Showing posts with label Pre-GAD. Show all posts
Showing posts with label Pre-GAD. Show all posts

3/19/17

A Frame of Mind


"Commit a crime, and the earth is made of glass. Commit a crime, and it seems as if a coat of snow fell on the ground, such as reveals in the woods the track of every partridge and fox and squirrel and mole. You cannot recall the spoken words, you cannot wipe out the foot-track, you cannot draw up the ladder, so as to leave no inlet or clew." 
- Ralph Waldo Emerson
Back in 2012, I positively reviewed The Moon Rock (1922) by Arthur J. Rees and John Norris, of Pretty Sinister Books, suggested in the comment-section I take a look at Rees' The Shrieking Pit (1919) next, which he described as "one of the best detective novels written prior to 1920." 

Well, that was enough to secure it a spot on my elephantine TBR-pile, but then this long-forgotten mystery novelist began to slip from my mind and had not really given him a second thought until one of my fellow bloggers, "D for Doom," reviewed the book over at his excellent blog – called Vintage Pop Fiction. So I decided to finally excavate the book from the big pile and see what all the fuss is about.

The Shrieking Pit is set in Norfolk, England, in 1916, when the European continent was in the middle of the First World War and this global skirmish has a prominent presence in the story. In the first chapter, there are references to young army officers, war widows and a nearby zeppelin air-raid that had nearly emptied out the Grand Hotel. Something that may have affected the peculiar young man in the public room of the Grand Hotel.

David (or Grant) Colwyn is an American-born Englishman and a private-investigator of some celebrity, who is supposed to be taking a well deserved holiday, but he can't help observing the troubled man sitting in an alcove and assumes the poor soul is shell-shocked – until another guest takes a seat at his table. The man is Sir Henry Durwood, a Harley Street specialist, who recognizes the signs of furor epilepticus and asks Colwyn to help him intervene when the attack comes. Sure enough, they find themselves carrying a now unconscious man, who registered as James Ronald, to his room, but refuses any additional help once he regained consciousness. And that same day, he leaves the hotel without paying his bill of thirty pounds.

However, the memory of this incident comes back the following day when news reaches the hotel that a murder has been committed in a neighboring village and it looks as if the author of that crime is James Ronald!

The scene of the crime, called Flegne-next-sea, is a dying seaside village surrounded by "swamps and stagnant dykes." A place of outstretched marshlands, which encroached on the roads, dotted with often abandoned stone cottages, ruins of a priory and "a crumbling fragment of a Norman tower" - remnants of a long, sustained struggle against the hostile elements of the place. It was "a poor place at the best of times," but the war had made everything worse and everyone a whole lot poorer. So the arrival of an archaeologist to the village was seen as a godsend, because of the work and money this brought to the locals.

Roger Glenthorpe was an elderly archaeologist, who lodged at the Golden Anchor, which he used as the home base for his extensive research into the fossil remains that are common to that part of Norfolk. Unfortunately, for the archaeologist, the locals of this remote spot are scientifically illiterate. So he welcomed the arrival of Ronald at the inn, because the young man was obviously educated and knew a thing or two about science and history.

However, Ronald leaves the inn in the wee hours of the morning and Glenthorpe's bedroom is found empty, but the key is, uncharacteristically, sticking in the lock on the outside of the door. A track of boot-prints lead from the inn to the mouth of a pit, which is a part of "a number of so-called hut circles" that were "prehistoric shelters of the early Britons," where a workman was lowered into by rope and finds the murdered remains of Glenthorpe – stabbed in the chest. A sum of 300 pounds and a table-knife, used by Ronald at dinner, are missing. So things don't look very good for the missing Ronald.

One thing pointed out by "D" in his review is the fascinating treatment of circumstantial evidence and how this evidence can be interpreted, which runs like a red thread through the plot. According to Colwyn, there are two kinds of circumstantial evidence: in one of them the presumption of guilt depends on "a series of links forming a chain," while in the other "the circumstances are woven together like the strands of a rope." Colwyn thinks the latter is the strongest kind of circumstantial evidence of the two, but believes the case against Ronald hinges on the former and believes the strongest link in the chain of evidence are the boot-prints. And take that away and the evidence "snapped in the most vital link."

However, Colwyn's professional opinion does not prevent a devastating loss in the courtroom. The courtroom scenes were one of the highlights of the book. They were very well written and characterized, which makes you almost wish the entirety of the story had been penned as an old-fashioned courtroom drama. One of the very few genuine weaknesses of the plot is the repetition of the all facts and this would've been less of a problem in a courtroom setting, because the reiterations could be done by the lawyers, prosecution and a final summing up by the judge – as well as by witnesses on the stand. Nevertheless, I think plot-oriented readers can cope with some of the repetition here.

I suppose this sounds a bit weird, following that minor complaint, but The Shrieking Pit struck me as a predecessor of E.R. Punshon's work. There's more than a passing resemblance between Rees' The Shrieking Pit and Punshon's The Conqueror Inn (1943).

Rees also had a similar verbose, ornamental writing-style as Punshon, with a keen eye for historical detail, which might be off-putting to some readers, but, personally, I love this approach when it's wrapped around a strong, intelligently constructed and well imagined plot – which was definitely the case here. A story gets so much better when there's a strong sense of place, time and history.

The ghosts of past centuries, even millenniums, appear throughout the book, which range from the prehistoric, stone-age dwellings and the bullet tinted wall of the inn telling of a long-ago battle between a gang of smugglers and the King's troops to the sporting magazines from the 1860s at the inn's fireside bookshelf – all of them alluding to a different and sometimes better, more prosperous time. They make the impoverished state of the small, dying village even more tragic. If that's not gloomy enough, there's the encroaching marshlands, the dank swamps and the ghost of a cursed woman in white who haunts the region. But there are also whispers among the locals of a ghostly dog, "Ol Black Shuck," roaming the dense woods. So the book also has a touch of Conan Doyle's The Hound of the Baskervilles (1902).

