble may be worth investigating in later Slade books or even in his many other mystery writing guises.  He also wrote as Leo Grex, Bruce Sanders, and several other pseudonyms.  The very first Gribble book, The Case of the Marsden Rubies (1929), is alluded to in the penultimate chapter. Though Gribble mentions one surprise plot element the villain of ...Marsden Rubies was -- thankfully -- not named.  It's a fairly easy to find book and I may sample one more tasting of Gribble and Slade in the future.  I know I have The Frightened Chameleon, a Slade mystery from 1950, somewhere in a box in this book museum. Stay tuned.

The Bowstring Murders - Carr Dickson (John Dickson Carr)

I've had my copy of The Bowstring Murders (1933) for decades. Why have I never read it until a few days ago? Well, for one thing it's a treasure. I own the hardcover first edition with the silly attempt at creating a new pseudonym for John Dickson Carr. Instead of "Christopher Street", the name Carr wanted as his pseudonym, an executive at William Morrow slapped the utterly giveaway name of "Carr Dickson" on the book. Copies of the original hardcover with this pseudonym are extremely hard to find these days. It's the only book with that dumb pen name.

Maybe Carr's angry reaction to that decision of which he was not notified as Douglas Greene records in The Man Who Explained Miracles (1995) was the reason that this book is also the only one with John Gaunt, a detective consultant to Scotland Yard who shuns modern scientific advances. I was sorting through a box of vintage paperbacks and I found another copy of The Bowstring Murders, this one a 1970s era reprint from Belmont Books. I figured: Well, no time like the present. So I dashed off my long overdue read of this early John Dickson Carr book in a couple of days last week.  Interestingly, it seems more of a retread of both Carr's own books as well as the work of some of his influences.

The story takes place in a familiar Carr setting: the Gothic castle known as Bowstring, home of Henry Steyne, AKA Lord Rayle. Bowstring comes complete with a moat and a man made waterfall on the vast estate that feeds the water in the moat and keeps it flowing to avoid the stench and health hazards of stagnant water.  The reader is constantly reminded of the presence of the waterfall and its never-ending roar which prevents many of the characters from hearing certain crucial sounds related to the several murders that take place. Also notable is that the story takes place over only three days.

UK 1st edition. Used Carter Dickson as author.
Body is illustrated as face up unlike in the book.

Lord Rayle is an eccentric medievalist who prefers living in the past and lecturing anyone who will indulge him on his vast collection of medieval weaponry and suits of armor. The night before he is killed a pair of gauntlets go missing. Then Lord Rayle decides to nail shut a door hidden behind a tapestry in the armor room that leads to a secret alcove. It's almost a case of shutting barn door after the horse has fled.  Later, we learn that passageway was used a trysting spot for his daughter Patricia. She would use that hidden area to meet a handsome guest, Larry Kestevan, for midnight snogging sessions. As she is thwarted from meeting her lover Patricia eventually discovers her father's body, practically tripping over it in the candlelit armor room. Her father was apparently strangled by a bowstring and his body is crumpled in a strange position face down on the floor of the armor room.

Gaunt is called in to help Inspector Tape. Prior to the arrival of Gaunt the book is fairly colorless with lots of chit chat from Francis Steyne, son to Lord Rayle, and what amounts to a lot of malarkey about the collection of armor. For me, Gaunt was the only really interesting person in the entire cast.  Another in a long line of omniscient detectives with antisocial tendencies, a high opinion of himself, and critical opinions of everyone else, he's also a rampant alcoholic. Carr tries to hint at a tragedy in his past as a reason for his heavy drinking. (He caused the death of one of his partners, I think. I forgot to note it exactly.) Eventually he lost his job with the police due to his drinking, but still manages to be called in regularly to help with unusual crimes. And so we find him at Bowstring trying to make sense of not only the strangling death of Lord Rayle but also the strangling of the maid Doris, who claimed to have seen a suit of armor standing in a stairway a few nights prior to both violent murders. About midway through the book another character is killed. But this person is shot to death which immediately dismisses the idea of anything supernatural related to a ghostly figure in armor.

1973 Belmont paperback
This time the body is face down (sort of), but
his arms are wrong! They should be underneath.
And the clothes are all wrong, too.

The most impressive feature is not the bizarre murder method of strangling by gauntlets (already used by Carolyn Wells in 1931's Horror House) or the impossible circumstances surrounding the brutal murders. Instead what stands out as more ingenious is how Carr manages to take all the minute details -- details most readers will dismiss as ornament and filler -- and apply them to the overarching plot. Offhand comments and one particular insult, for example, all serve to support Gaunt's solution. All details reveal the strange weak character flaw of the murderer, a person with a lack of imagination whose lies are obvious. At least to Gaunt.

Lying and the art of lying seem to be central to the book.  Gaunt has a mini lecture on the dubious science behind the lie detector machine, a fairly new invention and used regularly in police investigations since the mid 1920s. He describes in detail the lack of understanding of psychology of liars' behavior and how that will almost certainly backfire the moment a lie detector machine is introduced.  He believes that the machine's recording of the body's reactions (pulse, heart rate and respiratory signals) are not the telltale signs of lying. In fact, the liar he believes will immediately be put on guard and the usual giveaway of a liar -- elaborate storytelling -- will be substituted for short colorless answers lacking in the details that will always reveal a liar.

Due to a rather small set of suspects the ultimate reveal of the killer is no real gasp-inducing surprise. It's clear that of the small pool of suspects -- Francis, Patricia, Larry, the footman Saunders, and Bruce Massey, Lord Rayle's secretary and financial advisor -- it can only be one of three people. Greene mentions in The Men Who Explained Miracles that the solution seems to very similar to another book Carr wrote prior to 1933 which featured Henri Bencolin.  He says that it may be one of Carr's many cases of self-plagiarism in his early career. Carr was known to recycle ideas form short stories and put them into his novels. This happened several times in the stories that appear in Department of Queer Complaints, for example. Ultimately, it was fun to see just how Gaunt caught the killer who he says acted mostly on impulse even though his crimes had been well thought out in advance. In one way this novel is more satisfying as a howdunit and whydunit than it is the old-fashioned whodunit.

