5 More Impossible ‘Thrillers’ to Try (Part 2)

In my last post I gave a list of 5 brilliant locked room mysteries from the golden age of crime fiction, or written in the golden age mould, that work as for runners to the ‘thriller’ genre. Page turning mysteries that never hold up on the pace.

IMG_4519

But as with all lists picking out just 5 was too difficult, and so many great books got missed out. So I thought why miss out, let’s do some more! So here are another 5 thrilling, high paced, page turning impossible crime works, to add to your list:

1 – Murder on the Way – Theodore Roscoe (1935)

Published originally as a serial under the title ‘The Grave Must Be Deep’ this is an absolutely rip-roaring mélange of impossible madness. Locked room shootings, lead to hovering guns, lead to impossible vanishings, lead to being buried alive, lead to a woman impossibly healed after being shot in the head, and that’s just a small selection of the book’s mysteries. Constant threat and a brilliant ticking-clock-set-up give this book it’s furious pace, and the maddening claustrophobia of being stuck in one house on one island (pre-Agatha Christie) make this into a perfect example of an early thriller. It is also a book of firsts: set in Haiti it must be one of the earliest golden age crime novels to have a totally mixed race cast, with most of the main characters being black, it is also one of the very first Zombie novels – not the kind of Zombie we know today, but in it’s original Haitian origins – and it opens with the phrase ‘funny queer not funny ha-ha’ which is original to Roscoe, and which thanks to him is now an everyday part of the English language. This book will be the subject matter of our next Men Who Explain Miracles podcast as my fellow podcaster and blogger JJ went on an amazing journey himself getting this book pack into publication.

2 – Captain Cut-Throat – John Dickson Carr

Set in 1805, during the assault by Napoleon on Britain, this is a stand alone Carr and is part impossible crime work, part spy novel and part historical thriller. A silent, invisible killer known as ‘Captain Cut-Throat’, with the ability to to kill without being seen is knifing sentries in the Napoleon’s vast battle-camp poised to sail on England.

Not being hugely drawn to historical works per-se I was totally surprised by this book. The natural flow of the narrative, and the tension built by Carr with every plot point meant that I couldn’t put it down. The impossible angle is played down but gives rise to everything that follows and creates terror among the sentries that makes for a brilliant sense of hysteria throughout. There are some of the best written scenes in any Carr book here, just for the their sheer pace and the depth of the contextual framework.

3 – The Judas Window – John Dickson Carr – as Carter Dickson (1938)

I am honestly trying not to have majority Carr works here, but he has so many good examples what can I say? He isn’t called the master of the locked room for nothing. The Judas Window is hailed as one of Carr’s best, and there is very good reason for that. I also think it’s another of his most thrilling. James Answell arranges to visit his future father-in-law, Avory Hume, at his London home. Hume pours drinks for the both of them in his strong room, fitted with metal shutters on the windows and a huge wooden door with sliding bolts. But after a few sips Answell begins to lose consciousness, finally passing out, his drink being drugged. When he wakes Hume is dead, stabbed with an trophy arrow taken from the back wall. Only Answell and Hume are in the room, and only Answell’s finger prints are on the arrow, all the windows and doors being locked from the inside. Answell says he is innocent and the only one who believes him is the magnanimous Sir Henry Merrivale.

The reason I add this one to the list is for the peril in which Answell finds himself, with the ticking clock of his arrest and impending trial in court, the closing chapters of which have to be one of the best and most fast paced court room drama’s there are. I was literally racing to the end to finish it on my first read.

4 – The Tokyo Zodiac Murders – Soji Shimada (1981)

Another master work from the land of the rising sun. A harrowing prologue sets the pace for a number of brilliant impossible crimes. Painter, serial womaniser and astrological obsessive Heikichi Umezawa is found dead in his studio, locked from the inside. Only his footprints are in the snow leading up to the door and he has a head wound inflicted by an object that is nowhere to be found. Upon his death his studio is searched and a manuscript is found containing an elaborate horrific plan for Umezawa to create the perfect woman, known to him as ‘Azoth’. He would create this woman by killing his daughters and step daughters, recomposing them. And you can see what’s coming next, even though he is now dead, his plan somehow begins to be carried out, and his daughters begin to go missing. Multiple modernist breakdowns and challenges to the reader are all the more maddening, but what makes me add this book to this list particularly is the use of horror to drive the plot. There are twisting moments that rely on some pretty chilling ideas to work, not used for the sake of making something horrific for shock value, but written as a natural development to all that has happened, and therefore all the more powerful.