So, the atmospheric and historically rich backdrop, alongside the role of the First World War, undoubtedly counts as the book's strong point, but the very involved plot also proved to be noteworthy.

Granted, the explanation revealed that the crime-scene resembled a busy train-station, with characters popping in-and out of the bedroom, which caused many of the plot complexities, but Rees held a firm grasp on all of the plot-threads – which resulted in a pleasing, clear-cut explanation of all the events. You'd want to kick some of the characters for being so bone-headed, however, it made for a nice, complex and involved detective story. One that appeared, on the surface, to be a straightforward case for the police, but Corwyn uncovered many complications and contradictory evidence. All of which he managed to explain away by revealing that there was a simplistic, even sordid, truth behind the crime.

So, yes, The Shrieking Pit is a well-written, competently plotted and interesting detective novel from the transitional period between the Doylean Era and the Golden Age. As such, I can particularly recommend it to readers whose personal taste veer towards the Victoria-style of mystery writing or to fans of Punshon's Golden Age mysteries.

Well, so far my hasty, sloppily written review and my next one will probably be of another archaeological-themed mystery novel, but I've not yet made up my mind. So we'll see.

P.S: see comment-section for an explanation on the confusing first name of the detective. 

3/12/17

Sting of Dead

"Violence does, in truth, recoil upon the violent, and the schemer falls into the pit which digs for another."
- Sherlock Holmes (Sir Arthur Conan Doyle's "The Adventure of the Speckled Band," from The Adventures of Sherlock Holmes, 1892)
Henry Cauvin's L'Auguille qui tue (The Killing Needle, 1871), originally entitled Maxmilien Heller, appeared sixteen years before Sherlock Holmes took his first bow in Conan Doyle's A Study in Scarlet (1887) and began to elevate the detective story as one of the most popular genres of literature, but in France it's claimed that the iconic detective was modeled after Maxmilien Heller – who shares some similarities with Holmes. However, I found the similarities between both characters to be somewhat superficial.

They also cheapened Cauvin's notable accomplishment of having created a genuine detective character during the decades that separated Edgar Allan Poe's 1841 famous short story, "The Murders in the Rue Morgue," and the birth of Sherlock Holmes. And such well-defined characters were pretty rare during that window of time.

Xavier Lechard, who used to blog At the Villa Rose, noted in his review of Charles Barbara's L'Assassinat du Pont-Rouge (The Assassin of Pont-Rouge, 1855) that a problem with most French genre-historians is that they're "less informative and rigorous" than their counterparts across the pond. I suppose their claim that Heller was a prototype for Holmes has something to do with their rather one-sided argument with the Anglo-Saxon world, in which they appear to take as much credit as possible for any innovation found in the genre post-1841 and sometimes they were right – such as Émile Gaboriau being "the father of the detective novel." But the claim that Heller was basically the original Sherlock Holmes is reaching.

On a side note, Poe's status as the Father of the Detective Story is disputed, but the claimants aren't French: Adolph Müllner's "Der kaliber" ("The Caliber," 1828), William E. Burton's "The Secret Cell," published in a 1837 issue of Gentleman's Magazine, and Otto Ludwig's novella "Der todte von St. Annas Kapelle" ("The Dead Man of St. Anne's Chapel," 1839). You can also make a case that Anne and Annabella Plumptre's "The Spectre of Presburg: A Hungarian Tale," collected in Tales of Wonder (1818) and Ye Old Book of Locked Room Conundrums (2016), is an early precursor of the detective-and impossible crime story.

So there's something to argue about, but that argument is between the Americans, English and Germans. Sorry France! Anyhow, I'm getting horribly off-topic here.

Back in 2014, John Pugmire of Locked Room International published an English translation of Cauvin's The Killing Needle, which finally gave readers outside of the Francophone world an opportunity to read and judge the merits of this 146 year old mystery novel for themselves. I think the book is particularly of value to readers with a special interest in the history of the genre. 
 
The Killing Needle opens with a visit by the unnamed narrator, a member of the Faculty of Medicine, to the room of Maximilien Heller, where the skeleton figure lived in isolation for the past two years and devoted those lonely days to study various subjects – writing treatises on politics, economics and philosophy. Heller refers to himself throughout the story as a philosopher, but "the hundreds of manuscripts" that filled his attic room failed to sooth his suffering mind.

It makes the narrator wonder if "the invisible cords" that tied him to his fellow human beings had been "irreparably damaged" and whether he could cure "the painful moral illness" consuming Heller's body and soul. Well, the cure came in the form of a policeman and the prime suspect in a poisoning case. Jean-Louis Guérin used to occupy the room next to Heller's room, but, for the last week, he had been in the employ of M. Bréhat-Lenoir. But his employed had been found poisoned in his locked bedroom, money had been taken and traces of arsenic were found in a cup, which is why the police dragged him back to his old lodgings and searched the place. They also hoped that his old neighbor, Heller, might give them a condemning statement about the suspect's character.

However, the incident inspires Heller to save Guérin from the scaffold and wants to see the daylight again, but, from here on out, the plot becomes a bit difficult to properly review, because the story is not really that of traditional detective story. It's still a very early incarnation. Pugmire said in his introduction that the English translation "is based on the 1930 Librarie Hachette edition L'Aiguille qui tue," which differs from the original Maximilien Heller "only in chapter structure." So I imagine the original incarnation of the book read even less as a straightforward, flowing narrative.

Let me give it a shot by, first, pointing out why the Holmesian comparisons are so very tempting to make: Heller has a talent for disguises and one scene has him fooling his narrator, which is something that happened to Watson. Heller also spends a large swath of the story under an alias, and in disguise, in the employ of the victim's brother, Bréhat-Kerguen, who whisks him away to his residence in Brittany – an ancient construction, dilapidated construction with "walls blackened by the centuries." There's also a dangerous, man-eating bear, named Jacquot, roaming the place. Heller is forbidden the leave the place by his suspicious employer, but manages to get his letters to his friend through a 12-year-old boy, Jean-Marie, who acts as his Wiggins of the Baker Street Irregulars. I can see why some people are so eager to draw comparisons with Holmes, but, as said before, I found them to be superficial at best.

