Tag Archives: British Library

Two terrific vintage mysteries by Josephine Bell and John Dickson Carr (British Library Crime Classics)

Some fairly brief thoughts on a couple of very enjoyable mysteries from the British Library Crime Classics series – both set in London, both initially published in the 1930s, but very different from one another in terms of style.

The Port of London Murders by Josephine Bell (1938)

A dark and gritty mystery set amidst the London docklands, a location steeped in atmosphere and squalor.

When local resident Harry Reed rescues June Harvey and her young brother, Leslie, in a riverside accident, all three become embroiled in a network of shady events in the heart of the community…

An unemployed former dressmaker, Mary Holland, is found dead in her lodgings, presumably from suicide given the bottle of Lysol found nearby. Nevertheless, when Detective Sergeant Chandler begins to investigate, he quickly establishes that the case might not be quite as simple as it first appeared. A post mortem reveals traces of heroin in Mrs Holland’s body, but no syringes were found in her room, a point that the detective finds puzzling to say the least.

Events take a more sinister turn when Sergeant Chandler himself disappears without a trace, possibly having discovered some vital clues to the case. As a consequence, Inspector Mitchell of Scotland Yard is called in to take over the investigation, including the question of whether these incidents are connected.

What follows is less a whodunnit (the guilty parties are all pretty clear early on), but more an exploration of the criminal network, complete with all its threads and complexities. Murder is not the only crime being committed here. There are instances of blackmail, drug smuggling, shady importation deals and other nefarious activities, with chiffon nighties passing from one part of the dubious chain to another.

Where this mystery really excels is in the portrayal of dockside neighbourhood, the dark, grimy streets, the fog-bound quayside, and the shabby houses due to be demolished once the remaining tenants are evicted.

The light faded rapidly as the Fatima churned upstream. The fog was patchy now, for the wind had risen and cleared those parts of the river where the banks were low and the water exposed. Here the boats could move freely, guided by one another’s lights and the various familiar landmarks on shore. The intervening banks of fog, by contrast, seemed all the thicker and more menacing. (p. 65)

Bell captures the lives of her working-class characters with just the right notes of sympathy and compassion, illustrating their day-to-day troubles and preoccupations in a very believable way. These are ordinary, everyday people living in dismal conditions, often relying on Public Assistance as a vital part of their welfare.

Bell has created some memorable figures amongst her large cast of disparate individuals, whose lives intertwine as the narrative unravels. June Harvey and her younger brother, Leslie, are particularly engaging – the latter drawing on his curiosity and enthusiasm to assist the police with their enquiries. The more upmarket criminals are equally well portrayed, illustrating both their weaknesses and their ruthlessness when faced with adversity. Alongside the darkness of the narrative there are some lighter moments too, touches of humour in the feuds between neighbouring families, and in the views of Sergeant Welsford, Inspector Mitchell’s rather presumptive sidekick.

In summary then, this is a very enjoyable mystery, strong on authenticity and atmosphere. Definitely one I would recommend to other readers with an interest in this period.

The Lost Gallows by John Dickson Carr (1931)

This colourful mystery, written when Carr was just twenty-four-years old, is an altogether more melodramatic affair than Bell’s Port of London. Almost Victorian Gothic in style, The Lost Gallows is a hugely enjoyable revenge story, primarily set in a notorious gentlemen’s club in central London.

When the Parisian detective, Henri Bencolin, meets up with his old friend, Sir John Landervorne, at London’s Brimstone Club, he is quickly drawn into a complex mystery involving another club resident, the Egyptian, Nezam El Moulk. In recent weeks, El Moulk has been spooked by the appearance of a series of macabre items at the club, the latest of which is a tiny model of a gallows, sent directly to the Egyptian by post. It seems the perpetrator is operating under the pseudonym ‘Jack Ketch’, a nickname or common shorthand for the public hangman, but his real identity is a closely guarded secret.

The main mystery that Bencolin must turn his mind to here is to identify Jack Ketch, who seems to be seeking revenge for a crime allegedly committed by El Moulk some ten years earlier. In short, the race is on to find Ketch before he can claim payback, presumably on the 10th anniversary of the original deed.

Also swirling around in the mix are several other gruesome incidents for Bencolin to get his teeth into. The sighting of a shadow showing a man ascending the gallows; the mystery of the infamous ‘Ruination Street’, a location that cannot be found on any London map; the vision of a car being driven by a corpse. These are just some of the ghastly goings-on at play here.