It's Her Own Funeral - Carol Carnac

THE STORY:  Anne Tempest is recuperating from a broken leg. Her primary caretaker and niece, Isobelle Verringer, decides she has  had enough of her aunt and the gloomy house. She summons two young cousins to come live with their great aunt, to take over as caretakers of both the bedridden woman and the grounds so Isobelle can finally leave.  The cousins -- brother and sister Roland and Jane -- move in and make substantial improvements to the antiquated home. The major renovation project is getting a gas cylinder operated stove to replace the immense, impractical and ancient range in the kitchen. Within weeks there is a horrible gas leak and the Palings, husband and wife servants working for Aunt Anne, succumb to gas inhalation and pass out in the kitchen. Jane rescues both servants then rushes upstairs to Aunt Anne whose bedroom is directly above the kitchen. The rafters have cracks in the ceiling and anyone can see through those cracks into Aunt Anne's bedroom floor. Jane fears the gas made its way into the bedroom and rushes upstairs. But she is too late. Her great aunt is dead and has been for hours, her body rigid and a disconcerting smile on her face.

THE CHARACTERS: It's Her Own Funeral (1952) is a claustrophobic story confined to a small cast of only five major characters along with policeman Julian Rivers who shows up to investigate the suspicious gas leak. The ruinous Tempest estate is a character unto itself. It consists of the old main house, filled with empty rooms and decrepit furnishings dating back centuries, and a cottage which was the home of the Palings. They've been displaced by Isobelle so that Roland and Jane can move in and make their home there. The Palings are ordered to move into the main house where they can be closer to Anne. Maggie Paling and her husband do not leave too willingly as they love the cottage, but eventually relent and give up their treasured cozy home for the young people.

The book is as much a murder mystery as it is a study of differing generations. Aunt Anne representing the eldest generation clinging to a past, honoring the antiquity of the only home she's known since her childhood.  Isobelle, one generation removed from Anne Tempest, is the haughty indifferent and impatient agent of a generation so desirous of moving forward with little room in her heart (what little heart she has) for a past best forgotten and buried. She cannot abide Dene Manor with its dust filled rooms, museum like atmosphere filled with useless relics and dour faced portraits of her ancestors hanging on the dingy walls. In fact she outright states she loathes the place on every occasion she can. Of course Jane and Roland, the youngest members of the cast, are the symbols of a bright and carefree future.

Roland is a would-be poet who looks forward to steeping himself in his family's rich past. Snuggled in the coziness of the warm and inviting cottage he plans to draw on that past to inspire him. Before Great-Aunt Anne dies she remarks that Roland is a remarkable dopplegänger for her brother, Roland's namesake and the black sheep of the Tempest family. The long dead and elder Roland, grandfather of Jane and her brother, had fallen in love with a servant and was disowned by his father. Roland the younger shares with his grandfather the Tempest temper; both Rolands have an angry violent streak. Inspector Rivers learns that Roland displayed that anger when the intrusive Guy Deraine, another cousin in the Tempest dynasty, barged into the cottage uninvited to lecture Jane on her "thievery." Guy suspects that the siblings took not only furniture from the main house but valuable objects and he wants them returned.  Roland interrupted the argument and ended it by punching Guy in the nose.  rivers suspects that Roland' temper may be a sign of a murderous streak.  Could the brother and sister be truly guilty of stealing from their aunt and killed her to get their hands on everything they wanted?

Complications arise with the introduction of two neighboring families who are tenant farmers on the Tempest estate. Of these two families the most intriguing of them are the Boltons and their strange daughter Kathie. Kathie is described by nearly everyone -- especially disdainful Isobelle -- as a deviant or a half-wit. She behaves oddly, chants in a sing-song manner, is often found hiding in bushes and shrubbery spying on the members of the Tempest household.  Rumor has it she also enters the Tempest kitchen uninvited regularly helping herself to food she may find on the table. Maggie Paling insists that Kathie has never set foot in the kitchen. And so Rivers tests the rumor with a fascinating experiment and learns that Kathie is easily tempted with treats.  In fact, it's quite possible that the girl entered the kitchen without anyone knowing. Was she responsible for monkeying with the gas taps? And did she cause the accidental death of Anne Tempest and the gas poisoning of the servants?

There is more to Kathie than any reader may suspect. She becomes instrumental in the story and her mother, a drunken woman of mercurial disposition with an ethnic background as a "gypsy", is the most surprising character of the entire novel. Mrs. Bolton has an adversarial relationship with nearly everyone due to her "gypsy" nature. She thinks very little of Mrs. Paling, and Rivers soon learns the feeling is mutual. But the relationship between Kathie and her mother and the somewhat startling secret that Mrs. Bolton keeps from everyone except the penetrating interrogation of Julian Rivers adds quite an unexpected twist to the already very convoluted and twisty plot.

INNOVATIONS:  Witchcraft comes up frequently throughout the story.  Mrs. Bolton is a gypsy with strange powers. Many people Rivers interviews mention the day Kathie wandered into the woods and "came back changed."  This coupled with the heavy Gothic descriptions of Dene Manor add a level of superstition and "the unknown" to a novel already teeming with unease and creepiness. Additionally, Rivers finds witnesses who talk of Anne Tempest as a witch for she eschewed modern medicine and concocted her own remedies using herbs from her rich and varied garden.

A subplot is introduced ever so subtly when Guy Deraine pursues his suspicions of Jane and Roland as stealing "valuables" from the main house. When Rivers questions Guy about what exactly the valuables consist of the man cannot name anything specific. He has only feelings and instinct that the brother and sister came to Dene Manor with ulterior motives. But Rivers sees the odd relationship between Isobelle and Guy (she openly insults Guy and belittles his accusations of the young people as petty thieves) as an artifice covering up something far more sinister. Anyone familiar with detective novel conventions would immediately suspect haughty Isobelle of ulterior motives herself. Her personality is so cultivated in its contempt for everyone and everything it can't possibly be genuine. Carnac handles the subtleties of this subplot and strews about a plethora of red herrings with mastery.  I was sure that Isobelle was a villain of some sort, but was ultimately surprised when Rivers exposes a truly devious clash of wills between several unsuspected villains that had been cleverly embedded throughout the entire book.

QUOTES:   Those who worked with Rivers at Scotland Yard knew how deceptive were his sleepy glance and his amiable if sometimes flippant manner. Rivers had not only an observant and retentive mind, he had a lively imagination, and a very small item of evidence sometimes set his imagination working, so that he saw the relevance of a fact which, however small, seemed anomalous.