5 – Big Bow Mystery – Israel Zangwill – (1892)

One of the first locked room mysteries proper, and a very early example of what are now considered both locked room and thriller staples. Mrs Drabdump, owner of a working class, east end boarding house pounds on the door of one of her lodgers, who unusually hasn’t risen from bed. The door locked on the inside she begins to be worried and calls in the expertise of her neighbour, the retired detective Mr George Grodman. Breaking down the door they find the young lodger dead in his bed, throat cut from ear to ear, all windows locked from the inside and no weapon to be found. This book is marvellously written and is a pitch perfect satire of class culture and the East End of London in the late 1800’s, from a man who lived and worked there, and was one of the first books to bring humour into a story of murder. This in many ways was born from the ‘sensation’ literature of the victorian era, but with fast paced, dark twists.

What makes this one a thriller in my opinion is the pitting of the old detective George Grodman against the young gun on the scene Edward Wimp, both of whom detest each other, battling it out with old and new methods of detection. The race to finish line becomes wild as the public outcry for justice builds, with crowds and riots in the street. The last few chapters, and indeed the last few lines are as thrilling as they come. The solution to the locked room was the first of it’s kind and has been imitated no end since.

Special Mention:

6 – Killer’s Wedge – Ed McBain (1959)

Well I couldn’t just do 5 could I? Killers Wedge sees Detective Steve Corella, out on the case of a creepy locked room murder. Back at the station Virginia Dodge walks into the 87th Precinct with a gun and a bottle of Nitroglycerin. One shot into the bottle, or one knock onto the floor is enough to blow the whole block sky high. Dodge plans to kill Corella, and stating that no one can come or go until he arrives she takes the entire station hostage. Taking a seat in the centre of the room, the bottle sits perilously on the edge of the table, and with no way of communicating with Corella or each other, the remaining officers must work out a way of getting to the bottle before Dodge can use it. The suspense is nail biting, and as the heat rises you are flying through the pages to see what happens. A number of perfectly timed phone calls and arrivals in the precinct up the ante all the more.

Why this is not in the main list is for the way the locked room plays into the plot. There was some discussion, between locked room aficionados JJ and TomCat in the comments of my last post, about how much it could be said that the locked room in Killer’s Wedge provides the thrilling element. In the rest of my list the impossible angle is the origin of the thriller narrative, where as here the locked room provides a reason for Corella not to be there but doesn’t necessarily play into the hold up back at the precinct. Having said that the complexity of the locked room, means that Corella doesn’t leave quickly (which you are desperate for him to do), although again this could be any complicated crime to keep him away.

However what I think does make the locked room a thrilling element in this book, is how it works on it’s own merit. What is revealed as the door is broken down stays with you for a long time. Also the solution is one of my favourites, and this book has pride of place in my locked room collection.

So there we have it, another 6 books to fill your shelves with. I do not apologise in anyway for burdening you with for books to add to your list.

Anymore recommendations from readers? Any more great thrillers from the golden age or in the golden age mould to try?

Advertisements

5 Impossible Crime ‘Thrillers’ to try

I got wondering recently – after writing on a new Spanish locked room cinematic piece and asking if thrillers and locked rooms can work together – what where my favourite examples of ‘thrilling’ detective fiction?

IMG_4478 3

What I mean here is the kind of golden age pieces that read like modern thrillers or that set the path for modern thrillers. Not so much in that they deal with the psychology of the killer or are as brutal and depraved as can be (although there are plenty of examples of that in the golden age, I’m looking at you Endless Night), but that they run at lightning pace as real page turners that hit the ground running and never stop.

The difficulty that comes up in blending both the thriller and the locked room seems to be that in trying to combine them, one usually gets left behind in the wake of the other. The necessary high level of pace and the need for twist after twist of a thriller can negate the intricate, methodical nature of a locked room, and (as with Contratiempo) can mean that the ultimate solution to the locked room is underwhelming or not well thought out. In the reverse, the necessarily fair, open and highly composed nature of the solid locked room can – in the hands of some writers – lesser the constant threat needed to create a ‘thriller’ proper.

Both of these genres, Locked Room and Thriller, have their own rules and needs that  allow them to operate fully in they context that they have built over these many fine years. But genres can be broken, played with and can be misleading as well.