One of my fellow bloggers, "JJ" of The Invisible Event, accurately observed in his review of The Killing Needle that Cauvin's writing "brings to mind that of Maurice Leblanc." I couldn't agree more. The tone of the story is very reminiscent of the slightly more detective-orientated adventures of Arsène Lupin and you can almost imagine Heller being one of his many pseudonyms/disguises adopted after one of his disappearances from the public stage. JJ also points out that the book would work remarkably well as "a tonal companion piece" to Les huit coups de l'horloge (The Eight Strokes of the Clock, 1923). Once again, I have to agree with this observation. 
 
But all these comparisons distract from Cauvin's accomplishment as somewhat of an originator, which came here in the form of the impossible crime elements of the story. They're very minor aspects of the plot, but, historically, far from unimportant. Basically, there are two (semi) impossible situations: one of them concerns the second medical examination of the victim. The first one failed to find any traces of arsenic in the body, but the second one, carried out by the villainous Dr. Wickson, did reveal an abundance of arsenic in the corpse. Secondly, the locked room angle of the bedroom where the murder took place.

These situations are either immediately solved or glossed over. However, the postscript, entitled "Clayton Rawson on Carr's Locked Room Lecture," noted how the solution behind the locked bedroom was mentioned by Rawson in his own lecture on impossible crimes in Death from a Top Hat (1938) – making Cauvin's novel "almost certainly the very first in the history of detective fiction" to use such kind of explanation for a locked room murder. It makes The Killing Needle an important entry in the annals of crime-fiction, because it's one of the first examples of the detective story exchanging the hoary plot-devices of secret passages and unknown poisons for real ingenuity.

Something that would become more prominent in such landmark works as Israel Zangwill's The Big Bow Mystery (1892) and Gaston Leroux's Le mystère de la chambre jaune (The Mystery of the Yellow Room, 1907), which was further developed by such early authors as Jacques Futrelle, G.K. Chesterton, Max Rittenberg and The Hanshews. Eventually, it would blossom during the Golden Age, but the germ, or one of the seedling, of that long, decades-long process can be found here. The trick behind the poisoning of the corpse also showed some cleverness, but the method was almost immediately explained instead of being played up to full effect.

So, historically, The Killing Needle comes recommended to everyone who's interested in the history and development of the genre. I'm very glad this one was finally peddled across the language barrier by Pugmire and sincerely hope many more of these obscure, but important, interesting or simply well plotted, mystery novels will follow in the hopefully not so distant future.

2/12/17

Magnum Opus

"Something terrible lay that way. It was my business to find out what it was."
- Professor Challenger (Sir Arthur Conan Doyle's The Lost World, 1912)
Max Rittenberg was an Australian-born author of German-Lithuanian extraction who studied science and medicine in Cambridge, England, which briefly secured him a teaching post in South Africa – before returning and settling down in England.

In 1907, Rittenberg launched a magazine, titled The Organizing, aimed "at advising businesses how to operate more efficiently." Several of his earliest published work, such as How to Compose Business Letters (1909), concern this very subject, but what's of interest to us is the period between 1911 and 1915. A brief period in Rittenberg's career when he tried his hands at writing fiction and created a pair of consulting detectives of a scientific bend, Dr. Xavier Wycherley and Professor Magnum.

Some of the short stories about Dr. Wycherley were reworked and published as a full-length novel, The Mind-Reader (1913), but the seventeen recorded cases about Professor Magnum were all but forgotten after their initial magazine appearances – even Rittenberg's children were completely unaware of their existence. This series may have continued to languish in literary limbo if it weren't for the efforts of anthologist extraordinaire, Mike Ashley.

Ashley has done a lot to bring these transitional detective stories, between the Doylean Era and the Golden Age, back under everyone's attention. One of the earliest stories from the Prof. Magnum series, "The Mystery of the Sevenoaks Tunnel," was republished in The Mammoth Book of Perfect Crimes and Impossible Mysteries (2006) and he contributed a piece, entitled "The Strange Case of Max Rittenberg," to Mysteries Unlocked: Essays in Honor of Douglas A. Greene (2014). So this put Rittenberg and his work back on the radar of many mystery enthusiasts, which lead to the inevitable reprint of all his work.

A small, independent publishing outfit, Coachwhip Books, republished The Mind-Reader back in 2011 as a twofer volume with Gelett Burgess' Astro, the Master of Mysteries (2012). Last year, they gathered all of the Professor Magnum and published them as The Invisible Bullet and Other Strange Cases of Magnum, Scientific Consultant (2016). Of course, Ashley introduced this volume of short stories and gives a lot of background information on both Rittenberg's (family) life and short-lived career as a crime-writer. So, I recommend you read his introduction if you want to learn more about the author of these stories.

Before plunging into this volume, I should describe the protagonist of these stories, Professor Magnum, who's basically a Professor Challenger-type of character (see cover illustration) that took a stab at Sherlock Holmes' profession. A bearded, scientific consultant, whose "manner was brusque and rough-edged to the point of boorishness," which often results in him yelling "rubbish" at people who uttered something he deemed nonsensical – which is only accepted because he gets results. They also accept his steep fees for this very reason. Magnum is assisted by a young Welshman and analytical genius, Ivor Meredith, who suffers from a crippling shyness where the opposite sex is concerned. He plays a vital role in one of the stories, but more about that latter.

Max Rittenberg's comeback
I'll try to keep the descriptions and commentary on the stories as short and concise as possible, because, as you probably know by now, my reviews of short story collections tend to expand faster than German territory during the 1930s.

