And This Little Piggy...

"The lowest and vilest alleys in London do not present a more dreadful record of sin than does the smiling and beautiful countryside."
- Sherlock Holmes ("The Adventure of the Copper Beeches," from The Adventures of Sherlock Holmes, 1892) 
Margery Allingham is often grouped together with Agatha Christie, Dorothy L. Sayers and Dame Ngaio Marsh as one of the four "Queens of Crime" of their time, whose work garnered renewed attention during the renaissance era of the past fifteen years – resulting in numerous reprints.

The praise lobbed at Allingham's legacy is usually reserved for the series literary style, characterization and a variety of styles within the series, which ranges from 1920s thrillers and psychological studies to proper detective stories. It's a combination that charmed readers back then as well as a modern horde of mystery readers, but I had to give up on Allingham somewhere around 2006. I remember slugging through Death of a Ghost (1934), More Work for the Undertaker (1949) and abandoning Flowers for the Judge (1936) halfway through, which (mind you) was centered on an impossible disappearance. They didn't do it for me and simply never bothered with Allingham again.

Earlier this month, I read one of Allingham's short stories, "The Border-Line Case" from Mr. Campion: Criminologist (1937), in Otto Penzler's The Black Lizard Big Book of Locked-Room Mysteries (2014) and was pleasantly surprised by what I found. Had the time come to give Allingham, Campion and Lugg a second change? There's one book in particular that has always been recommended, The Case of the Late Pig (1937), if I ever wanted to take another shot at the series. And, I have to say, it's definitely the best one I have read from her thus far!

The narrator of The Case of the Late Pig is Mr. Albert Campion himself, who learns from the obituaries in The Times, read out loud by Lugg, about the untimely passing of an old acquaintance – a sadistic school bully, "Pig Peters," from Campion's schooldays. Campion remembers how Pig Peters "took three square inches of skin off" his chest with a penknife and held him "over an unlighted gas jet" until he passed out, which made Campion promise to go to his funeral one day. However, the case doesn't kick off until several months later when a murder happens at the village where the funeral took place and the victim is none other than Pig Peters!

Surprisingly, Robert Adey neglected to mention The Case of the Late Pig in Locked Room Murders and Other Impossible Crimes (1991), but one of the three seemingly impossible situations that occur in this story actually has a solution that qualifies it as a (open space) locked room mystery.

Pig Peters was dozing in a deckchair when a heavy, stone flowerpot, which must have been pushed from its parapet, crushed his head but everyone is in possession of a sturdy alibi. It's such an impossible situation that official police momentarily considered it possible they're all in it together. Plot-wise, the best and most satisfying portion of the story. The way in which everyone is placed and observed different aspects of the crime, from watching the victim in his chair to seeing the flower pot sail pass an upper floor window, gives you the idea the characters are moving around in an actual three-dimensional environment and love this approach with locked room mysteries (e.g. Herbert Resnicow). The gist of the trick is old, but I never saw it used like this. So points for that.

Unfortunately, the questions surrounding the disappearance of a corpse from a secured shed and the double death of Pig Peters are given less consideration, which is a pity, but what (perhaps) initially put me off Allingham was her apparent willingness to sacrifice logical plot advancement in favor of telling a story. The example I can give from The Case of the Late Pig is how the exhumation of Pig Peters, who was supposedly buried six months before he was murdered, wasn't brought up until towards the end and it was to lure out the killer. Wouldn't that be the first thing you would do in this case? And couldn't an early exhumation have prevented the second murder? Why would the murderer take the risk to prop the second victim up like a scarecrow in a cornfield?

Otherwise, The Case of the Late Pig was a pleasantly written, passably plotted detective story that read like an episode of the Midsomer Murders. Not bad... for an Allingham.

So, my fellow Connoisseurs in Crime, are there any Allingham novels that might actually change my position on this much lauded Queen of Crime? I have Police At the Funeral (1931) and The Tiger in the Smoke (1952).


  1. You have to read TIGER IN THE SMOKE chum - I am an Allingham fan, and it is a thriller rather than a detective story, but I would include TIGER in my top 15 mysteries ever without thinking twice about it. PIG is minor fare by comparison, but then was written-to-order and I think it was done retry quickly too.

    1. I guess it'll be Tiger in the Smoke then and perhaps Allingham's style is better suited for thrillers than tightly plotted detective novels, but I'll probably never fully cozy up to Allingham and Campion.

  2. I would second TIGER, and add TRAITOR'S PURSE, in which Campion wakes up with amnesia and has to figure out who he is and what mission he is on. It starts stronger than it ends, but an interesting book nevertheless.

    1. I'll keep Traitor's Purse in mind, but it will probably be while before I touch another Allingham novel after Tiger in the Smoke (whenever I'll get around to that one).

      Anyway, thanks for the recommendations.

  3. Yes, grouping her with the 'Crime Queens' doesn't really do her any favours. She started writing adventure stories/thrillers and ended writing the same things. The drift into detective fiction always struck me as either Allingham or her publisher deciding that the detective stories sold better than thrillers. She was always a visitor rather than a resident of the genre.

    I have to say that I like Allingham much better than you do. She was a better writer in terms of style and character than Christie, but she lacked Christie's genius in baffling the reader. In fact, she never really seemed that bothered about this. The three books that you disliked are nominally detective stories, but they're not constructed in the normal way. DEATH OF A GHOST has some murders and a mystery at the centre, but there is no real attempt to try and hide the villain. One of my favourites is CORONER'S PIDGIN, but again it's a crime novel set in bombed out London rather than a straight detective novel. Your'e only going to enjoy them if you read them as novels rather than as detective novels.

    1. The war-time setting of Coroner's Pidgin sounds interesting (love WWI & WWII mysteries) and your probably right that grouping Allingham with the Crime Queens hasn't done her favors, certainly not with more plot-orientated readers. Allingham's spot should've gone to Christianna Brand, who could write and plot.

      I guess Allingham is, at least, a good writer to introduce modern crime readers to Golden Age mysteries. Thanks for your lenghthy comment!

  4. I'd suggest Police at the Funeral, which is a proper detective story, and has an ingenious solution. Maybe Dancers in Mourning and The Fashion in Shrouds, too.