It loomed up out of Jermyn Street soundlessly. Distorted by the muddy fog, it had a devilish life of its own, and its staring lamps bounded towards me as I turned. I heard the officer’s cry and the shrilling of his whistle. Then the great green limousine swept past me into the Haymarket. (p. 34)

This is a complex mystery with a lot going on, particularly in the first half of the book. Nevertheless, these seemingly disparate threads do eventually come together as the narrative approaches its end. As in Bell’s mystery, the London location is vividly portrayed, the city bustling with activity amid the fog-bound streets.

London that night was a wet chaos of fog, screeching with taxis and smeared on the sky with a blur of electric signs round Piccadilly. But as we turned down the Haymarket, there was a sense of intimacy crowded into these dun-coloured walls. The heavy-footed traffic rumbling past, the shine of light on wet pavements—clank, babble, shrill policeman’s whistle, and loom of big arm in water-proof—all carried a suggestion of companionship through mere virtue of the fog. It was not until we entered the theatre, until the house darkened and the curtain rose on that pale mimic world of terror which was Vautrelle’s play, that the afternoon’s devils returned… (p. 31)

There is a real sense of melodrama in Carr’s portrayal of events as the ghoulish atmosphere is dialled up at every given opportunity. And while the characterisation is a little thin and clichéd in places, the actual story itself is never less than entertaining. Great fun for lovers of gothic-style mysteries, as long as they’re prepared to suspend belief!

My thanks to the British Library for kindly providing review copies.

Tea is so Intoxicating by Mary Essex

First published in 1950, Tea is so Intoxicating is another recent reissue in the British Library’s excellent Women Writers series, and it’s probably my favourite so far. Ostensibly the story of a couple’s quest to open a tea garden in an insular English village, Essex’s novel touches on various areas of British life in the years immediately following the Second World War. More specifically, it is a book about class, social attitudes, the pettiness of village life, and perhaps most importantly of all, the failure to recognise one’s own limitations.

The couple in question are David and Germayne Tompkins, who are relative newcomers to Wellhurst in Kent, the sort of village where everyone knows everyone else’s business. David is one of those men with big ambitions but precious little skills or knowledge to put his ideas into practice. He is also something of a self-conscious snob, forever envying other, more successful individuals for their achievements and contentment with life.

While recuperating from a short illness, David develops an obsession with cooking, convincing himself that he can produce dishes of the highest order when in fact his efforts are little short of disastrous. This, coupled with his experience in the accounts department of the Dolly Varden Cosy Tea Shops, Ltd., leads David to the view that he should open a tea garden in the grounds of the couple’s cottage – a rather primitive, poorly-equipped property that the Tompkinses have unwisely purchased at a knockdown price. Germayne, on the other hand, is somewhat dismayed at the prospect, fearful in the belief that poor David is getting carried away with himself…

She [Germayne] was dubious about the success of the proposed tea-house. But, meanwhile, David had launched himself out into the thought of selling lunches packed ready to take on the road with you, teas in the garden, teas in the inglenook, teas you took away with you, or teas you took away inside you. In fact, it was a comprehensive plan, and it covered every line of resistance that man could offer. His flights of fancy took him into realms of the type of lunch that no hiker or biker wants, but that did not worry him in the least. He would educate them. (p. 34)

Naturally, the villagers are opposed to the idea, viewing the Tompkinses as outsiders (or ‘foreigners’) who have no right to be opening a commercial venture in their back garden – especially one with the potential to attract all manner of hikers and bikers to the village, increasing the levels of noise and congestion. Mr Perch at the Dolphin is not happy about the proposal, mostly because his wife serves teas in the pub’s garden. The fact that there’s only enough space for four people in the Perches’ tiny outdoor area is neither here nor there.

David went to elaborate efforts to hide his true intentions. He explained that there was no question of competition at all, because he was catering only for the better-class tea-seeker; his Cherry Tree Cot would appeal only to the more sensitive with its fine china, delicate sandwiches, and home-made cakes. Naturally this did not mollify Mr Perch, who knew privately that his wife’s teas were shockers, and that any kind of competition would be too much for him. (pp. 52–53)

David doesn’t exactly endear himself to the locals when explaining to Mr Perch how their respective tea gardens are aiming for very different sectors of the market, his snobbishness and lack of self-awareness coming firmly to the fore. To compound matters, there is also the question of the Tompkinses’ relationship, a source of significant scandal and gossip amongst the villagers.