So, with this in mind, here are 5 locked room mysteries that for me combine something of both elements with flair. Locked rooms that operate within the fair play golden age genre or mould, but that crank up the thrilling elements. We could say they are possibly more ‘thrilling’ than ‘thriller’, but I want to give you a few examples of pieces that I think show the capacity for pure pace and twist in a locked room format, many of which predate the thriller genre itself:

1 – Till Death Do us Part – John Dickson Carr (1944) 

I mean this is obvious isn’t it? If you have never read this book, and especially if you are new to Carr, this is one to go to. For me it is one of the most thrilling works of GAD fiction, and is proved by the fact that I simply cannot tell you anything about it. I can’t spoil anything, everything has to be experienced fresh. What I can say is that this is fired from the gun and never slows for breath. This left me wondering around for a few days bewildered and gobsmacked (and not many books in any genre do that for me), and is possibly the only book of detective fiction that on finishing I could have immediately picked up and started again. What I can say is that the level of twist, and the maddening psychology of the book, read like an early thriller, and it’s the context in which Carr builds the locked room, which is still intricate, fair and methodical, which allows the locked room itself to be a central giver of pace and psychology within the story. I wrote a little more on this work here.

2 – She Died A Lady – John Dickson Carr (1943) 

No it’s not going to be a whole list of just Carr’s work (although it probably could be!), but this is another fine example of plot and impossibility creating pace. Again I wont say too much here as this is another to experience fresh, but what I will say is that just when you think you know what is happening Carr knocks you side ways, takes you somewhere totally different, but then reveals that it all makes sense with what has come before. This leads, through a lovely and unexpected character interaction, to one of the most page turning, high paced endings of Carr’s work, and of the Golden Age cannon. There, I’ve said enough! If you do want a little more context you can read more of my thoughts here.

3 – Through A Glass Darkly – Helen McCloy (1951) 

A classic impossible work, and a book that really straddles the genres of early thriller and horror with the hook and mystery of an impossibility. Faustina Coyle starts a new job at an exclusive girls school, but after a few days all the girls seem to be afraid of her, teachers hurry away, a culture of fear is building up around her. When she finds out that she is being seen in two places at once, and that when the second version of her appears she drops into a slowed trance like state, she is totally at odds to explain it. But this only the start of the horror. Again I think what makes this work is that the central mystery is so entwined with the elements of horror that one gives rise to the other rather than negating the other. And the final solution, although giving a rational and plausible ending, rather than stripping away horror makes it all the more horrific. That my friends, is not easy to do, and McCloy makes it look easy.

4 – The Perfect Insider – Hiroshi Mori (1996) 

I refer here to the Japanese TV series, created from the book Subete ga F ni Naru (すべてがFになる) literally ‘When Everything Becomes F’. There are some lovely locked room ideas here across this series, and I encourage you to check it out. It does have some knock-about classic Japanese drama moments, but over all you won’t be disappointed. There are disappearing bodies from locked rooms, impossible stabbings in sealed laboratories and each resolution is strong, with some original solutions being thrown at you. I refer for this post to episodes 5 and 6 in the series, titled together Everything Becomes F (although the whole series links together so don’t just watch these two, watch it from the start). I have never been as genuinely scared by a locked room mystery as I was with these two episodes, and the claustrophobic atmosphere and ticking timer keep you on the edge of your seat. An impossible murder in a room which has sealed it’s only occupant for 15 years. The ‘reveal’ of the body is just terrifying, but I’ll leave you to find that out. I’ll be reviewing the whole series soon. You can catch it here, legally streamed, at Crunchy Roll.

5 – The London Eye Mystery – Siobhan Dowd (2008) 

A YA novel no less, and one of the best modern golden age works out there. A boy steps on to the London Eye, his pod is watched the whole time, but when it arrives at the base he has vanished. Why I include this as part of this list is that it simply never stops, there is no dropped line, no superfluous idea, every single element feeds into the building of tension and mystery, and the solution is a cracker. I reviewed this book here and my self and JJ from the Invisible Event interviewed author Robin Stevens, as part of our locked room podcast series, on creating the next in the seres The Guggenheim Mystery. 