The first story, "The Mystery of the Sevenoaks Tunnel," was originally published in The London Magazine in October 1913, which concerns the questionable circumstances surrounding the death of Mr. Abel Jonasson. Apparently, he had fallen, or jumped, from a speeding train when he was all alone in a second-class compartment, but trouble arises for a family member when the insurance company flatly refuses to cough up the insurance money – claiming their client took his own life and they fell back on the suicide clause. Magnum wrangles a very Doylean explanation from such clues "a phial of atoxyl" found in the dead man's pocket and gives a delightful demonstration to the representative of the insurance company how a man could have been driven from a closed railway compartment.

Note: this story only deals with the how of the crime and leaves as the questions, of the who and why, dangling in the wind. It's (strongly) hinted at, but not resolved.

"The Queer Case of the Cyanogen Poisoning" appeared as "The Cyanogen Affair" in Blue Book, October 1913, and has Professor Magnum and Meredith investigating a mass poisoning at the family residence of Sir Julian Boyd. All of the family members suffer from severe gastric pains, but every means of administrating poison to the family has been eliminated and nothing was found to be contaminated or laced with poison. So the family temporarily abandon the house as Magnum, while helping himself to "a brace of fat and moneyed-looking cigars," grapples with the problem in the library. It's an OK story that the observant reader can partially solve with some semi-educated guesswork.

The third story of the lot, "The Bond Street Poisoning Bureau," was published simultaneously in The London Magazine and Blue Book of December 1913, which is a fairly typical pulp-ish, melodramatic thriller that were common at the time – coming with a lurid illustration of the gun-toting villain with a miner's helmet. The villain in question is Kahmos, "the poison-merchant," who presents himself as a crystal-gazer and clairvoyant, but his actual profession is selling instructions for murder. A formidable opponent for someone like Magnum, but, personally, I do not really care for these kind of stories.

Next up, "The Mystery of the Vanishing Gold" originally appeared in the January, 1914 issue of The London Magazine and concerns the impossible disappearance of "about twenty thousand pounds' worth of gold," but not in the way you might think. A two-horse lorry, accompanied by several bank detectives, accompanied a cargo of gold ingots from the docks to the Bank of England. The gold was weighted at the docks, but, upon their arrival at the bank, they had lost in both weight and value! Magnum figures out this trick was accomplished by combining modern science with some old-fashioned skullduggery.

"The Secret of the Radium Maker" was published in Blue Book in January, 1914 and deals with a subject that often turns up in the work of the scientific mystery writers from the early years of the previous century – namely the valuable chemical element of the story-title. Rittenberg brings the element back in a later story and Jacques Futrelle also has story revolving around it, "The Last Radium," which I reviewed here. Anyhow, in this outing, Magnum is engaged by Mr. J. Warren Fennimore as a scientific consultant in the purchase of "an entirely new process for extracting radium from pitchblende." This would make him a lot of money, but he wants to be sure before signing any large checks. What Magnum finds is both an honest inventor and clever kind of fraud.

The following entry, "The Invisible Bullet," came from the March, 1914 issue of Blue Book and is one of my three favorite stories from this collection, which is a locked room mystery that showed the genre was slowly moving away from the shopworn bag of tricks of the nineteenth century – one that was filled with secret passages, unknown poisons and deadly animals slipped through cracks or keyholes of sealed rooms. As a matter of fact, it's the kind of locked room trick one would expect from a Golden Age practitioner, such as John Dickson Carr or Clayton Rawson, which may mean this trick was the first example of this particular type of impossible crime. Strangely, the solution also reveals the story to be ancestor of Alan Green's massively underrated What a Body! (1949). But not in the way you might think.

Anyway, the story opens with the shooting of Barclay Walsh, two bullets in the back, while he was exercising in Sergeant McIntosh's Gymnastic and Fencing Academy, which is situated on the top story of a tall, pleasant-looking stone building. One of the first person's on the scene is Magnum and he confirms to the police that nobody could have left the premise unseen. However, that's exactly what seems to have happened, but there's an additional mystery: what happened to the bullet that left the body? The entire floor of the fencing school is meticulously searched without result.

As I noted before, the solution is very cunning and ahead of its time for an impossible crime tale from just before the First World War. Recommended for everyone interested in locked room mysteries and the history of this beloved sub-genre.

My second favorite from this collection is "The Rough Fist of Reason," simultaneously published in Blue Book and The Novel Magazine of April, 1914, which delves into a popular fad of the period – spiritualism and spirit-photography. Magnum is asked by Miss Cicely Cotterell to wrench her aunt, Miss Dallas, away from the influence of Mr. Slivinski. A man who claims to be able to photograph astral bodies of (enlightened) people and his especial effects does not relay any of the well-known tricks, but on something completely new. So you can qualify this story as a semi-impossible crime story, which is always a plus, but the punch of this story is in sad and tragic ending. It shows that the presence of a meddlesome detective can have dire consequences.

"The Three Ends of a Thread" was first published in the May, 1914 issue of Blue Book and reprinted in the July, 1914 installment of Short Stories Illustrated, which derives its interest from Magnum nearly being outsmarted by the criminal – who came really, really close to beating him. A very important piece of paper vanished from the steel safe of an American businessman, William H. Cleveland, but he rules out a burglary. Cleveland only wants to know if the paper could have been dipped "in some chemical which would eat it up silently into vapor during the night," but Magnum would come close to regretting taking what looked like an easily earned fee.

"The Empty Flask" first appeared in print in Blue Book of June, 1914, which confronts Detective-Inspector Callaghan of Scotland Yard and Magnum with a chilling poisoning mystery: an Austrian Baron was poisoned in his London hotel-room, but the problem is that both the hotel-room and the corpse showed no traces of any deadly toxins. Curiously, the bedside flask of the baron, usually filled with orange-flower water, was empty and bone dry. What caused the death of the Baron is quite ingenious. Absolutely horrifying and cruel, but ingenious nonetheless.