As it turns out, David and Germayne were not married to one another on their arrival at Wellhurst, Germayne having left her first husband, the dull but dependable Digby, for the more entrepreneurial David. In time, a divorce was secured, allowing David and Germayne to get married on the quiet, away from prying eyes. Nevertheless, somehow or other, these developments have become common knowledge, giving the residents of Wellhurst something else to disapprove of alongside the tea garden itself.

As the novel plays out, we see just how much of a mess David gets himself into as preparations for the Cherry Tree Cot lurch from one catastrophe to another. His lack of common sense and inability to get to grips with the practicalities come together to form the perfect storm – almost literally. Meanwhile, Germayne is at the end of her tether, run ragged by David’s ineptitude and blinkered vision. Add to the mix a flirtatious baker from Vienna (Mimi) and Germayne’s precocious daughter, Ducks, from her marriage to Digby, and the stage is set for all manner of chaos.

Alongside the high jinks of the tea shop, Essex also has time to touch on the social changes sweeping through Britain at the time, largely accelerated by the Second World War. Mrs Arbroath at the Manor – another vociferous opponent of David’s tea garden – bemoans the progressive nature of developments under the Labour government, desperately hoping to cling to the world of the past. Albeit rather lonely and tragic at heart, Mrs A is another blinkered individual whose snobbish attitudes reveal themselves all too clearly…

Mrs Arbroath steeled herself against what was coming to the world, and she clung on to her previous glory with two clutching hands. […] Her income had started to drop, which was the fault of that miserable surtax, which she had always thought was thieving, and she had had to sell a few fields. Instantly there had sprung up a pale mushroom growth of awful little houses, with asbestos roofs, which made her groan. She could do nothing about it, though she tried… (p. 87)

The story of Germayne’s earlier marriage to Digby is also nicely woven into the fabric of the book, granting Essex the opportunity to reflect on the relative merits of Germayne’s matrimonial matches. There is a message here about the value of dull yet dependable individuals over more exciting, erratic ones, something that prompts Germayne to reflect on the life she gave up with Digby. In all reality, perhaps the grass isn’t greener on the other side after all…

In short, I loved this highly amusing novel, complete with its insights into the trials and tribulations of tea gardens and village life. There is more than a hint of Barbara Pym’s social comedies here, with their sharp observations on human relationship and women’s lives – especially when the women in question are long-suffering individuals, frequently taken for granted by others. Penelope Fitzgerald’s The Bookshop is another touchstone, particularly in its portrayal of the villagers’ territorial attitudes and resistance to outsiders heralding change.

It’s such a joy to see this delightful novel back in print as part of the British Library’s Women Writers series, and I hope to see more of Mary Essex’s work coming through in the future. My thanks to the publishers for kindly providing a review copy. Should you wish to buy a copy of this book, you can do so via this link to Bookshop.org (see the disclosure on the home page of my website).

Fell Murder and Checkmate to Murder – two vintage mysteries by E. C. R. Lorac

Over the past few years, the British Library have been reissuing some of E. C. R. Lorac’s vintage mysteries as part of their marvellous Crime Classics series. (I jotted down a few thoughts about Fire in Thatch last summer, a book I very much enjoyed.) Lorac was the main pen-name adopted by Edith Caroline Rivett, who produced more than 60 novels between the 1930s and 1950s. Many of them featured the perceptive detective Chief Inspector Macdonald of the CID, including the two I’m reviewing here.

Fell Murder (1944)

The setting for this charming, unhurried mystery is the Lancashire countryside in the midst of World War Two, where the elderly Robert Garth is the head of one of the leading farming families in the district. Robert – a stubborn, hot-headed man by nature – is rather set in his ways, eschewing progressive developments in favour of more traditional farming methods. The old man’s obstinacy is a source of frustration for his daughter Marion, an industrious, hard-working woman who is keen to ensure that the estate remains profitable.

Also living at the farm are Robert’s second son, Charles, recently returned to England from Malaya, having lost pretty much everything; and a younger son, Malcolm, who is considered to be something of a weakling, more interested in poetry than working the land. The household is completed by Elizabeth Meldon, a switched-on Land Girl who helps with the farming activities.