6 – Rim Of The Pit – Hake Talbot (1944)

Okay I couldn’t resist giving you one more (in fact as I write I realise this list could keep going and going), the impossibility fest that is Rim Of The Pit. For all it’s faults this book just moves with huge action, which is facilitated by the sheer number of problems that Talbot presents. Impossibility follows impossibility reveals absurdity reveals impossibility and so on, with some of the best cliff hanger chapter endings I have read in a long time. A motley crew of family members are closed into a Canadian log cabin by a fierce snow storm. During their stay they aim to contact the spirit of a dead family member, to ask him a question, but this has terrible results, leading to locked room murders, multiple impossible footprints in the snow, appearing messages and a plethora of side mysteries. It’s the way that Talbot knocks down impossibilities one after the other, while preserving the overarching mystery that gives it its pace. This points forward to claustrophobic thrillers, and backwards to the Sherlockian style of presenting you with fast paced deductions and solutions as you go. We also discussed this with and without spoilers in our locked room podcast which you can listen to here. 

There is of course one glaring omission in this list which I will mention now so that readers don’t start thinking I’ve lost my mind, and that is of course And Then There Were None by Agatha Christie. But we all know this is the fore runner to basically every good thriller ever written, so I wanted to give you a few you might not have devoured yet on your journey. But suffice to say if you haven’t read And Then There Were None, go and do it today, right now.

What are you suggestions for thrilling locked room mysteries and high paced classic detective fiction?

Tour de Force: Christianna Brand (1955)

Inspector Cockrill finds himself, very unwittingly, on an package holiday of Italian islands. During a sleepy afternoon in the sun, a small number of the tour guests have stayed behind at their hotel to soak in the sun. But things turn sour when one of the group is found murdered in their hotel room, their body arranged in a cryptically ritualistic fashion. A ticking timer provided by the local police force, and the growing madness of the group means Cockrill has to work fast to solve the crime. The only problem? Every suspect was in his sight on the beach at the time of the murder.

1A0A7035

Making my way through Brand’s work for the first time has been an absolute joy. I am coming to see (as with many many writers in this ol’ golden age crime genre) how underrated she is, and Tour de Force doesn’t disappoint. I had heard much about this book on locked room lists and the like, and was super happy to find a lovely first edition (pictured above) in my regular second hand book shop trawl a few months back.

The whole piece is set on the fictional island of San Juan el Pirata off the coast of Tuscany, where the group have found themselves held after the murder. The mixture of both corrupt and straight laced local police have their own ideas and methods of how they will deal with the crime, which bring some pretty high stakes for getting the murder solved. The characters are instantly memorable, often tragic figures, who are a great selection of 1950’s British society to be stuck together on a ‘foreign land’. As they are pushed to the limits, their psychological flaws are revealed and the book becoming a clever satire of positive and negative British attitudes of the time. It’s reads like an precursor to Death in Paradise. 

And it’s pretty damn funny as well. Take this passage for example from the first chapter, as Cockrill arrives into Italy on the plane:

…his money being paid and withdrawal now impossible, he had received the assurance of the travel agency that he would find delightful friends among his fellow tourists, he had been contemplating their coming association with ever increasing gloom. ‘She and all the rest,’ he thought. ‘They’re Them.’ 

The clewing is spot on, with seeds being sown at every possible point in the plot, leading to forehead slapping moments by the end. But, what was really impressive about this book – and I made the same point in my review of Brand’s 3rd Inspector Cockrill mystery Suddenly at His Residencewere the false solutions and pieces of ratiocination by the characters. They come thick and fast, punctuating much of the plot, giving you that satisfaction of continuing revelation that drives so much of the best GAD work along.

This seems to be the case for everything of Brand that I have read so far. She continues to pull ideas out of the hat as the plot goes, and I confess to not even having thought of half of them, even though they are just the throw away revelations. So many of the ideas, clues and false solutions that are batted aside would make up the final solutions of other (maybe lesser well thought through) novels without a problem.

There was one false solution in particular which totally blew me away with its elegance and simplicity, and I actually thought it would have made a better solution over all. Which brings me to the criticisms for this work, which has light spoilers so finish here if you want this book fresh. 

SPOILER START:

Fellow blogger JJ of The Invisible Event described this book to me as very clever, but that it’s possibly a little to easy to cotton on to what is happening, and that once you do it becomes obvious what is happening and takes away it’s impact. Unfortunately, he is right on this account, and my experience of this title was totally inline. However in saying that she uses the device well that and it doesn’t make it any less of a joy to read.

Alongside this – and this is up for debate please readers – I am not so sure that the whole thing is really an impossible crime, in how the solution works itself out. I don’t think it’s as watertight as it could be, and I wonder if it should really be called a impossible crime piece at all? (Dodging bullets here possibly!) This goes back to questions of what constitutes an impossible crime in the first place, which myself and JJ have discussed both here and here. 