"The Secret Analyses" appeared in the July, 1914 issues of Blue Book and Short Story Illustrated, but did not particular care about this one. Magnum's right-hand man, Meredith, gets kidnapped and his captors want a copy from Magnum of a highly confidential report he has been working on for the Admiralty – relating to "a certain new torpedo charge explosive." Not really my kind of crime story.

The next story in line, "The Mystery of Box 218," originally published July, 1914, as "The Virgin Vault" in Short Story Illustrated, which tells of a seemingly impossible theft from a locked strong-box inside a sealed and guarded bank vault. Holborn Safe Deposit has a vault surrounded by foundations "of steel and concrete." The single entrance to the vault goes through "a steel grille" and the opening of the lattice-work allowed a clear view of the whole interior, which is constantly being watched by "a uniformed commissionaire" - who's in possession of the sole key of the grill and he watches as valuables are transferred to or from a strong-box. However, this did not prevent a string of pearls mysteriously vanishing from the strong-box of a diamond merchant.

Max Rittenberg (1880-1963)
Magnum immediately came up with a simple, but elegant, explanation for the problem: a criminal might have gotten an impression of the key of the diamond merchant, "rented a box near to 218," and opened 218 as it were his own with the duplicate key. However, this immediately rejected and the actual explanation is far more involved, but also less impressive. Nevertheless, it was interesting to see a Berkeley-Queen style false solution in such an early story.

The following story, "The Mystery of the Tide," is another kidnap story and was lifted from the pages of the March, 1915 issue of Blue Book. A message in a bottle is fished from the murky waters of London's waterways and the author of the letter is Lester Oakeshott of Vancouver, Canada. For the past three years, he has been having a good time in Europe after a financial windfall, but his relatives have not received any personal communications. However, he has been cashing checks all over the continent. So he seemed to be doing well. But now it turns out he has been the victim of kidnappers and the police asks Magnum to help them pinpoint the location where he's being held captive. A good story for what it is, but kidnap plots are largely wasted on me. There is, however, one semi-exception at the end of this collection.

My third favorite from this collection, "The Secret of the Tower House," first appeared in the September 1914 issue of Blue Book, but was also published that very same month in The Novel Magazine as "The Hidden Menace," which brings Magnum and Meredith to the home of Mr. Anstruther – who has recently lost two of his highly prized Aberdeen terriers. All of a sudden, they were died and the veterinary who examined the cadavers to determine an exact cause of death, but Anstruther is convinced they had been deliberately poisoned. Rittenberg wrote here what is, essentially, a medical mystery with deep, dark shades of the historical mystery, because the solution takes a look at one of blackest pages in English and London history. I suspect devoted readers of Christopher Fowler will love the everlasting hell out of this particular story.

"Dead Leaves" was originally published in Blue Book, November, 1914, and republished in the April, 1915, in The Novel Magazine, in which Magnum is tasked with finding the missing will of a dead man. A pretty meh story.

"The Three Henry Clarks" came from the December, 1915 publication of Blue Book and shows the kind of plot-ingenuity that would become the standard during that luminous period known as the Golden Age. During a short period of time, three man, all named Henry Clark, succumbed to the effects of a deadly poison and one of them collapsed at Scotland Yard. The method for administrating the poison may very well be the cleverest aspect of the plot, but the whole scheme and the whodunit-angle showed a new era of detective-fiction was looming on the horizon.

The penultimate story from this collection, "Cleansing Fire," comes from the February, 1915 issue of Blue Book and has Magnum investigating a suspicious fire at the factory of a fur-merchant on behalf of Sir George Herries of the Imperial Fire, Life and Accident Insurance Co., Ltd. - who wants to put "the fear of God into these shifty-eyed little manufacturers." Magnum finds himself among the immigrant workers of the fur-merchant and is fleeced for some ten pounds by Polish workers with "hard-luck stories," but what is really interesting is the who-and why behind the fire. It anticipates a famously obscure story by a full decade. I won't exactly say which story, but you can find it in this anthology.

Finally, there's "Red Herrings," also published as "The Disappearance of Mr. Holsworthy" in Blue Book of January 1915, which is another one of Rittenberg's kidnap tales, but this particular story has some interesting aspects that even I found fascinating. Mr. Holsworthy is the Home Secretary and his captors snatch from the streets of London in broad daylight, but what is really astounding are the ransom demands and instructions from his captors – which are both startling and ingenious. They don't want cash money, gold, silver or diamonds, but "a hundred thousand pounds' worth of radium" that "could be comfortably carried in a waistcoat pocket" and "disposed of in driblets in any part of the civilized world." But the true genius is in the delivery method: the radium was to be attached to four carrier pigeons that were to be released in a flock of fifty others. The pigeons would be delivered to the office of a leading newspaper and the method is basically full-proof.

Unfortunately, Magnum never had to proof how smart he really is by figuring out a way to tail the bird, because the government refused to pay the ransom. It would set a dangerous precedent. So the only way out for him was being found before the kidnappers decided to get rid of him. A story with a lot of promise, but Rittenberg took the easy way out. Nevertheless, still an interesting story and in particular how they snatched the Home Secretary from a busy street.

So, all in all, The Invisible Bullet and Other Strange Cases of Magnum, Scientific Consultant is a solid and historically interesting collection of detective stories from the period between the Doylean Era and the Golden Age. Naturally, not every single story within its pages is a paradigm of fair play, but, as said before, these stories fell between eras. A time when the rules and concept of fair play were not yet clearly defines. However, that makes some of the entries all the more impressive, because they took the first steps on that new path the genre was taking. Steps that were, at the time, also taken by likes of R. Austin Freeman, G.K. Chesterton, Edwin Balmer and Arthur B. Reeve. I think many would consider that to be excellent company to find yourself in.