Elizabeth Meldon studied her Garth kinsfolk with a cool dispassionate judgement. She saw the grim obstinacy of old Robert, for ever setting his face against any change: the energy and optimism of Marion, intent on learning new methods of farming and developing the land to its greatest fertility. In addition to the tug of war between Marion and her father was the constant irritation of the two ill-assorted brothers—Charles from Malaya, accustomed to native labour and as many cocktails as he cared to swallow, and Malcolm who was by nature more a poet than a farmer. “Never such a family of incompatibles,” said Elizabeth. (p. 32)

The novel opens with the return of Richard Garth, Robert’s oldest son, who left the district twenty-five years earlier following a disagreement with his father. The old patriarch had disapproved of his son’s choice of wife (now deceased), a rift that prompted Richard to move to Alberta to start a new life. Now Richard is back in England on a short break between sea voyages, not to see his family but to reconnect with the land he still loves very dearly. Nevertheless, when Robert Garth is found dead in one of the farm’s outbuildings, the sudden reappearance of the prodigal son seems all too suspicious…

Before long, Chief Inspector Macdonald of the CID is called in to investigate what clearly appears to be a murder. As is typically the case in these mysteries, there are plenty of potential suspects with various reasons for wanting the old man out the way – from Marion with her desire to have a greater say in running the farm to Richard with his long-standing grudge against his father to Charles who seems ill-suited to life on the estate.

What makes this mystery particularly engaging is the way Lorac portrays the farming community and local landscape. She writes lovingly about the details of day-to-day rural life during the war years, the rhythms and principles of working the land, and the blend of beauty and ruggedness of the terrain.

In Macdonald, Lorac has created a character with a deep understanding of country folk, particularly their fierce sense of community and suspicion of strangers. The detective seems to have an innate ability to connect with the locals, adapting his approach to gain their understanding and trust.

“…As I see it, coming here as a stranger, this crime is conditioned by the place. To understand the one you’ve got to study the other.” (p. 136)

In summary then, Fell Murder, is an enjoyable, leisurely mystery with a strong sense of place. Some readers might find the pace a bit slow and understated in tension, but I found it all rather charming. A very worthwhile entrant in the BLCC series.

Checkmate to Murder (1944)

Another wartime mystery, this one set in Hampstead on a miserable, foggy night.

As the novel opens, Lorac sets the scene in an artist’s studio where five individuals have gathered together for the evening. At one end of the main room, the temperamental artist Bruce Manaton is painting a portrait of his friend, André Delaunier, an actor dressed as a Cardinal, resplendent in his scarlet robes. Meanwhile, at the other end of the studio, two men are playing chess, wholly absorbed in the strategy of their game. Also present is Manaton’s sister, Rosanne, who shares the studio with her brother. Roseanne is preparing a meal for the party in the adjacent kitchen, slipping in and out to check on the blackout curtains and suchlike. It’s a scene somewhat reminiscent of the set-up in Hitchock’s Rope, where the housekeeper, Mrs Wilson, is helping with the preparations for the dinner party that forms the film’s centrepiece.

The Manatons’ gathering is interrupted by a Special Constable – a rather unpleasant chap named Verraby – who claims to have uncovered a murder on the premises. The victim is Mr Folliner, the owner of the building that houses the studio. Moreover, Verraby believes he has apprehended the perpetrator – Neil Folliner, the old man’s great-nephew, a Canadian soldier who just happened to be on the premises at the time.

At first, Verraby believes it is an open-and-shut case with Neil Folliner being the only possible suspect. However, when Chief Inspector Macdonald in brought in to investigate, the net of potential perpetrators widens, with the activities in the artist’s studio soon becoming the focus of attention. There are reports of old Mr Folliner having accumulated a lot of money before his death, all stashed away in a cash box in the house. However, there is no sign of the loot in the old man’s flat or on the alleged perpetrator, thereby creating another perplexing detail to add to the mix.

This is a very clever mystery in which points of detail prove crucial to unravelling the crime. From the position of the guests in the studio to the history of the building’s occupants to the weather and background noises – all these things play their part in the puzzle.

In Macdonald, Lorac has created a very engaging character, a detective who combines a thorough, dogged approach with a fair degree of humanity and sympathy. It is a delight to watch him go about his work. During his investigations, Macdonald is ably assisted by his colleagues, Jenkins and Reeves, both of whom add an element of camaraderie to the inquiry.

Finally, the wartime setting is beautifully evoked, creating an environment of suspicion, uncertainty and constrained resources – a situation well-suited to opportunistic crime. All in all, this is an absorbing, atmospheric mystery for a dark and foggy night – a most enjoyable contrast to the gentleness of Fell Murder.

My thanks to the publishers for kindly providing review copies. Should you wish to buy a copy of this book, you can do so via these links here and here to Bookshop.org (see the disclosure on the home page of my website). 