END SPOILERS 

Coming in at 271 pages in my edition it is a fair old length for a GAD novel, and does suffer on that account. ‘Dragging the Marsh’ has been the phrase used elsewhere in the bloggersphere for this. As with a GAD novelist like McCloy, Brand is clearly enjoying herself here, and is packing the book with ideas therefore. But she could have held back, as with so many ideas going on, some of the revelations and clues loose there impact simply because they are swamped by the overall length, and by the strength of other plot points.

Over all, another great piece by Brand, and with recently finding a good copy of London Particular (Fog of Doubt), and a new book edited by GAD aficionado Tony Medawar including as of yet unpublished works from Brand, you will see much more of Brand on this blog!

The Men Who Explain Miracles, Episode 2: Interview with author Robin Stevens

Super excited to announce that the second episode of The Men Who Explain Miracles podcast is now online! Started by myself and JJ of The Invisible Event, the series explores locked room mysteries and impossible crime fiction. In this episode we had the great privilege of interviewing the hugely popular YA detective fiction author Robin Stevens.

robin-interview3

In this interview we talk writing locked room mysteries for a modern audience, Robin’s MA in classic crime fiction, female agency in detective fiction and much more. We also discuss Robin’s new book The Guggenheim Mystery which was written as the sequel to Siobhan Dowd’s wonderful impossible crime novel The London Eye Mystery, which I reviewed here.

We hope you get as much insight, intrigue and laughter as we did recording it. Enjoy, and do let me know what you think! (The Podcast can also be downloaded for listening on your devices by clicking the download button on the top right)

 

John Dickson Carr: The Men Who Explained Miracles (1963) Part 2

The Men Who Explained Miracles, is a collection of shorter stories and uncollected works from the master of the impossible crime John Dickson Carr. In my last post I focussed on the last piece in the book, a twisty novella entitled All In A Maze. For this one I will move to the eclectic range of tales that make up the first part of this collection.

DSC_1423 2

There are 6 shorts in total, divided into three sections: Department of Queer Complaints contains two uncollected Colonel March stories. The blustering ex-service man tasked with explaining the more troubling crimes of Scotland Yard. Under the heading Dr Fell Stories we are presented with two shorts from the infamous hat and caped detective of some of Carr’s most famous novels. And Secret Service Stories presents us with two stand alone, non-series pieces, the first set in France and the second an historical thriller.

This all makes for a diverse range of works, spanning a number of years and containing almost every detective or type of story Carr dealt with in his career. In order of appearance:

1- William Wilson’s Racket – Colonel March

The first story in the collection considers a curious problem that the socially distinguished Lady Patricia Mortlake presents to the Department of Queer Complaints. For the past month her husband, the Right Hon. Francis Hale, has started to display strange behaviour. Every time he sees a certain advert in a news paper, he seems to go ‘off his head’. The advert only appears in the best papers and simply reads ‘William and Wilhelmina Wilson, 25Oa, Piccadilly’, nothing more. The company and the names are not listed anywhere. Lady Patricia takes in upon herself to visit the address and upon bursting into the office she finds her husband sitting in a swivel chair, a young red head on his lap, arms around his neck. After shouting and slamming the door, she waits by the main door, expecting him to come and apologise, but he doesn’t come out. When she goes back to the room to investigate, the red head and her husband have gone, leaving no trace. There are no other exits, so Frances Mortlake seems to have escaped from a watched room, and stranger still, he seems to have left all his clothes behind.

It’s just a brilliant set up! Unique to the March stories are where the impossibility itself is totally left field and also funny. The solution is a as unique as the set up, and although audacious, and not groundbreaking, all the clues are there. The story also ends with a nice little twist, leaving you wondering if all was what it seemed.

2 – The Empty Flat – Colonel March

The chilling set-up for the second Colonel March short is one of the best from the collection. Douglas Chase cannot concentrate on his late night studies as someone seems to be blaring a radio a full volume in the flat below. He heads down to speak to the owner, a Miss Kathleen Mills, also studying late night, who presumes Douglas is the one blaring the radio. They both realise that it is coming from the locked and empty flat next to Kathleen’s. No one has taken the flat on, as it is said to cause strange things to happen to it’s tenants. Douglas manages to find a way into the empty flat through the service hatch. Standing in pitch darkness he finds the radio blaring in a dark and empty flat in the room beyond. Entering the room turns it off, leaving the flat in silence. Douglas leaves thinking that it is empty, but the next morning, some building workers find the body of barrister Mr Arnot Wilson, crumpled up in the bedroom. The doctor in attendance declares that Wilson has died of cardiac and nervous shock, caused by fright.