I also want to point out that the stories within this collection can easily be placed alongside those in similar themed-volumes of short stories, which include L.T. Meade's A Master of Mysteries (1898), Arthur Porges' The Curious Cases of Cyriack Skinner Grey (2009) and Vincent Cornier's The Duel of Shadows: The Extraordinary Cases of Barnabas Hildreth (2011).

Well, so far another bloated review of a short story collection. I tried to keep it short, but there you go. I might have something shorter for my next blog-post. Maybe.

11/17/16

The Stone and the Moth


"One man's flower is another man's weed."
- Nero Wolfe (Rex Stout's Over My Dead Body, 1940) 
Frederick "Fred" M. White was a multifaceted author who reputedly was a pioneering presence in the espionage genre and an early practitioner of disaster fiction (e.g. The Doom of London, 1903), but also labored in the field of detective fiction when the genre was between two epochs – transitioning from the Gaslight Era into the Golden Age. Regardless, these achievements have not resulted in ever-lasting name recognition and I would not have been aware of White if it weren't for a special mention in Locked Room Murders (1991).

Robert Adey mentioned in his introduction, when discussion The Victorians (1890-1901), "a strange sense of precognition" about White's Who Killed James Trent? (1901), serialized in Pearson's Weekly, which has a rising young novelist as its protagonist – named Jasper Carr! A wonderful coincidence and "an unconscious pointer to an author yet to come," but copies of this locked room tale are hard to come by. So I decided to take a gander at his other impossible crime novel.


The Cardinal Moth (1905) originally appeared in a London evening newspaper, The Star, which ran the story as a serial from December 1903 to January 1904. A year later, the story was republished in book form, under the same title, but was given a subtitle, The Accused Orchid, which is redundant as both titles refer to the same thing. Namely a very rare, legendary and absolutely unique flower. One that has come to be closely associated with death.

The legendary orchid, known as the Cardinal or Crimson Moth, is described as "a flower on a flower" with "a large cluster of whitey-pink blossoms with little red blooms hovering over like a cloud of scarlet moths." Once upon a time, the flower guarded the roof of the Temple of Ghan, situated in the fictional Kingdom of Koordstan, but the shrine was also used as an execution place for (political) criminals. All of those who were condemned were given the Herculean task of climbing to the roof and pick a flower from the Moth, which they had to after being locked inside the temple and when the priests outside finished their prayer the door was opened – only to find the condemned man on the floor with "the marks of great hairy hands about him."

Sometimes it was the neck that was broken or they had died from strangulation, but there were also cases of men who had their chest crushed in "as if a great giant had done it." It sounds like the premise of a Paul Doherty novel or the back story for one of Paul Halter's fanciful plots! And the flower seems to have lost nothing of its power when a specimen of the long-lost flower turns up in England.

Sir Clement Frobisher was "that rare bird amongst high-born species," a man who made his own fortune, but was reputedly booted out of the diplomatic service after being involved in an affair concerning Turkish Bonds. Simply put, Sir Clement was a bit of a rogue. A rogue who knew how to be charming and appreciate a good opponent, but a rogue nonetheless and one who sees his love for flowers as "the only weakness that Providence had vouchsafed to him" – which resulted in a hundred-thousand pound investment in a treasure filled orchid-house.

The glass house is a small paradise of bright, vivid colors and a sea of floral fragrances, located smack dab in the middle of Piccadilly, but one evening, a genuine treasure is practically given to Sir Clement.

Paul Lopez is a high-class a scoundrel, "a star of the first magnitude," who Sir Clement deems worthy enough to be his rival and Lopez brings him the coveted Cardinal Moth. A flower assumed to be extinct and consigned to the myths of a far-away land, but Lopez brought the orchid collector a living specimen. And what does the scoundrel want in return? He merely wants an alibi. So, a very small price in exchange for such a rare specimen, but his Armenian servant, Hafid, implores his master to “take it and burn it at once.”  

Of course, The Cardinal Moth delivers on its reputation when a dead man is found in the orchid-house, "strangled by a coarse cloth twisted about his throat," but nobody seems to have been able to commit the murder. The house was securely locked from the inside and everyone who was present could be accounted for. It makes for a tantalizing situation, but one that's shoved to the background in favor of a second plot-thread that involves a royal gemstone.

The Shan is the Westernized monarch of Koordstan, home of the fabled flower, but the Kingdom also has the Blue Stone of Ghan: a precious ruby and "a talisman that every Shan of Koordstan is never supposed to be without," because one side of the stone is engraved and used as for sealing state documents. But the most importantly is that the stone is a symbol of the Shan’s claim to the throne to the tribes of his land. There is, however, one problem: the Shan is prone to the vices of the West and is generally hard up. So he pledged the stone to a notorious money-lender, Aaron Benstein, who allows his wife, Isa Benstein, to wear the jewels polite society pawned with him to social gatherings.

Well, the work done by various characters, most of them tied "the orchid mystery," to ensure the Shan can produce the royal stone and safeguard his throne makes for an unusual alliance, but also makes The Cardinal Moth hard to pigeonhole. You can hardly describe the book as a traditionally-structured detective story. Even by the standards of the early 1900s, but neither can it be described as a thriller or an espionage story. I guess the final chapters can be described as courtroom fiction, when the orchid-deaths are explained during an inquest on the bodies, but the plot is largely about two problems that a number of people try to resolve – without conforming to any of the patterns or sub-categories of crime-and detective fiction. It almost sounds dull, but the cast of colorful characters and exotic plot ingredients took care of that. So, yeah, a very unusual, but interesting, read that fans of early twentieth century popular fiction will probably enjoy the most.  