"Nonsense is mischievous sometimes," said Rivers, "especially if people let themselves get frightened by it."

An Isobelle rant:  "If I have to put up with much more melodrama, I shall be a mental case Have you got enough imagination to realise what it's like for a civilized being in this charnel house? It's as if death were gibbering at you round every corner. Look at it!"

He thought hard as he strode along, and it occurred to him that his progress through the mist was very akin to his detection in this case.  In front of him was still the impenetrable mist of uncertainty. On either side were indications of progress--small facts which could be likened to the frosty verges which his torch illuminated. And how easy it would be to fall into the ditch or to take a side turning in detection, Rivers was only too well aware. [...] the ditch ready to fall into--the bottomless ditch which awaits every detective whose awareness fails to interpret the facts which edge his path.

EASY TO FIND?  Remarkably this Carol Carnac mystery was reprinted in a variety of formats apart from the original UK and US hardcover editions, some of which are out there for sale but of course are also the most expensive options. In the UK and Canada It's Her Own Funeral was reprinted by Collins in a paperback edition under their "White Circle Crime Club" imprint.  I found two of those offered for sale online. In the US the novel was reprinted as part of the ubiquitous Detective Book Club in a 3-for-1 omnibus. There are a handful of those DBC editions out there waiting for purchase.  These are always the cheapest options and you get two other books: Dead Man's Plan by Mignon G. Eberhart and Death Begs the Question by Lois Eby & John C. Fleming.

Oh, one more thing (as Lt. Columbo liked to say)... You can buy my copy  Sorry…it sold in only three days. Happy hunting for another copy.

Exit Screaming - Christopher Hale

THE STORY:  It's 3:00 AM in Avondale, Michigan and Jill Trent has been awakened by a bloodcurdling scream followed by the sound of four gun shots. Against her better judgment she goes outside to investigate and meets up with her neighbors Gene Ramsay and Mr & Mrs Truax.  They find blood on the cement terrace of the home belonging to Mrs. Warner.  But there is no sign of any person anywhere near these bloodstains.  Two more pools of blood are found near a barn.  And inside a feed barrel covered with glass bottles they find the body of Mrs. Warner.  Soon Sheriff Perry Simmons, ill equipped to handle a murder investigation and too busy with some cattle thieves, is forced to call in help from the Michigan State Police. Lt. Bill French shows up in his Rolls Royce coupe dressed in smartly tailored clothes and gets to serious work very quickly. Before the killer is revealed there will be an attack on a dog, an escaped cottonmouth snake, a missing chauffeur, numerous rifles as possible murder weapons, several phony identities and two more murders.

THE CHARACTERS: The action of Exit Screaming (1942) is mostly confined to Avondale, a small town mixing wealthy Michiganders with cattle farmers and country folk. The primary characters consist of:

Jill Trent - our intrepid heroine with a violent secret in her past. She seems like she might have tiptoed out of a Mignon Eberhart "woman in peril" mystery novel because she is always at the mercy of insane dangers. She survives several shooting attempts and the attack from the escaped venomous snake mentioned above. Though she may have a bandaged head wound for most of the book she proves to be not only intrepid but pretty damn smart unlike the often foolhardy heroines found in neo-HIBK novels.

Gene Ramsay - the requisite dark and handsome man with a mysterious past. No one really knows what he is doing in the cottage on the grounds of Mrs. Warner's estate. Rumor has it he's writing a book. Others claim he is a doctor who gave up his profession. But Gene isn't revealing what he does for a living or what he's settled in Avondale. He does have a rifle that matches the caliber of the bullets found in Mrs. Warner's body and that makes him Suspect # 1 in the eyes of Sheriff Simmons. Jill wavers in and out of suspecting him. Gene proves to be her savior on more than one occasion. Can he possible have murdered his landlady? And if so, why?

Randolph & Ivabell Truax - Mrs. Truax is more of a bogey character as far as I'm concerned and appears in only two scenes. Let's just skip over her. It's Mr. Truax who is of interest. A lawyer, another rifle owner and innately suspicious of Mrs. Warner, her mother Mrs. Lynch and the shifty chauffeur he seems to know too much about medicine to be a real professional driver.  Lt. French thinks Mr. Truax has too much of a lawyer's mind, but spurred by TRuax's seemingly outrageous ideas begins to dig into Mrs. Warner's past and uncovers some intriguing details. Notably that her mother died more than 30 years ago. Then who is the elderly woman living in the house?  Mrs. Warner claimed that Mrs. Lynch was her mother.  And what happened to Mrs. Lynch? No one can be found inside the Warner house since the night of the gun shots, the scream and Mrs. Warner's murder.

Minnie MacDuff - What would one of these mystery novels be without the garrulous, foolish town gossip. Minnie fills this role extremely well. A dress designer and seamstress by profession she makes it a habit of visiting her customers in their homes for frequent dress fittings and alterations. A convenience for her customers but also an opportunity for Minnie to pick up free lunches and snacks at tea time while dishing the dirt about everyone in Avondale and the surrounding area.  Her thirst for info on everyone makes her a target...or is that just a clever ploy?  I was sure she was involved in something. Hale paints Minnie as such a scatterbrain I was convinced this was a cover for a shrewd and devious women with revenge in her blood.

Mark Macduff - Minnie's invalid brother who is also a ham radio enthusiast constantly broadcasting from his bedroom. Minnie is overprotective of her brother. Anyone who reads mystery novels ought to be immediately suspicious of an invalid.  When Gene and Jill find mud-stained shoes in Mark's closet and burrs on his trousers it seems to indicate that Mark is shamming his inability to walk.

There are also a variety of dimwitted gossipy servants who supply Hale with an unfortunate opportunity to make fun of "stupid farm girls" but also an intriguing way to reveal the small-minded prejudices of privileged wealthy "upper class" types who make up the majority of the characters. I felt sorry for the Lamb women, Jennie and her niece Alma, the butt of insults and jokes, but who also are rather observant and catch things that their snobby employers dismiss as irrelevant.

ATMOSPHERE: Hale does a good job of setting a scene of a sinister countryside in the town of Avondale.  Though the residents think of it as quiet farm country where the wealthy can escape their past and start life anew, from the very first page violence intrudes and never leaves. Mrs. Warner turns out to have alternate life and identity and her chauffeur, as suspected by Mr Truax, turns out not to be a chauffeur at all.  The story is replete with violent attacks. Rifle shots going off constantly. Jill and Gene are shot at many times , windows are shattered on an almost nightly basis, and even a birdhouse becomes a symbol for criminal activity.  For a book set in the WW2 era this story resonates with our 21st century world of constant gunfire and random acts of violence. 

