In the previous blog-post, I looked at Nigel FitzGerald's second of only two impossible crime and locked room mystery novels, Suffer a Witch (1958), which confirmed my suspicion that his last novel, Affairs of Death (1967), constitutes the scraps left at the bottom of the barrel – ending his run as a mystery writer on a whimper. However, in spite of the book's shortcomings, it couldn't disguise FitzGerald was a polished writer with a verve for characterization and local color. Not to mention trace evidence suggesting FitzGerald might have been a pretty decent plotter during the earlier stages of his career. While the plot would have worked better as a short story or novella, Suffer a Witch confirmed all my suspicions.
So wanted to take a closer look at FitzGerald's second locked room mystery, The Student Body (1958). The description of the impossibility in Robert Adey's Locked Room Murders (1991) sounded absolutely intriguing and comments promising "an extremely lively" tale of murder and intrigue. Sure enough, The Student Body is an explosive mixture of the Cold War spy-thriller, college-set detective story and a quasi-inverted mystery with hints of the police procedural and comedy of errors. A very weird, but very well-done and strangely effective concoction.
Jer and Don go to a local restaurant to celebrate passing an exam with a few drinks and two young repertory actresses, Rona and Peggy. Some ten days previously, Rona and Peggy had been in London where they visited a famous church, but they arrived at the moment a Hungarian Baroness, "a political exile in Britain," was murdered right as the service was beginning – a knife-handle protruding from her back. Rona and Peggy witnessed a small, swarthy blue-eyed man hurrying from the church as he stripped dark gloves from his hands as he went. They now spotted that very same man sitting at the corner of the bar "placidly completing the crossword puzzle in the Irish Times and taking occasional sips from a glass of dry sherry." Don proposes to ask advice from Aidan "Radish" Roberts, literary editor of the Dublin Observer, who also happens to be at the bar. The long and short of the opening chapters is that they take the only logical and rational course of action anyone would take in their situation. They kidnap the man and take them to their college rooms to be questioned.
The Student Body is a mystery-thriller of hot, young and alcohol fueled Irish blood operating under Murphy's Law. So everything that can go wrong, will go wrong.
Firstly, their room is entered by a small group of party crashers lead by the lecturer in English language and literature, Dermot Gray, who's accompanied by his sister, Mrs. Nuala Norden. George Kerry, inter-varsity heavyweight champion, who brought a keg of beer. Secondly, this distraction caused a cat-and-mouse game between the mysterious, possibly red assassin and the heroes in which they constantly turn the tables on each other. Thirdly, the scrap ends with the man being tied and is locked behind two doors with a bicycle padlock on it for good measure. As an extra precaution talcum powder is scattered thickly over the approaches to the door on the landing. When returning from having a good meal and drinks, they find the locks and talcum powder undisturbed, but their captive has the handle of knife sticking out of his back. So what to do, except cover everything up and dump the body. Something that proves easier said than done.
The trickiness with some locked room murders and impossible crimes is that the method can expose a murderer too soon, which is kind of the case here. The locked room-trick itself is sound enough, but everyone who has read a decent amount of detective fiction will figure it out in no time. Even if you happen to suck at figuring out these locked room puzzles, FitzGerald hammers down all the clues and hints to ensure the solution is impossible to miss. I suspect FitzGerald intended to have the locked room puzzle crystal clear and practically all tidied up when he returned to it in the last chapters, because the second-act shifts gears as it becomes somewhat of an inverted mystery. Nevertheless, easy to solve as the trick may be, the locked room functions as a fun little side distraction to the overall plot and interesting FitzGerald developed a sudden, short-lived fascination for impossible crime fiction in 1958. Going by these lines, "the impossible situation: murder in a locked room which no one could have entered or left" and "a weapon which for obvious reasons could neither have been fired through the keyhole nor thrown through a window," he probably read some locked room mysteries at the time – which found expression in Suffer a Witch and The Student Body. And looking at the first-act of The Student Body, I wouldn't be surprised if Carter Dickson's The Unicorn Murders (1935) and The Punch and Judy Murders (1936) were on his big book pile.
The second and final-act is a different story as Superintendent Patrick Duffy, of the Detective Branch of the Garda Siochana, enters the picture and the story becomes an undeclared inverted police procedural. The body had been dumped and fished out of a bay, which is why Superintendent Duffy is unaware he has an impossible murder on his hands and simply hopes to find the murderer by identifying and retracing the victim's steps. How very Freeman Wills Crofts of him! So, of course, Duffy pretty quickly uncovers a trail leading straight to Christchurch College and discovering the victim crossed paths with Radish and the college party numerous times. All the while, the reader is in the fortunate and rare position of knowing more than the detective and thus the second, last-minute murder is not very effective as a red herring. So, knowing more than Duffy, regrettably reinforces a dry, anti-climatic ending ("I can say now that there will almost certainly be further charges") to what's otherwise a lively and entertaining story. You have to tolerate the poor decisions making skills of the characters in order to enjoy it.
The Student Body and Suffer a Witch show FitzGerald was a writer stuck between two distinctly different periods of the genre, a transitional period from the cerebral Golden Age detective stories to the darker, character-driven crime novels that came to dominate post-1950s, which tried to merge by picking and merging the best of both. So the murders, motives and subject material tend to be a little darker, grittier and uneasier than your average, 1930s detective novel, but there's always one or more puzzling components to the case. Such as the second murder from Affairs of Death, the impossible disappearance in Suffer a Witch and the locked room mystery here. FitzGerald can be clumsy, plot-wise, when it comes to ending a story, but he deserves to be acknowledged for an early writer who tried to adept the traditional detective story to the changing times. Not a perfect mystery writer or mystery series, but a valiant and much appreciated attempt to keep the detective story alive and relevant.
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