There are two interested things to note from this tale. Firstly there is very similar opening character relationship to the start of The Case of the Constant Suicides (you’ll see what I mean when you read it). And secondly the solution to the frightening to death of Wilson, is the exact same solution, but to a different type of crime (not a frightening to death), from one of Carr’s novels. This novel was printed before this short story, but only picked up by penguin after the short story was published, which makes me wonder if Carr only re-used the solution it because the book wasn’t as popular until penguin took it up so he felt he could? (Thought on a postcard please).

3 – The Incautious Burglar – Dr Fell 

A particularly beautifully written Fell story, this short considers the problem of three super valuable paintings, two Rembrants and a Van Dyck, owned by successful businessman Marcus Hunt. There are some curious questions surrounding the paintings. Why has Hunt just moved them out of secure storage to a poorly locked room? And why has he left them in blaring sun light, which might bleach out. It is suggested that he want’s them ‘stolen’ so he can claim the insurance money.  The only problem with that suggestion, he hasn’t insured any of them for a single penny.

That night, the worst happens. A break-in wakes one of Hunt’s house guests who rushes down to find a masked burglar in a pool of blood and glass, stabbed in the chest. When the body is examined, it turns out to be Marcus Hunt, the owner of the paintings himself. The question then, why would the owner stage a break in to steal his own paintings, even though they are not insured, and who would kill him in the act?

A really nice clue about the scratches on a tea set and the width of the blade leads Dr Fell to the solution, which has a lovely misdirection. Each element is perfectly placed.

4 – Invisible Hands – Dr Fell

A lonely cliff top beach house in North Cornwall (which feels very much like the house of She Died A Ladyis the setting for the second of the Fell shorts. Society beauty Brenda Lestrange is found strangled on ‘King Arthurs Chair’, a natural rock formation in the shape of a throne, surrounded by untouched sand. And of course, there are no footprints leading up to the body or away part from her own. The solution to this one is mad, but could work, (although I think I had a better one in mind). But to Carr’s credit he makes a secondary piece of misdirection work well to solidify how the killer could get away with it.

5 – Strictly Diplomatic – Monsieur Lespinasse 

Over-worked businessman Andrew Dermot is forcibly signed off by his doctor to a spa in the south of France. Telling the Doc that he hasn’t got time to fall in love, the ironic and inevitable happens, he meets Betty Weatherill. All is going like a dream, when Betty suddenly declares she has to leave the spa that very night, and won’t explain why. Getting up from her chair she walks to the ‘arbour’ at the back of the hotel, an arched tunnel of thick flowers and vines that leads to the main building. Dermot watches her go in, but reliable witnesses on the other side say that she never came out the other end.

Again, as with All In A Maze this is a tale where Carr manages to work in the threat of spies, international espionage, double clues, secret identities, the question of reliable witnesses and an impossible situation all into about 15 pages. The solution isn’t mind blowing, but a solid entry, and again a unique location and plot.

6 – The Black Cabinet – Stand Alone Historical Psychological/Thriller

This one is a total surprise in the collection, a tale which travels through the moral and emotional struggle of revolutionary Nina Bennet, as she works out a plan to assassinate Napoleon Bonaparte. There is a brilliantly written opening scene where we see things through the eyes of a young Nina, and how her hatred of the Emperor seeded itself. We are then brought up to the present day as the clock ticks down to the assassination. Nina and her Aunt Maria, whose radical leanings have slipped away over years, battle out Nina’s decision in fraught discussion, until another strange and unexpected historical character enters the scene. Not a mystery here, or impossibility, but this one is reflective of Carr’s historical style of work, where fast paced writing explores one persons relationship to another in power.

What I found most impressive about this short, which again shows of Carr’s early feminist/pro-women out look, is that the whole story is about and told from the perspective of three strong women characters. All of whom are complex, wildly different and not parodied. There is even an interesting discussion in this story about love and beauty verses hate and revenge.

