It’s been a while since I last read anything by Ross Macdonald – an American writer who is now considered to be one of the leading proponents of hardboiled fiction. These novels typically feature a tough, unsentimental style of crime writing in which the protagonist – usually a private eye – battles against the systemic violence and corruption that exists within families, corporations and other powerful institutions. Several of Macdonald’s books feature Lew Archer – a detective with a conscience – a fundamentally decent man in pursuit of the truth, even though he’s almost certainly going to get roughed up along the way.
The Doomsters (1958) is book #7 in the Lew Archer series – a solid entry but probably not up there with the best. It does, however, contain some very interesting elements, enough to make it an essential part of the set for fans of the genre – more of this later. In addition, it also features several aspects that will be familiar to readers of the Archer novels. More specifically: twisted, dysfunctional families with dark secrets to hide; wayward children seemingly intent on manipulating situations for personal gain; highly damaged individuals with complex psychological issues; and finally, elements of greed, murder, blackmail and guilt.
As the novel opens, Archer is woken from his sleep by a caller at the door. The visitor is twenty-four-year-old Carl Hallman, an escapee from a mental institution who has been given Archer’s details by a mutual friend. While a pre-breakfast client is the last thing Archer needs at that particular moment, his curiosity gets the better of him and he invites the young man in.
Carl swiftly reveals that he was committed to the State Hospital shortly after the death of his wealthy father, Senator Hallman, some six months ago. Moreover, Carl’s elder brother, Jerry, doesn’t want Carl to be released – it turns out that Jerry, along with the family physician, Dr Gartland, was the driving force behind Carl’s incarceration. (While Carl’s wife, Mildred actually signed the relevant papers, the committal appears to have taken place following pressure from Jerry and Gartland.) According to Carl, it seems likely that Jerry and his wife Zinnie paid Dr Gartland to have him put away, possibly for the rest of his life, leaving Jerry free to benefit from the bulk of his father’s estate. There is even a suggestion that Jerry may have been involved in his father’s death – initially thought to have been due to heart failure, but the circumstances surrounding the incident could be considered suspicious.
Having digested all this, Archer persuades Carl to accompany him back to the hospital, leaving the detective free to do some digging. Tired and confused, Carl reluctantly agrees, only to overpower Archer en route, making off with the detective’s car in the process. With Carl on the run again, Archer finds himself embroiled in a complex web of manipulation and deceit. All too soon, Jerry is found dead – shot twice in the back with his mother’s old gun, a weapon thought to have been in Carl’s possession. Despite Carl being the chief suspect, Archer has enough sympathy for the young man to carry on investigating the situation – as far as Archer sees things, the powerful and corrupt may be trying to frame the damaged and vulnerable in this family.
I won’t dwell on the plot for too long, save to say that for the most part it’s pretty compelling with a good level of intrigue along the way. That said, the resolution to the various crimes feels somewhat convoluted and laboured, requiring several pages of explanation in the form of a confession of sorts.
Nevertheless, what makes this such an interesting entrant in the series is the degree of self-realisation Archer experiences towards the end of the investigation. Firstly, there is a sense that our protagonist is coming to terms with the fact that not everything in this world is black and white; there are shades of grey in the fight against crime, just as there are in so many other aspects of life.
I was an ex-cop, and the words came hard. I had to say them, though, if I didn’t want to be stuck for the rest of my life with the old black-and-white picture, the idea that there were just good people and bad people, and everything would be hunky-dory if the good people locked up the bad ones or wiped them out with small personalized nuclear weapons.
It was a very comforting idea, and bracing to the ego. For years I’d been using it to justify my own activities, fighting fire with fire and violence with violence, running on fool’s errands while the people died: a slightly earthbound Tarzan in a slightly paranoid jungle. Landscape with figure of a hairless ape.
It was time I traded the picture in on one that included a few of the finer shades. (pp. 237–238)
Secondly, Archer must face up to an element of culpability or guilt, specifically in relation to the crimes that have just taken place. It transpires that Archer was approached three years earlier by someone from his past – a man Archer didn’t want to associate with as it reminded him of former transgressions, things he had hoped to leave well behind. Had Archer listened to this man at the time then maybe some of the tragedies involved the Hallmans could have been prevented. It’s an interesting twist, one that ends the novel on a contemplative note.
As ever with Macdonald, there is some nice characterisation, especially with the female members of the family. In this scene, Archer is observing Mildred, Carl’s birdlike wife.
She listened with her head bowed, biting one knuckle like a doleful child. But there was nothing childish about the look she gave me. It held a startled awareness, as if she’d had to grow up in a hurry, painfully. I had a feeling that she was the one who had suffered most in the family trouble. There was resignation in her posture, and in the undertones of her voice: (p. 38)
The sense of place is evocative too, capturing the cultural ‘feel’ of the Southern California setting. (Archer’s world-weary demeanour is also conveyed here, particularly at the end of the passage.)
The Red Barn was a many-windowed building which stood in the center of a blacktop lot on the corner. Its squat pentagonal structure was accentuated by neon tubing along the eaves and corners. Inside this brilliant red cage, a tall-hatted short-order cook kept several waitresses running between his counter and the cars in the lot. The waitresses wore red uniforms and little red caps which made them look like bellhops in skirts. The blended odors of gasoline fumes and frying grease changed in my nostrils to a foolish old hot-rod sorrow, nostalgia for other drive-ins along roads I knew in prewar places before people started dying on me. (p. 174)
So, in summary – not a perfect entrant in the Lew Archer series, but an intriguing one nonetheless. One for completists, perhaps?
The Doomsters is published by Vintage Crime / Black Lizard; personal copy.