Dangerous Ages by Rose Macaulay

The English writer Rose Macaulay – whose work spans the first half of the 20th century – seems to be enjoying something of a renaissance at the moment. First with the Virago reissues of Crewe Train and The World My Wilderness, and subsequently with the more recent publication of some of her earlier work by Handheld Press and the British Library. Dangerous Ages – recently reissued by the BL as part of their beautiful Women Writers series – falls into the latter category. It is novel that considers the lives of women at various points in the lifecycle, the perpetual trajectory from birth to death.

Macaulay takes as her canvas various generations of one middle-class family, alighting on each of the women in turn to explore their hopes, preoccupations and in some cases their disappointments. It’s a novel where characterisation plays a prominent role, with emotions and outlook being more important than plot.

Central to the novel is Neville, who at forty-three is considering resuming her studies to be a doctor – an ambition she sidelined in favour of marriage and motherhood some twenty years earlier. Now that her children – Kay and Gerda – have grown up, Neville is conscious of not wanting to end up like her mother, Mrs Hilary, a woman whose life seems empty and purposeless.

Neville looked down the years; saw herself without Rodney, perhaps looking after her mother, who would then have become (strange, incredible thought, but who could say?) calm with the calm of age; Kay and Gerda married or working or both. …What then? Only she was better equipped than her mother for the fag-end of life; she had a serviceable brain and a sound education. She wouldn’t pass empty days at a seaside resort. She would work at something, and be interested. Interesting work and interesting friends–-her mother, by her very nature, could have neither, but was just clever enough to feel the want of them. The thing was to start some definite work now, before it was too late. (p. 21)

At sixty-three, Mrs Hilary is both too old and too young – caught in the no-man’s-land of middle age with little to focus on. Gardening, knitting or other such activities hold no interest for this woman – likewise parish work or other charitable pursuits. It is notable she is rereferred to as ‘Mrs. Hilary’ (and not ‘Emily’) throughout the book, a point that emphasises just how much of her identity has been defined by marriage and motherhood. Stuck in the fusty provincial resort of St. Mary’s Bay, Mrs Hilary bemoans the fact that no one seems interested in her life anymore. This lack of visibility feeds a degree of jealousy, particularly toward Nan, her younger daughter, whose life by comparison seems busy and vivid.

He was interested, thought Mrs. Hilary, in Nan, but not in her. That was natural, of course. No man would ever again want to hear stories of her childhood. The familiar bitterness rose and beat in her like a wave. Nan was thirty-three and she was sixty-three. Nan had men all about her, all being interested; she had only the women of St. Mary’s Bay. Nan could talk about Workers’ Education, even though, being selfish, she mightn’t want it, and Mrs. Hilary could only talk about old, unhappy, far-off things and fevers long ago, and the servants, and silly gossip about people, and general theories about conduct and life which sounded all right at first, but were exposed after two minutes as not having behind them the background of any knowledge or any brain. (p. 72)

Nan is a particularly interesting character in the book. A writer living in rooms in Chelsea, she is by nature an intelligent, cynical, sardonic creature – someone who goes her own way in life irrespective of conventional expectations. Nevertheless, there is a man in Nan’s life – an idealistic socialist by the name of Barry Briscoe, who manages a Workers’ Education Association in the city. Nan has long been the object of Barry’s affections; however, just when Nan decides that she will finally agree to marry Barry, he falls for Gerda (Neville’s daughter), who at twenty represents the modern face of womanhood.

Also featured in the novel is Grandmamma (another woman referred to only by her role), who in the twilight of her life is content for nature to take its course. In her own particular way, Grandmamma is cleverer and more fulfilled than her daughter, Mrs Hilary, with whom she shares a home.

Then there is Rosalind, the spiteful woman who is married to Mrs Hilary’s son, Gilbert – a literary critic of some note. Rosalind – whom Mrs H considers to be ‘fast’ and immoral – seems to delight in taunting her mother-in-law, preying on her obvious weaknesses and insecurities.

She [Rosalind] was pouring out tea.

“Lemon? But how dreadfully stupid of me! I’d forgotten you [Mrs Hilary] take milk…oh, yes; and sugar…”

She rang, and ordered sugar. Mothers take it; not the mothers of Rosalind’s world, but mothers’ meetings, and school treats, and mothers-in-law up from the seaside. (p. 75)

Rosalind has a habit of taking things up and dropping them just as quickly when they bore her, psychoanalysis being her current preoccupation. In short, she wishes to use the technique to analyse her mother-in-law’s ‘case’ with a view to identifying any underlying complexes. Initially, Mrs Hilary is disgusted by the notion; although ultimately, she experiments with analysis herself in the hope that it might illuminate a path to personal fulfilment.