QUOTES:  Hale has a wry sense of humor and often she can dish out some acerbic wit. Here's a single sentence summing up the bigoted, not too smart, deputy who helps Sheriff Simmons: 

Verne Hoskins' well-weathered face looked as if he had been expecting the worst for years and hadn't been disappointed.

When French accuses Gene Ramsay of not being trustworthy because he has both lied and withheld vital information, Gene retorts: 

"But, damn it all, I'm not guilty of anything but being an ass, and they aren't arresting people for that yet or the jails would be full."

THINGS I LEARNED:  During none of Minnie's  gluttonous visits while she is chowing down on more free food she spiolls grvy on her silk dress.  She says, "Dear me, best silk, too. Guess I ought to try a little Energine..." I figured this was some type of detergent.  Actually Energine was a dry cleaning fluid made with naphtha, highly flammable, that was apparently in many homes. It was still being made as late at the early 1960s much to my surprise. The popularity of commercial dry cleaning operations that became all the rage in the 1970s eventually replaced the need for private individuals taking care of their stained clothing. In looking for photographs of this defunct product I was a bit horrified to learn that vintage bottles (some still full!) are being sold on eBay. Bizarre.

At the start of chapter 17 Jill is served some coffee and ginger  flavored cookies by one of the young policeman. She refuses the coffee but samples the cookies while waiting for French to question her.  Hale writes: "Jill went on nibbling at the gingery cooky. It was rectangular, with MARY ANN stamped on it. She felt she'd never again taste ginger without thinking of this moment."  I wanted to know if these were also real, but all attempts at internet searching for "Mary Ann Ginger Snaps" yielded absolutely nothing. I know that Lorna Doone shortbread cookies are still made with the name stamped on them. That's a very old cookie, kids! Introduced in 1912, the same year as Oreos, another cookie with the name stamped on it. I figured if a Mary Ann ginger snap existed it must've been from Nabisco, the company that sells both Oreos and Lorna Doones. Sadly, I failed to find anything about a ginger snap with ANY name stamped on them. Ah well.  Anyone out there have any clue?

EASY TO FIND?  Only a few of Hale's books were reprinted in cheap editions outside of the original Doubleday Doran Crime Club hardcover.  Exit Screaming was one of them. Alas, both hardcover and paperback digest (see photo above at right) are difficult to find these days. I located three copies out there for sale at various online bookselling sites. Hurry if you want one. 

The Bloody Tower - John Rhode

THE STORY:  Jimmy Waghorn comes to Lydenbridge to inform Inspector Appleyard of a gang of professional thieves robbing tobacco vending machines but ends up helping the Inspector with the unusual shooting accident of Caleb Glapthorne.  What at first appears to be a malfunction of a hunting rifle turns out to be a diabolically orchestrated murder with a doctored rifle cartridge filled with high power explosive instead of the usual smokeless powder. Waghorn eventually consults with Dr. Priestley who offers up a few suggestions and ultimately reveals the puzzling motive and the identity of the ingenious murderer.

THE CHARACTERS:  The Glapthorne family is headed by a dying patriarch Simeon who refuses to sell his crumbling estate to a handful of inquiring potential landowners.  He firmly believes in a strange prophecy that until the Tower on the family estate falls the Glapthorne family must remain on their land so that their fortunes will prosper.  But so far their money has been dwindling with no signs of achieving newfound wealth. He withers away in his bedroom rarely leaving and being attended to by two gloomy servants and his niece...

Joyce Blackbrook - devoted to her crotchety uncle , the one member in the household who seems to understand his odd personality.  Or at least she offers a bit of sympahty. She works as a clerk in a bookstore owned by...

Mr. Woodspring -- pompous, officious, enamored of the gentry.  H atns to but the GLapthorne land wiht the "ugly towe" so ha e can build a house there.

Ben Glapthorne --Younger son and brother to the murder victim.  He's a marine engineer and has been at sea on the ship Niphetis. Of all characters he seems to have a ironclad alibi for Caleb's death

 Chudley -- farmer with land adjacent to the Glapthorne estate. Had a recent physical fight with Caleb about use land and Caleb's frequent trespassing while hunting rabbits.  He even threatened to blast off Caleb's face which is exactly how he died.

Vera Chudley -- daughter sent away supposedly because she was carrying on an affair with Caleb.  Her mother vehemently denies this rumor.  Gossip says otherwise.

Horning & Mrs. Horning - the servants in the Glapthorne home. The housekeeper wife is a hysterical drunk.  Only person mourning for Caleb and alcohol is helping to aggravate her grief.  She literally wails and keens.  Her husband dismisses it with a laughable comment: "She's Irish."

Arthur Blackbrook - Joyce's brother. Lives in London. Rarely visits the family. he's married to a tarty, simple-minded woman.

INNOVATIONS:  Priestley appears at the start of Chapter 7 at exactly the halfway mark. He is most interested in a strange code that was found in the Glapthorne family Bible. This is the first time that the police discuss the weird code with odd geometrical shapes placed beside Bible quotes.  The quotes all refer metaphorically to wealth, foolishness, reputation and possibly love. One telling quote is "the gift of God...cannot be bought with money."  Priestley is most intrigued by an odd symbol that Waghorn says looks like a balloon shape. This code is later solved by Priestely and can almost be worked out by the reader based on a few comments made off-handedly.  Those who know their Bible well or who take the time to examine the quoted passages may catch on to the solution of the puzzle without ever really breaking the code. Ultimately, Priestley's breaking of this code will lead to some startling discoveries related to the true purpose of the "ugly tower" and the secrets it contains.

Moreso than other John Rhode detective novels The Bloody Tower (1938), in the US re-titled The Tower of Evil, has an overarching theme as in a mainstream novel. Rhode is most definitely commenting on family destiny and the illusion of nobility.  Simeon Glapthorne exhibits the hubris of a tragic Greek hero in his near worship of the Glapthorne lineage and also ironically is the most foolish member of the household for his steadfast belief in the prophecy. In the end we learn that Glapthorne wasted his life aspiring to something he could never attain for the family lost their money all while Simeon was too stubborn to heed the code created by his ancestor Thaddeus Glapthone back in the late 18th century. Had he done so perhaps all the prophecies might have been fulfilled.