Finally, I should mention the locked room elements: White showed he possessed a fertile imagination and this was reflected in the impossible situations, which moved away from the secret passages, unknown poisons and deadly animals that had dominated such impossible crime stories during the nineteenth century. A path that was abandoned by L.T. Meade and Robert Eustace in A Master of Mysteries (1898), which contains one or two short stories that can be considered literary relatives of The Cardinal Moth

My sole complaint is that I don’t find it believable that the method would work (successfully) more than once. Let alone having a success rate dating back more than a thousand years.

11/13/16

Dark Are the Days of Winter


"There is, at Christmas, a spirit of goodwill. It is, as you say, "the thing to do." Old quarrels are patched up, those who have disagreed consent to agree once more, even if it is only temporarily."
- Hercule Poirot (Agatha Christie's Murder for Christmas, 1938)
Back in May, I reviewed Resorting to Murder: Holiday Mysteries (2015), edited by Martin Edwards, who is known as an award-winning crime novelist, genre-historian and the author of The Golden Age of Murder (2015), but now Edwards is building a reputation as the resident anthologist of the British Library Crime Classics – compiling a rapidly growing number of themed mystery anthologies for them.

Thus far, the stack includes Capital Crimes: London Mysteries (2015), Murder at the Manor: Country House Mysteries (2016) and Serpents in Eden: Countryside Crimes (2016), but potentially the best collection of short stories is still in the pipeline: Miraculous Mysteries: Locked Room Murders and Impossible Crimes (2017). But that anthology won't be released for another six or seven months. So, for the moment, I will have to make do with what has already been published, which brings us to the subject of today's blog-post.

Crimson Snow: Winter Mysteries (2016) is an offering of "vintage crime stories set in winter" and a sequel, of sorts, to Silent Nights: Christmas Mysteries (2015), which became "one of the UK's fastest-selling crime anthologies" and this lead to the commission of a second compendium of wintry tales – as there's "no denying that the supposed season of goodwill" is "a time of year that lends itself to detective fiction." Edwards succeeded in cobbling together a collection of rare, interesting and often excellent detective stories breathing the spirit of Yuletide. Let's take these stories down from the top.

Fergus Hume's "The Ghost’s Touch," culled from the pages of The Dancer in Red (1906), acts as this collection's curtain-raiser and some aspects of the plot anticipates John Dickson Carr's other famous radio-play, "The Devil’s Saint," which has several versions – two of them I discussed here and here. Hume's story is narrated by Dr. Lascelles, who relates the terrible Christmas of 1893, when he accompanied a friend, Percy Ringan, to his ancestral home. Percy's father accumulated wealth as a gold prospector in Australia, but his poorer cousin, Frank, inherited the family title and estate. So their relationship is both familial and mutually beneficial.

Frank invited both of them to spend Christmas at the Ringan estate, Ringshaw Grange, which resembles "the labyrinth of Daedalus" and has a cursed chamber, the Blue Room, haunted by the ghost of Lady Joan – who reputedly touches occupants of the room "who were foredoomed to death." As to be expected, one of the cousins decide to sleep in the Blue Room, but Dr. Lascelles intervenes in their plans and effectively demonstrates the mortality of the accursed ghost of the room. Not really a rug puller of a detective story, but a good, solid example from "The Room That Kills" category (i.e. a ghost story with a logical explanation).

The second story comes from "The King Kong of the Thriller," Edgar Wallace, whose predilection for lurid sensationalism and hoary dramatics has a repellent effect on me, but the few short stories I read seem to contradict his reputation as a writer of dated melodrama – which is certainly true for "The Chopham Affair." 

Originally, the story was published in one of Wallace's own collections, The Woman from the East (1934), and can be described as a crime story with a twist: one of the main characters of the tale is an old-fashioned rogue, "Alphonse or Alphonso Riebiera," who passes himself off as a Spaniard, but has a passport from one of those shady South American republics. Riebiera eked out a living as a blackmailer of women of rich husbands and turned this in "a well-organized business," but one day, the husband of one of his victims accidentally receives a blackmail note. As a result, the husband decides (as Sherlock Holmes would call it) to extract some private revenge. However, this result in an unusual and hard to explain situation: the blackmailer is found in the snow, shot through the head, alongside the body of a car thief. How this situation came about is the twist in the tail of the story. I liked it and should try one of his full-length novels in the not so distant future.

Margery Allingham's "The Man with the Sack" was first published as "The Case of the Man with the Sack" in a 1936 issue of the illustrious Strand Magazine, which plays a familiar tune on the theme of stolen jewels during a Christmas house party. Reluctantly, Mr. Albert Campion accepts Lady Turrett's invitation to come to Pharaoh's Court on Christmas Eve, because she fears one of her guests, Ada Welkin, is in danger of being relieved from her valuables. Campion is, however, unable to prevent the place from being burglarized, but promptly identifies the guilty person and finds the place where this person stowed away the loot. It's not one of the most original short stories in this anthology, but good and competent enough for what it is.

S.C. Roberts was a renowned publisher and a distinguished Sherlockian, who once played a round of golf with Conan Doyle, which was enough to brag about as a fanboy, but Roberts also wrote and published several pastiches – one of those stories, "The Case of the Megatherium Thefts," is apparently very good. However, the Sherlockian pastiche that's collected here is a short stage-play, "Christmas Eve," in which a problem is brought to Holmes and Watson by Miss Violet de Vinne. She acted as a secretary to Lady Barton, "the owner of a very wonderful pearl necklace," but the pearls have gone missing. Holmes immediately sees there’s a second story hidden beneath her account and cleverly ferrets the truth out of her.

The resolution of the case tore a page from "The Adventure of the Blue Carbuncle," from The Adventures of Sherlock Holmes (1892), which also happened to be a Christmas-time story about a lost gemstone. As a matter of fact, I think that story may very well be the arch-type of these festive tales about stolen and/or lost stones.

One of the main reasons for jumping on this anthology is the next novella-length story: Victor Gunn's "Death in December," originally published in Ironsides Sees Red (1948), which is an impossible crime tale set in a snowbound castle during Christmas – solved by a wonderful character in the mold of Sir Henry Merrivale, Andy Dalziel and Arthur Bryant.