What Macaulay does so well here is to capture the interactions between these individuals, with all their nuances and subtleties. She really is very skilled at conveying the challenges for women at different stages of their lives – the ‘dangerous ages’ of the book’s title.

In essence, the novel explores how best to find fulfilment in life, especially for a woman in middle age. Along the way the narrative touches on several topical issues of the day from the desirability or not of marriage (Gerda and Barry have opposing views on this point) to free love and lesbianism to the value of psychoanalysis. The novel was first published at a time when Freudianism was in fashion.

It’s lovely to see this engaging novel back in print as part of the ongoing Macaulay revival. My thanks to the publishers for kindly providing a review copy.

Death in White Pyjamas and Death Knows No Calendar by John Bude

Two highly entertaining Golden Age mysteries for the price of one here, lovingly reissued the British Library in one combined volume as part of their Crime Classics series. (My thanks to the publishers for kindly providing a review copy.)

Death in White Pyjamas (1944) is one of those lovely country house mysteries where everyone is a potential suspect, and the crime itself involves several unexpected twists. There is a wonderful theatrical quality to the narrative, partly because all the leading players are connected to the Beaumont, a modest repertory theatre off London’s West End. 

The theatre is largely financed by Sam Richardson, a generous, amiable businessman with an interest in the cultural arts. Having made his fortune in biscuits, Sam is using his money to prop up the Beaumont, endeavouring to broaden the audience and strengthen its reputation. Leading the creative side of the venture is theatrical director, Basil Barnes, a somewhat slippery character at heart. Nevertheless, despite his rather superior manner, Basil is very good at his job, frequently coaxing excellent performances from his diverse and temperamental cast.

Sam was pleasant to everybody. Basil was condescending. He always looked on actors and actresses, as he had explained to Mr. Richardson, as so much raw material, only some of it was rawer than the rest. (p. 19)

The action takes place in the summer as the members of the company gather together for initial rehearsals at Old Knolle, Sam’s country retreat. Rather conveniently, Basil has just purchased a cottage nearby, which he is in the process of refurbishing with the help of Deidre Lehaye, the talented stage designer who also works at the Beaumont. Deirdre too is quite the character. Cynical, provocative and barbed, she likes nothing more than to make mischief for other people, finding and exploiting their weaknesses for her own personal gain.

Deirdre smiled lazily. She loved discovering the chinks in other people’s armour and shooting her pretty feathered darts through the cracks. But Angela was easy, so very easy. It was much more fun drawing a bead on Basil because his armour, forged of a colossal self-conceit, was of a far tighter fit. In fact she often wondered if he appreciated her attempts to wound him. (p. 28)

Also present at the house are Angela, the innocent young ingenue from the provinces – one of Basil’s ‘discoveries’; Clara, the rather demanding established actress; Willy, the seasoned actor with a gambling habit; and Rudolph, the aspiring playwright who also happens to be Clara’s nephew.

Interestingly, the crime itself doesn’t take place until we’re about halfway through the novel, giving readers a chance to spend plenty of time with all the characters before one of them is dispatched. During a particularly eventful night, a body in white pyjamas is discovered by the lake at Old Knolle, prompting an investigation into the circumstances surrounding the death.

Bude has a lot of fun playing with some familiar character types here, and there are several potential motives for murder swirling around in the mix from blackmail to revenge to various jealousies. Once the identity of the victim becomes clear, it isn’t too difficult to work out who might have committed the deadly act. What’s more interesting, perhaps, is the unravelling of events leading up to the death. In other words, how the murder was carried out and the underlying reasons behind it.

In summary then, Death in White Pyjamas is a most enjoyable mystery with a theatrical twist – a story of late-night assignations, midnight wanderings and secrets under wraps.

Death Knows No Calendar (1942), is another hugely entertaining novel – a locked-room mystery with a devilishly clever twist. As with Death in White Pyjamas, the whodunit element of the crime is pretty easy to figure out, but the howdunit proves much trickier for the investigators to unravel. 

The setting for this one is Beckwood, the sort of village where everyone knows everyone else’s movements. Central to the narrative are John and Lydia Arundel, a married couple who live at the Oasts – a property incorporating an artist’s studio where Lydia paints portraits. John, by contrast, seems content to live on Lydia’s money, his former career on the stage having stalled some years earlier. Nevertheless, he retains the superficial charm of an actor, something that is noted by at least one other resident of Beckwood.