ATMOSPHERE:  I've not read many of the Dr. Priestley mysteries but a handful of them I've read draw on elements of Gothic fiction. This may perhaps be the most Gothic of the Priestley detective novels. Rhode does admirable work in creating a sinister atmosphere using conventions and motifs that are the staples of true Gothic fiction: the crumbling house, the patriarch to whom family is all, the curse and ominous prophecy attached to the Tower, and the splendidly creepy descriptions of the barren landscape. When Waghorn first approaches Farningcote Priory, the name Simeon gave to his home, Rhode writes:

As the car turned in at the ruined entrance gates, the dilapidated stone pillars seemed to resemble the mournful sentinels of a shattered army. Beyond, the melancholy fir trees swayed and moaned like a troop of sombre mourners.

THINGS I LEARNED: Picric acid is discussed at length early in the book.  According to the plot is has multiple uses and was apparently easily obtained at a pharmacy for its medicinal uses primarily as an antiseptic and for treatment of burns. In the context of the story, however, picric acid is exploited for ite volatile properties as a high explosive.

Electra House is mentioned when the police are trying to confirm data associated with some telegrams.  This may have cropped up in some other detective novels of this era but I don't recall coming across the name. Electra House first opened in 1902 as the home for the Eastern Telegraph Company and moved a couple times in the years preceding World War 2.

EASY TO FIND?  If you like digital books, then O Happy Day! It's available in a Kindle version (see photo at left). It's been released under the original UK title but the publisher appropriated the US 1st edition DJ illustration from the Dodd Mead book retitled The Tower of Evil. Guess it looked suitably 21st century for a digital book.

But as for a real paper book... Now it's ridiculously scarce.  I don't know why this one wasn't chosen to be reprinted back when Collins reissued several of the Dr. Priestley books. It's fast moving, engaging and has several intriguing puzzles besides the "whodunit" aspect.  But good luck finding a used copy now. Only three hardcovers are out there -- two US editions all priced in the "collector's market" and one volume in French translation.  No paperbacks reprints were found for sale when I looked though they do exist. If you're persistent and like to haunt used bookstores you might be lucky to find the Collins White Circle (shown up at top of post) paperback reprint cheaply. My copy was a pristine White Circle paperback, but it's now in the hands of someone living in Wisconsin. I sold it three days after I finished reading it last month.

Death Greets a Guest - Charles Ashton

THE STORY: At a meeting of an archeological society a sudden torrential downpour sends all of the members, who were outside smoking and chatting, ducking for cover. Most made it back indoors some only to the porch of the Eastwood Hall. One guest -- Chandler, a sketch artist who was outside drawing trees -- heads for the summerhouse directly opposite the main meeting area of Eastwood Hall. Four of the members watch the storm increase in strength from a large window inside the Hall and see the guest wave to them from the only window in the summerhouse which also has only one entrance. When the rain subsides some of the members see Chandler slumped in the window frame. They head to the summerhouse and discover that the man has been shot in the back giving the book its ironic title Death Greets a Guest (1936). Yet no one entered the summerhouse at all during the storm. The man was in there all alone.  Basically, he was murdered in front of witnesses by an invisible assailant. Major Jack Atherley assists Colonel Bretherton (the local Chief Constable) and Inspector Williams to find out who killed the guest, how it was accomplished, and why a relative stranger was murdered at all.

THE CHARACTERS: Because the story deals with a group of men who are members of a private club (the archeological society gathers to discuss old buildings, mostly churches) the cast list is rather large. Many of the society's members appear only in the first scene and after the murder takes place and initial Q&A is over many are never heard from again.  Even with the absence of about five to seven men the cast remains varied and large. Among the notable characters who make up the primary and supporting cast are:

Stamford Eastwood - head of the society and host of this meeting. Quite a stiff upper lip sort of gentlemen who suffers no fools quietly.  He is married to 

Sylvia Eastwood - at first a charming woman who befriends Atherley, but quickly turns sharp-tongued and sarcastic when Atherley and the police begin to focus attention and suspicions on her friend...

Jimmy Bagstaffe - an insufferable artistic aesthete who adopts a theatrical manner, wears ridiculously theatrical wardrobe, hosts hedonistic parties for his artistic friends (mostly performing arts types) and belittles everyone and anything he disagrees with. He comes across as a satiric character meant to be a parody of the Bright Young Things of the 1920s who still cling to the hedonism of a decade ago, and also I got a very strong ridiculing of gay or effeminate artistes. A very popular bigoted stereotype that turn up a lot in vintage popular fiction.

Kesgrave - a new neighbor of Stamford and Sylvia's. Jack and Sylvia are invited in for an impromptu meeting one afternoon and we learn Kesgrave is in the process of renovating his Tudor era home, that he is a writer of fiction who uses a pseudonym that he will not divulge, and that he is married to a vivacious woman ten years younger than him.

Musprat - the bore of the archeological society, another comic character. If given a chance he will lecture on endlessly about building trivia, mostly made up of "fascinating features" of the houses and churches in the area. Jack makes the mistake of indulging Musprat one too many times.  I had a feeling that much of his droning on would contain some vital clue that everyone would overlook.

Joe Dudman - the owner/barkeep of the local pub. He is instrumental in identifying...

Mysterious Bar Patron #1, a bearded man who went off to Eastwood Hall looking for someone there regardless of the fact that he was told a private lecture meeting was taking place. 

Mysterious Bar Patron #2 - Immediately after the bearded man shows up another stranger stops in the bar asking about the bearded gent. He claims they are friends and wants to know where he was headed. Dudman tells him the bearded guy was off to Eastwood Hall and #2 mystery man heads there as well.

 One of the society members has a speech impediment that is played for laughs. I thought it a cheap form of humor (even for 1936), something that seemed utterly out of place for Ashton who likes to sprinkle his books with wit and wise cracks, but tends to avoid low farcical humor. Oh well. Making fun of a speech impediment would never fly these days.