So overall, a wildly different set of stories, with some solid entries that will be loved by Carr fans for sure. This isn’t Carr’s strongest material by far, but you can see these are stories where he was stretching and expanding the form, trying things that he might not have done else where. And from that perspective, seeing a master of plot and form experiment is a fun and insightful experience.

My question in part one was why and how this collection was pulled together. My thought is that as this was published the year Carr had his stroke, and was then limited to the use of one arm, that publishers still wanted to publish something. So they brought together this mixed collection of works that weren’t as of yet on the market, so that they could still put something out? That’s my guess anyhow, but if you have anymore historically accurate knowledge than that do let me know!

John Dickson Carr: The Men Who Explained Miracles (1963) – Part 1

After finishing Carr’s short story collection The Department of Queer Complaints I was devastated. Not because it was bad, but because it was brilliant, audacious and ridiculous, and contains some of the most original impossible crime set ups going.

DSC_1387

I wish Carr had kept producing Colonel March stories in his spare time (which I doubt he had any of, sometimes writing 7-8 novels a year, plus radio plays), and that there were another 10 collections of Queer Complaints where he could have let loose on his most mad locked room ideas. Ideas that he couldn’t try anywhere else.

With this in mind, and with my recent Carr kick going on, I was super excited to find on my last London second hand bookshop walk the collection The Men Who Explained Miracles, which contains another two Colonel March stories, alongside 4 more shorts and a novella.

As there is so much content here the short stories will have to wait till the next post, and today I will go to the end of the collection for some thoughts on the novella, a Henry Merrivale story titled All in A Maze. To have a Merrivale story alongside Colonel March, may seem odd, but in fact the collection contains his detectives March, Merrivale, Dr Fell, French detective Monsieur Lespinasse – written much in the same way as Carr’s first detective Henri Bencolin – alongside a stand alone historical short thriller. Why and how this mix-and-match collection came together, and quite late in Carr’s career, is unknown to me and if any of you have more info out there it would be great to hear it, as I imagine many of these stories were not written as late as the 60’s?

All in a Maze is a gorgeous little piece, with Carr flexing his plotting and impossible muscles to try a few more original ideas out. The story begins with Jenny Holden running out of St Paul’s cathedral, so terrified that she is flying down the main steps at unnatural speed. Journalist Tom Lockwood, seeing her impending fall, manages to catch her. They both run to the safety of a local cafe where Holden tells Lockwood that she believes someone is trying to kill her. For a story of just under 60 pages Carr manages to weave in international spies, switches of identity, double clues and a great dose of humour all round.

All in a Maze also presents us with two impossible problems. Firstly, how could Jenny, in the whispering gallery of St Paul’s cathedral, hear a voice tell her that she will die, when there is no one that could have spoken it? And secondly, later that evening, how did someone enter her locked room, turn on the gas from her fireplace to gas her to death and then escape while the room was securely locked and bolted from the inside?

I would love to know more about how Carr reached his impossible crime ideas, as it often feels he must have been inspired by a location or a generally interesting domestic occurrence to create an impossible puzzle. You can imagine him on a day out with his wife and kids, or at a friends house and seeing the cogs suddenly turning as an new idea comes to mind when someone tops up the electric meter or shuts a window in a funny way. It’s those relationships to a particular setting, atmosphere or everyday situation that gives much of Carr’s work it’s original feel, and the puzzles their unique quality.

The whispering gallery solution is basically the only one there could be, but I won’t fault Carr for that, and the locked room solution is super tidy, and could have been a sub mystery to a larger novel if Carr had wanted. The proofs for the locked room are also really tight, and I appreciate the dedication to plot and solution that Carr strives for even in a short story. It’s not going to blow your mind, but it will leave you feeling satisfied for sure.

But a really memorable part of this novella, is a brilliant and super clever connection between the first impossible problem and the second, with the misunderstanding of a single word uttered by Merrivale. It’s a genius move by Carr as it could throw you off the scent in a clever way, and feels like it could be a part of a central mystery in a Jonathan Creek episode. I’ll leave you to find that one out. The final few pages are a high-speed finish, from which the story gets the nice double meaning of it’s title.

Part two, the short stories, to follow soon.

UPDATE: You can now read part two of my review here.

– – – – – – – – – – –

P.s – I am also aware of the Merrivale, March and Murder collection, which I hope to get at some point, although it doesn’t contain any other new Colonel March stories that are not in this collection or Department of Queer Complaints. Although the other pieces in there look great.

John Dickson Carr: It Walks By Night (1930) – Allusions to Poe and his Terrifying Trowel.