He’d never made a name for himself and he’d certainly made no money. His marriage with Lydia had hauled him at a single pull out of obscurity and poverty and set him up in Beckwood as a person of some consequence. Not that Arundel was a bad mixer or in any way a snob. On the contrary, he went out of his way to be pleasant to everybody in the parish. But that was just the point—this affability was not natural, it was assumed, cultivated, a part of the actor’s stock-in-trade. (pp. 231–232)

As the novel opens, the Arundels are hosting a party to christen their new bar, a traditional Edwardian-style saloon recently installed in the couple’s home. All the movers and shakers of Beckwood are there. The local rector, Peter Swale-Reid, clearly has some history with Lydia – a flamboyant woman who has attracted multiple admirers over the years. Stanley Hawkinge is another of the host’s casualties – a man who secretly carries a torch for Lydia in a kind of silent devotion. Also present are the party are Lady Dingle and her beautiful niece, Honoraria; and Major Boddy, a retired military man and lover of detective fiction. 

Late one afternoon, Lydia is found dead in her studio which had been locked from the inside – a practice she always observed when working. At first, the presence of a gun suggests suicide; however, as more details emerge, the possibility of foul play cannot be ruled out – at least for Major Boddy, who, with his enthusiasm for crime fiction, is something of an amateur sleuth. When the Coroner brings in a verdict of suicide, Boddy remains somewhat doubtful. So, ably assisted by former batman, Syd Gammon, the Major sets out to investigate the circumstances surrounding Lydia’s death to solve the puzzle himself.

Unsurprisingly, several suspects emerge, all with potential reasons for wanting Lydia silenced or out of the way. However, the real joy of this mystery lies not in the unravelling of the crime but in the manner of Major Boddy’s investigations. There’s plenty of amusing military-style banter here, particularly between the Major and his batman, Syd.

The morning after the inquest Major Boddy came to a decision. Breakfast over, he crossed into the lounge and rang for Syd Gammon.

“Look here, Gammon,” he said abruptly. “Going to take you into my confidence. Need your help.”

“Very good, sir.”

“What was your opinion of the Coroner’s verdict, eh? Don’t be tactful. I want the truth. Understand?” “Yes, sir. Quite, sir. Well, sir, it’s my fixed opinion that Mrs. Arundel was done in by second party.” “Ha! Exactly, Gammon! Now the question is, will you fall into line with me in an attempt to expose this second party, eh? Investigate on the Q.T., what? Keep our suspicions under our hat.”

“Very good, sir.” (p. 303)

Major Boddy makes a most engaging and perceptive sleuth as he goes about gathering evidence before sharing the results of his enquiries with the police. He’s a decent chap – kindly, tactful and level-headed, especially as various secrets begin to emerge.

All in all, this is another splendid mystery from Jon Bude – a tale of secret meetings, shifting identities and a smattering of romance. Ideal comfort reading in these strange, unsettling times.

My Husband Simon by Mollie Panter-Downes

A few years ago, I read and loved One Fine Day (1947), a beautifully-written novel about class, social change and the need to find new ways to live in the years following WW2. The novel was by Mollie Panter-Downes, an English writer who also acted as The New Yorker’s England correspondent/columnist for the duration of the war. Much of her early work has been out of print for several years; but in March, just as the lockdown was kicking in, The British Library reissued one of the early novels, My Husband Simon (1931), as part of their new Women Writers series. It’s an excellent book, one that brilliantly captures the tension arising from a writer’s desire to pursue her craft during the early years of marriage. 

The novel’s narrator is Nevis Falconer, a promising young author with a successful debut novel to her name. One weekend, while visiting friends in Burnham Beeches, Nevis meets Simon Quinn, an attractive, forceful young man who works in the city. Their attraction to one another is powerful, immediate and largely emotional. Right from the very start, Nevis knows that this will be more than just a casual meeting at a party. Simon has the potential to disrupt her life, forcing her to compromise on the one she has mapped out for herself – that of a writer with a promising career to look forward to. Nevertheless, the passion she feels for him proves hard to resist…

I wanted to get away from this cool stranger who was threatening the neat little plan of my life. That was quite clear from the beginning. I knew that if I married Simon I should have to fight hard for my work and my individuality. His personality was so strong that it might swamp me. Already I knew that he was obstinate and ruthless; that he liked very few of the things that I liked, and was ignorant as a savage about everything that I had been taught to respect. The thought of our life together appalled and fascinated me. (p. 11)

The couple’s courtship is equally swift and passionate. Having stopped off at a pub on the drive back to London, Simon and Nevis spend the night together, vowing to get married in spite of their obvious differences.