INNOVATIONS: The impossible crime surprisingly is not the focus of the investigation; the motive really is more puzzling. The search for the "why" of the murder sends the plot into some intrigues in the past, many of which are found in an odd scrapbook of newspaper clippings that Chandler created. Also, Chandler's sketchbook and the drawings he made during his tour of the outside grounds at Eastwood Hall will provide a possible motive for one of the main suspects. I enjoyed all of the investigations and digging up of the past which involved a variety of crimes, solved and unsolved. When the solution to Chandler's impossible murder (the "how" aspect) is finally made known it's downplayed and delivered almost matter-of-fact. Early on I had a suspicion that Ashton was inspired by the detective novels of Anthony Wynne who employed a similar gimmick in many of his books.

Ashton adds a few unusual plot twists in a clever way. Normally a tired cliche, anonymous letters turn up in the final third adding an element of hysterical paranoia. The letters inspire Atherley to set up an elaborate final scene in which he is determined to unmask the killer.  It's a highly theatrical sequence and the killer comes as an utter surprise. I laughed and thought, "But of course! How did I fall for such a detective novel trick? It's one of those unwritten rules like "Never believe a character who is a bedridden invalid can't walk." Yet I fell for one of the oldest tricks in mystery writing. Kudos to Ashton!

EASY TO FIND? Death Greets A Guest is a very rare book. After looking for over ten years I finally found a copy of the cheap "Cherry Tree" paperback edition but a copy in any edition is near impossible to find. Miraculously, Neer who blogs at "A cup of hot pleasure" found a copy at a library and did not enjoy the book as much as I did.  I like Atherley's irreverence and his egocentrism. His personality, I think, is lively and lighthearted, never as annoying as similar traits in a vain supericilious character like Philo Vance.  To each his own.

The Bus Ran Late - G. M . Wilson

Several years ago I wrote a piece on the use of supernatural in the early detective novels of G. M. Wilson. I've continued to read her books as I own all but two titles, but have been disappointed with almost all of them written after the publication of Nightmare Cottage (1936).  Not only has the supernatural element disappeared, Inspector John Crawford (the policeman willing to entertain the possibility of occult intervention) has vanished, and Miss Purdy takes over as the pseudo-detective along with Inspector Lovick.  They make for an affable if sometimes contentious detective duo, but are not as endearing as, say, the comic squabbling of Hildegarde Withers and policeman Oscar Piper in the mystery novels of Stuart Palmer. Miss Purdy still retains some ephemeral psychic power -- she has spells where she "feels" events from the past -- and that power, such as it is, makes an appearance in later books (so far it crops up exactly once in Murder on Monday, The Devil's Skull and the book being reviewed here). Any plot that may hinge on supernatural events or other-worldy influences, however, is basically absent, and the stories are less off-beat, grounded in domestic strife and societal woes. I keep hoping for something weird but all I've got so far was a hint of witchcraft and hexing in A Deal of Death Caps (1970). Then I read The Bus Ran Late. Surprise! While it may not have anything supernatural it was complexly plotted, engrossing and highlighted with some clever double twists.

The Bus Ran Late (1971) is a story of a blackmailer and some deep dark secrets in the past rearing their ugly head again.  The plot is unexpectedly complicated and seems to be a real throwback to the kind of exciting  stories I enjoy so much from the Golden Age. As I read I began taking copious notes to keep up with all Wilson's machinations and wrote at one point "The plot thickens...HEAVILY! And it's only at p. 56!" Needless to say this was quite an improvement over the four books I've read in her mid-career and one well worth keeping on any devotee's Wish List.

Miss Purdy has moved out of her old home and is renting the ground floor in a three story home owned by a mystery writer named Ralph Gillespie.  The other occupant living up on the renovated second floor is Julian Baxter, a painter.  Ralph has introduced Julian to young Jenny Ross, also an artist, who hopes to get hired by Julian as a design associate in his bustling commercial art business. This household will soon become embroiled in a mess of blackmail that is strangely associated with one of Gillespie's popular mystery novels called Death of a Blackmailer.

Inspector Lovick appears in the story when a woman's body is found in the river. A blackmail note is found among her possessions but none of her effects help identify her. Miss Purdy informs Lovick that Jenny has been concerned about a maid that fled her father's house and took with her an incriminating letter that will reveal a terrible secret about Jenny’s dead mother. The maid, Hilda, has not contacted Jenny as expected and she and Julian have been visiting several people connected to Jenny's mother's past life in the hopes of discovering where Hilda went. They hope to retrieve the letter before it falls into the hands of Jenny’s ailing father. It's fairly clear before any of the primary characters officially identify the corpse that the woman in the river is Hilda.  But what happened to the letter she stole? And why was she being blackmailed by the person who calls himself X just like the blackmailer in Gillespie's novel? In fact, the blackmail letter found at the drowning site is copied verbatim (with minor changes in place names) from the blackmail note in the novel.

The story also relates a past crime at the local antique store once owned by Matt Downall and now run by Martin Frobisher who Lovick suspects of being Downall's son with a new name. Downall was a blackmailer himself but crossed the line when he tried to extrort money out of Julian Baxter who instead of paying up beat Downall with an inch of his life.  The antique store owner was hospitalized, recovered, then was murdered -- again by being beaten. [With a poker!  I thought this was going to tie in with her first mystery novel Bury that Poker and the haunted weapon would turn up in Frobisher's antique store. But no!  What a lost opportunity.] The blackmail of the past will eventually link up with the blackmail in the present, but not before a couple of unexpected murders occur.

Wilson's plotting skill is on full display here and she does a good job of making it seem like the blackmailer and murderer is trying to frame Ralph Gillespie. Then two new characters are introduced that further complicate the story and that frame-up possibility is turned on its head.  I was certain of the finale, but missed one crucial but rather obvious detail. So points to Wilson for skillfully misdirecting my attention and fooling me. Overall, this is a well done tale that succeeds mostly because of the alternating plotlines with Purdy/Lovick and Jenny/Julian that eventually converge in the violent final chapters. The detective work done by Jenny and Julian was much more interesting that what Lovick does. Miss Purdy offers up only two bits of inductive reasoning and ultimately explains the title of the novel, an incident that involves Jenny and the blackmailer, in the final two pages.

There is hope for Wilson, I'm glad to see, in her later books.  I guess skipping ahead and reading out of chronology has serendipitously allowed me a peak at what she may be capable of in her last four books. I hope that those books from the 1970s live up to the fascinating complexity that she concocted in The Bus Ran Late.