Chief Inspector Bill "Ironsides" Cromwell, or simply "Old Iron," is a grumpy character who is dragged by his highborn subordinate, Johnny Lister, to the ancestral seat of his family. A place as dark and gloomy as the past, named Cloon Castle, perched on the top of desolate mountain in the Peak District. So "Old Iron" had enough material to grumble for the entire length of the journey, but, upon their arrival, the holiday is slowly turning into a busman's holiday for the two. On the driveway of the castle, they saw "an extraordinary figure," garbed in a dark cloak, stumbling across a snowy field and vanish, but the figure failed to leave any footprints in his wake. And this would not be the only apparently supernatural event at the castle.

Cloon Castle has one of those haunted rooms, known as the Death Room, but the head of family, General Lister, refuses to tell the back-story of the room to his guests. However, this fails to dampen the enthusiasm of the house party and one of them ends up sleeping in the haunted room. As is pointed out in the story, these experiments usually end with the house party finding "the occupant of the haunted room stretched out cold and stark on the floor," but this time around the events take a different turn: a blood-spattered corpse appears inside the room in the middle of the night. But when everyone goes back to check, the body has vanished and not a trace of blood is found on the floor! This cannot be tagged as a locked room, but how the bloodstains vanished can be marked as an impossible situation.

The subsequent investigation by "Old Iron" was quite fun, which lead from the Death Room to "a cold, gloomy, family crypt" and back to his bedroom where a nasty surprise was waiting, but I have a bone to pick about the impossible situation regarding the footprints. I do not believe the trick would leave behind a spotless field of unbroken snow and it would be very easy to make a slipup in its execution, which would ruin the whole effect. All in all, I liked this novella and have written Victor Gunn down as a person of interest for the near future.

Christopher Bush's "Murder at Christmas" was first published in 1951, in The Illustrated London News, under the title "The Holly Bears a Berry," which features his series-character, Ludovic Travers, who is spending Christmas-weekend as the house guest of the Chief Constable of Worbury – which is usually a quiet, peaceful place. However, one of the neighboring inhabitants is a rather notorious characters and an ex-convict, named John Block Brewse, who was "the last of the line of financial swindlers." So hardly surprising when someone strangles him to death in the nearby woods and Travers solves the case by smashing the murderer's alibi to pieces, but I always wonder if these alibi-tricks work when you have to manually strangle the victim. Otherwise, a fairly good short-short detective story.

The next entry in this anthology is also a fairly short-short story, but one that quickly became a favorite of mine, "Off the Tiles" by Ianthe Jerrold, who also authored the magnificent Dead Man's Quarry (1930) and the splendid There May Be Danger (1948). Jerrold has undergone a personal renaissance, after all four of her mystery novels were reissued by the Dean Street Press, which were supplemented during the 1950s with a handful of short detective stories in The London Mystery Magazine.

This one is a great showcase of her talent as a writer, as well as a demonstration of her cleverness, as Inspector James Quy investigates the deadly fall of a woman from a roof onto the street below. Was it an accident or a cleverly contrived murder? The plot that Quy uncovers is fairly original and one that could be considered both a success as well as an abject failure. So I really hope all of Jerrold's short stories gets gathered in a single volume. I would love to read more from her.  

Macdonald Hastings' "Mr. Cork's Secret" was printed in the December, 1952 issue of the monthly magazine of Lilliput magazine, which was offered as a Christmas competition and promised a reward of 150 pounds to everyone who could deduce the titular secret. The solution and winners were announced several months later. Interestingly, Edwards posted the answer to the secret at the end of the book. So you can try and challenge yourself. Plot-wise, this twist in the tail turned this fairly ordinary crime story into one of the best and most original Christmas stories about stolen jewelry. A genuinely clever piece that involves bloodied corpse in a hotel room, several famous thespians, a newspaper reporter and a well-mannered burglar. A very fun and eventually clever story.

Unfortunately, I did not care all that much for the next pair of stories, Julian Symons' "The Santa Claus Club" and Michael Gilbert "Deep and Crisp and Even," which is convenient excuse to skip them and not further bloat this blog-post.

Finally, the last entry, Josephine Bell's "The Carol Singers," was first published in Murder Under the Mistletoe (1992) and the story ends this collection on a fairly dark, grim and sad note – even for a collection of detective stories about bloody murder and thievery. Old Mrs. Fairlands occupies the ground floor flat of a converted Victorian family home, which once housed her entirely family and a domestic staff, but this became untenable by the late 1940s. So the house was converted and the floors rented out as apartments. The reader is also told how old age is catching up with the poor woman, who needs a solid hour to get dressed and sometimes too tired to make supper, which leaves her faint and thirsty, but the worst is yet to come.

Circumstances lead her to be all alone in the large house on Christmas, which provided an opportunity to a small group of home-invaders, pretending to be carol singers, to overtake Mrs. Fairlands. She was tied to a chair and gagged. And there she was left and eventually take her last, labored breathe after being completely "exhausted by pain, hunger and cold." It's even sadder when you realize the carol singers who did this were children! However, the ending showed Bell was not willing to plunge the reader in an all-encompassing darkness and provided a cop-out ending, but it remains a well-written, powerful and chilling story. In particular the part up until her death.

So, all in all, Crimson Snow is a nicely balanced collection of holiday-themed detective-and thriller stories, which managed to avoid all of the usual suspects and consists almost entirely of rarely anthologized short stories – even a couple of genuine rarities. And that's always a plus for these kind of short story collections. I really enjoyed breezing through all of these stories and will have to take a look at some of these other collections. I just hope I haven't breezed through this review too fast. By the end, it was basically just banging on the keyboard. 

Well, that's it for this blog-post and I'll try to lay-off the Christmas/wintry mysteries for now, because last year it actually burned me out.