Fast-forward three years, and we find Nevis – a brittle twenty-four-year-old by this point – rather frustrated by the constraints of marriage. In truth, Simon detests pretty much everything that Nevis enjoys. He shows no interest in books, or in Nevis’s career as a writer for that matter, preferring instead to spend his time with business contacts and vacuous friends – people whom Nevis cuttingly refers to as ‘Good Chaps’. While Simon adores the countryside, Nevis craves the buzz of life in the city, causing the couple to compromise on their desired living arrangements.

Simon’s family is another source of antagonism for Nevis. In short, she views the Quinns as being somewhat beneath her, both socially and intellectually, their name representing an entire class of society in Nevis’s mind.

London was full of Quinns, eating saddle of mutton at handsome mahogany tables; going up the steps of good clubs and stepping out of quiet, expensive cars; thinking that “art” meant the Royal Academy, and “beauty” was the sort of wishy-washy, rubber-stamp, damageable prettiness that you see on the lid of a chocolate-box. (p. 29)

Simon’s mother-in-law would like nothing more than for Nevis to put aside any silly notions of writing in favour of having a baby – just like her daughter-in-law, Gwen, the gentle, domesticated wife of Simon’s brother, Adrian. Nevis, however, would rather die than live the life of Gwen with its quiet deference and lack of mental stimulation. 

As a consequence, Nevis and Simon’s marriage is a tempestuous one, with the couple oscillating between furious quarrels and passionate reconciliations on a daily basis.

It occurred to me that when we had first met we had circled round each other warily like prize-fighters looking for a weakness in the other’s guard. From the beginning there had been a faint sense of antagonism between us; the antagonism of two intensely egotistical people, neither of whom enjoyed the sensation of giving in. We both had black, unforgiving tempers. When we were not being wildly, ecstatically happy we were quarrelling; there were no tame half-measures with us. (p. 31)

Panter-Downes brilliantly captures the impassioned nature of this young couple’s relationship in a way that feels reminiscent of early Evelyn Waugh. I couldn’t help but be reminded of novels like Vile Bodies and A Handful of Dust as I was reading certain passages of the book.  

As the narrative unfolds, we gain an insight into the frustration Nevis feels at not being able to concentrate sufficiently on her craft. Writing is much more than an occupation for Nevis; in many respects, it is a way of life, one that has been clipped by her marriage to Simon. By now, she has published a second novel, but neither she nor her American publishers feel entirely happy with it. While technically speaking, it is a good book, the promise of her spirited debut is somewhat lacking. Moreover, when acquaintances ask how her next one is going, Nevis responds in characteristically sardonic style, refusing to suffer fools gladly for the sake of social graces.

“When are you going to give us another book, Mrs Quinn?”

I thought drearily, “Oh, hell!” If one happens to be a professional writer, there are always people who make a point of enquiring about one’s new book as though it were a child just recovering from scarlet fever. “How is the new book going?” Anxiety, polite interests, two pounds of the best black grapes. “Very nicely, thank you. We expect it to live now.” “Oh, I’m so glad! That’s splendid!” And, the unpleasant duty over, away the enquirer trips, so relieved, so thankful that the dear little sufferer is out of danger and soon going to appear in a nice new seven-and-sixpenny jacket. (pp. 175–176)

All this is thrown into sharp relief by the arrival of Nevis’s American publisher, Marcus Chard. At forty or thereabouts, Marcus is much older than Nevis, more experienced in publishing circles and the like. He sees that marriage is stifling Nevis’s creativity, smothering the promise shown in her first novel, a situation he urges her to address. As a consequence, Nevis comes to realise that she may have to choose between her marriage and her career, two competing passions that have proved challenging for her to reconcile. There is a sense too that Marcus’s interest in Nevis goes beyond the purely professional; he is attracted to her sharp mind and cutting wit, qualities that prove very stimulating to this American visitor.  

By penning My Husband Simon, Panter-Downes has given us a perceptive exploration of the challenges facing women writers in balancing their desire for creativity against the constraints of marriage. It is also a fascinating examination of the subtle differences in class that dictated the rules of society in the 1920s. The depictions of London life are glorious too.

I have to admit to being a little nervous of reading this one, fearing that it might not be up to the admittedly very high standards of MPD’s later work. However, I needn’t have worried at all. This is a terrific book, one that reminds me a little of Elizabeth Taylor’s debut novel, At Mrs Lippincote’s, which I wrote about here.