NEW STUFF: Strange Pictures - Uketsu

I guess I have a problem with the "new honkaku" writers coming out of Japan.  I've always enjoyed the traditional Japanese mystery writers like Shoji Shimada when quite by chance decades ago I stumbled across The Tokyo Zodiac Murders. After reading that book I sought out all his books translated in English. Then when I serendipitously found a copy of The Inugami Clan by Seishi Yokomizo (long before Pushkin Vertigo translated/published his books) my interest was renewed.  And yet when I sampled some of the more recent Japanese writers I was always bothered by the emphasis on puzzles and the utter lack of real characters. One in particular was so poorly written with flimsy characters (The Moai Island Puzzle) I couldn't finish it and gave up after only three chapters. Like many of the mystery novels by French mystery writers (Jean Toussaint-Samat and Noël Vindry in particular) and I grew to dislike plots where characters were puppets in service of contrived incidents that all served the overarching puzzle structure. I enjoy the puzzle aspect of traditional Western mystery novels as anyone who reads my reviews knows, but I don't want the book and story to exist solely for the puzzles. Which of course brings me to today's book... 

Strange Pictures is a new book by Uketsu, a mysterious YouTube figure who writes gimmicky mysteries online and insists on dressing in an all black costume and wearing a weird mask like a villain tiptoeing out of a French silent movie. The gimmick in Uketsu's mystery stories is the use of puzzles in the form of ambiguous or encoded drawings and sketches. Strange Pictures is divided into four stories that focus on nine different drawings. Ultimately, the stories are interconnected through the characters and their actions.  The premise is certainly promising and tempting enough that I succumbed to the hype. But I was mostly underwhelmed.

 

The book opens with a foreword that sets the reader up for all that will follow. Tomiko Hagio, a "teaching psychologist", presents a simple child's drawing (see above) to her university students and proceeds to explain the hidden meaning in the picture.  It all smacks of the kind of ersatz psychology I despised in the early Gladys Mitchell mystery novels in which Mrs. Bradley pontificates on the psychology of the characters based on the most flimsy of "evidence" drawn from behavior or speech. I'll spare you Dr. Hagio's explanation of the bird in the tree and the pointy ends of the spear like branches in the tree.   But this is the sort of "solution" the reader will have to devise if he is to match wits with the "drawing detectives" in the various stories.

The first artistic puzzle related to a woman giving birth to her first child is actually rather ingenious because it relies on genuine out-of-the-box thinking in dealing with two dimensional drawings. I'll only add that those of you who live in the digital world and spend many more hours online than I do will probably catch on sooner than I did. One thing you mustn't do with this book is page through before you read. The solutions to these picture puzzles are blatantly illustrated. A few surprises were ruined when I lost my place, forgetting to put my bookmark in where I left off, then quickly flipped through the book looking for the correct page. In paging through the book I saw flashes of several altered pictures. Caveat lector!

The cleverest part of this book was the way Uketsu connects the various stories. This was really the only reason I kept reading. Eventually one character emerges from the background (originally an "invisible" role), becomes a supporting character, and then is oddly cast as the primary antagonist of the piece. The multi-layering of three seemingly separate stories and how the link up is ingeniously done and there are a handful of surprises that I truly enjoyed. But...

The further the story delves into the interconnection Uketsu begins to slather on shocking developments that escalate from melodrama to histrionics to absurdity. I can admire noir plots with their amoral characters and base motives, but these new writers don't seem to understand what works in noir is an understanding of human nature and not evil for evil's sake, or an abundance of cruelty and over-the-top gruesome violence to shock and repulse. At times I felt the evil characters were so absurd it became laughable. For instance, in the final section a man blackmails a woman into having sex with him all because he wants to traumatize the woman's child and humiliate her simultaneously. He arranges one night of sex so that the child wakes up unexpectedly and witnesses the horrible rape. Ugh!

The central story "The Art Teacher's Final Drawing" deals with an unsolved murder dating back to 1992. An art teacher who went camping in the mountains is found stabbed and beaten to death. Three years later a young reporter discusses the case with an editor who wrote the initial newspaper stories on the murder. The young reporter decides to recreate the murder victim's trip while focusing on a strange sketch found on the victim.  It's a primitively drawn landscape (at right), one the art teacher enjoyed drawing repeatedly on his many trips to the same mountain. The reason for the sketch and how it was drawn seems clever and it's related to the horribly gruesome method of murder, described in a perverse plot twist and surprise reveal of the teacher's killer. But I found it all hard to swallow no matter how much the characters explain themselves and try to justify their unreal and absurd actions. The bizarre murder method in "The Art Teacher's Final Drawing" exists solely for the drawing to exist. In the end the whole book is constructed so that all the behaviors and puzzles can live neatly within one another like those matryoshka dolls.

I grew impatient with Uketsu's insistence on having characters engage in inner monologues where they tell us exactly what they are feeling and justify all their unbelievable actions (including multiple murder on the part of the primary antagonist). Too much "I'm feeling like this" and "I want this" and "I will kill him because I want this" kind of monologues written in simplistic declarative sentences. In fact the entire book is rather simply written. I don't blame the translator Jim Rion. He did an admirable job of translating one of the Yokomizo books for Pushkin's Vertigo imprint (The Devil's Flute Murder) and I wish he had done more of them rather than Bryan Karetnyk. Also Rion did an excellent job with Kthulhu Reich (2019) by Asamatsu Ken, a short story collection written in homage to Lovecraftian horror. Rion captured the flavor of English language pulp magazine writing style in translating those stories. I know he has a talent at translating. It must be that the original Japanese is far from complex. Strange Pictures at times reads like the work of a teenager with its lack of sophisticated understanding of human nature and the contrived machinations of puppet characters who commit amoral acts and engage in cruel violence.

Another Uketsu creation called Strange Houses is due out in the summer, early June according to the Harper Via website. And it's much shorter at only 144 pages. But even being less than half the length of Strange Pictures I may wait to take it out of the library this time.

Dragon's Cave - Clyde B Clason

THE STORY:  Jonas Wright, owner of an engraving business in Chicago, is found stabbed in a locked room where he housed his collection of medieval and historical weaponry. One of those weapons in his collection -- a halberd -- is apparently what did him in.  He is found with his neck severed and the halberd in a pool of blood nearby.  A dribble on a table in the middle of the room and one single droplet on the opposite side of the room are the only other traces of blood.  Shouldn't the room have been drenched in blood if Wright's neck had been severed?  Prof. Westborough is tagged by Lt. Mack to be a stenographer during the interrogations and to ask any questions he wishes., no matter two seemingly irrelevant. He is sure that the halberd is not the weapon. Before the detective team discover the correct murder means there will be more impossible events including the disappearance of a man from a second story locked room with no footprints in the snow outside his window.

THE CHARACTERS: The primary suspects are mostly confined to the Wright household with a few others associated with the family. They are:

Julian Carr- Sales Director at Wright Engraving who had returned from an amateur production of Romeo & Juliet. (BTW, the book's title is taken from a quote in the play which uses a cavern as a metaphor for a deceitful heart.) He was acting in it and played Mercutio. We find out he is adept at fencing and happened to be returning a rapier borrowed from Wright's collection used as a prop in the production. That's right, these Chicago yokels actually used a real sword in an amateur theater production.  (Ai yi yi!  What was Clason thinking?)

Madeleine Wright - she was with Julian when they entered the house and found her murdered father.  She was also in the play in the lead role of Juliet. Madeleine is one of these icy young socialites who turn up frequently in Golden Age detective fiction. Acting skill -- take note! She has murder suspect written all over her though with her dialogue and actions Clason tries to dissuade the reader against suspecting her. She's is not to be trusted, my friends.

Martin Wright - a pretentiously intellectual college student, the older of the two Wright sons. If it weren't enough that Prof. Westborough lectures us on the minutiae of medieval weaponry and how they were used we must endure Martin's mini lectures and allusions to great philosophers of the world. That's what he’s studying at Northwestern University. Schopenhauer is his current hero.  I was sure his ego and supercilious personality were going to implicate him in some fashion. At one point Martin pontificates on the uselessness of prisons and the failure of the prison system to rehabilitate. He believes there are only two solutions to crime: societal remedies that will prevent crime in the first place and psychological treatment. For, as he tells Hilda and Ronald (see below), there are only two real causes of crime: environment and mental illness.

Wellington (Wel) Wright - the handsome hunk of a son, youngest in the family. Embittered because he is not rewarded with a high paying job in his father's firm. Impetuous, temperamental, brash and a bit naive. Drinks a lot. Was drunk the night of the murder -- or was it play acting? Had been at the home of his Gold Coast friend...

Tony Corveau - commercial artist and Lothario. Puts the make on Madeleine.  Oh wait! they were once an item. She despises him now. Tony likes to draw naked women and his lush apartment is decorated with his many pen & ink sketches of many women he's met. Recently fired from Wright Engraving over some hazy abuse of company supplies. Wellington might also be involved. The haziness of that abuse will eventually come into focus and lead to an important discovery.

Hilda - the Wrights' servant. She flees the house employing a clever ruse after it is learned that her son Ronald has recently been released from prison. Her escape is a desperate attempt to keep her son away and prevent him from being questioned by the police. She fails miserably.

Alan Boyle - Chicago newspaper reporter.  Intrusive, too wise, and very interested in Madeliene (aren't all these men?). Always seems to be at the Wright home at the right time (ha!). He is eventually enlisted as an aide by both Madeleine and later Westborough.

Hans Gross (1847-1915)

THINGS I LEARNED:  This is the earliest murder mystery I have ever encountered in which blood spatter, bloodspill and blood patterns found in a crime scene are featured prominently. Or actually in this case -- the lack of blood evidence.  Two experts' names in the field of blood evidence are invoked in Westborough's mini lecture: Jeserich and Gross.  Both were Germans.  Dr. Paul Jeserich according to his New York Times obituary published on Dec 10, 1927 was dubbed the "German Sherlock Holmes" and was known internationally for his work in "legal chemistry".  Hans Gross was a 19th century criminologist who authored a seminal book entitled Handbuch für Untersuchungsrichter als System der Kriminalistik (1893), literally Handbook for Investigating Judges as a System of Criminology, described in a professional journal article (“Literature of Bloodstain Pattern Interpretation” - MacDonell, 1992) as "an excellent reference for not only bloodstain patterns but almost everything else that may be considered within the field of criminalistics." Proving once again that Westborough (and of course Clason) really knows his stuff.

Westborough and later Boyle, the reporter, both make an allusion to Mary Blandy when the police start to seriously suspect Madeleine as the killer.  Blandy I had never heard of.  Wikipedia tells us: "In 1751, she poisoned her father, Francis Blandy, with arsenic. She claimed that she thought the arsenic was a love potion that would make her father approve of her relationship with William Henry Cranstoun, an army officer and son of a Scottish nobleman."  Was she that well known that two characters would make allusions to her case?  Madeline Smith was more well known as a notorious poisoner. But why even mention poison since the victim was stabbed? I guess Clason wanted someone accused and tried for patricide to make his point. Still seems extremely arcane even for the 1930s.

Madeleine & Julian spy blood
leaking under the doorway. Note
that Julian has the rapier in hand.
UK edition (Heinemann, 1940)

INNOVATIONS: Despite some of my snide commentary above in describing the characters I rather enjoyed this one.  The impossible problems are cleverly carried out and the detection involved to explain those impossibilities is both sound and sensible.  The characters are forced into resorting to bizarre means to accomplish desperate acts because they are trapped in a house under constant guard by the police.  It's not a murder mystery where someone intentionally dreams up the crimes and miracle problems just to baffle police.  In this regard Clason was trying to make the locked room mystery more grounded in reality rather than making it a puzzle for its own sake.  So points to him!

While there is a somewhat sappy subplot of a love triangle (Julian-Madeleine-Alan) and Professor Westborough indulges a bit too often in esoteric tangents the plot is always engaging, the banter between Lt. Mack and the professor is always fun and amusing, and the imaginative "miracle problems" keep the reader on his toes trying to outguess the detectives and come up with the solution before the final chapter. Dragon's Cave (1939) has now displaced The Man from Tibet (1938) as my favorite in a rather uneven series of detective novels. I still have four more to read before I say whether this is the quintessential Clason mystery.

EASY TO FIND?  Wonderful news! Not at all scarce. Plenty of Rue Morgue Press reprint paperback copies out there. Amazingly, most of them are very cheap, well under $10 a copy. And, of course, there are several of the US first edition for those interested in owning the original Crime Club hardcover. Many of those are actually under $50 a copy. That's refreshing, ain't it?