John Dickson Carr’s first novel is like a perfectly drawn map of everything he would go on to achieve and master in his career as an author of astounding detective fiction.

DSC_1370

In It Walks By Night (1930) we have the beginning of all things ‘Carrian’. The rich and velvety use of prose to describe character and scene, the grasp on setting and the creation of atmosphere that with a few words stays in your head a life time, confused psychologies and motives, double clues, fiercely well written and leading female characters (and the beginning of what would become a staple for Carr – the oppressed or wrongly convicted woman), endless macabre and of course the head spinning impossibilities of an original and water tight locked room mystery.

The story: On the eve of their wedding day Madame Louise and her new husband the Duc de Saligny are spending their first night together at a Parisian gambling house, but they are not alone. Half the Parisian police force is guarding the building at threat of ‘Laurent’, Louise’s psychopathic ex-husband, who has recently broken out of prison and has sent a message explaining that if they go through with the marriage he will kill the both of them. Laurent is a master of disguise and seemingly able to enter and leave rooms at will. But of course head of the police force Henri Bencolin is there, so nothing can go wrong…

During the night at the gambling hall, the Duc de Saligny walks into the empty card room and closes the door behind him with both entrances watched. But when a waiter responds to a bell for a drinks order rung from the room, he opens the door to find Saligny beheaded, and a bloodied sword hanging on the wall, but the rest of the room is empty and there is no sign of Laurent.

The main thing to say straight off the bat is that this was Carr’s first book, HIS FIRST BOOK! The amount of depth, challenge, character, misdirection, impossibility and woven plot is absurd for a first crack at a detective novel.  There are many great reviews of this book out there, most of them you can find on fellow Carr fan The Green Capsule’s ever growing review list, where he is collecting Carr reviews from across the blogging community. So if you want some more opinion on the book and it’s pros and cons, go and check those out.

I want to take things in a different direction by looking at Carr’s relationship to Edgar Allan Poe, and how this book I think acts as a homage to the great American writer of the macabre.  And I’ll start by explaining the title of this post.

If you have read many of Poe’s short stories you may have come across the The Cask of Amontillado (1846). It’s one of Poe’s best and most chilling tales, which opens with these shuddering lines:

‘The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose however, that I gave utterance to a threat. At length I would be avenged; this was a point definitely settled – but the very definitiveness with which is was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes the redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.’

Our narrator does indeed take his revenge when he leads Fortunato, a passionate wine expert, deep into an underground cellar with the promise of a rare casket of Amontillado, which he asks him to check is the genuine article. He appeals to Fortunato’s pride by telling him that another wine connoisseur, whom Fortunato believes to be a fool, has said it is the real deal. Fortunato then meets his horrible end (although you are never quite sure) deep in the caverns of the cellar, with a haunting trowel in the hand of our narrator.

So, now to the links between the two. The charged atmosphere in the chilling opening chapters of It Walks By Night, with the possibility of Laurent lurking round every corner, has one particularly horrific moment when Laurent appears in a locked bathroom, a smile hanging on his face, and then vanishes without a trace dropping a metal object onto the bathroom tiles. The object is found to be a metal trowel, as with the killer in Amontillado. There is also the presence of an underground wine cellar from which Carr builds a crucial and chilling plot point in his mystery.

DSC_1378

There is not just similarity here in the placement of key objects from Amontillado, but in their meaning. The trowel in the hand of the killer in Poe’s story is the instrument and symbol of revenge acted out, of confidence tricks and pride played out against the victim. This symbol works exactly the same when Laurent drops the trowel at the feet of his ex-wife in It Walks By Night, as he seeks revenge for the betrayal of their marriage. His pride will not let it go, and he will trick Louise and the Duc De Saligney into his trap. Alongside this,  a reference to Poe and the trowel  is actually made by one of the main characters in chapter 8 entitled ‘We Talked Of Poe’.

Furthermore, if we drift back to the opening lines of Amontillado: 

‘A wrong is unredressed when retribution overtakes the redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.’

In many ways this quote represents the solution to It Walks By Night, the killer is found because they are overcome in trying to ‘make themselves felt’, and in the end they are caught when retribution overtakes the redresser; the killer goes too far.

Therefore It Walks By Night is homage in meaning, motive and setting which shows that Carr saw Poe in some way a founding father for the type of work he wanted to create, and would go on to create. I found out recently that Carr even produced a radio show on the work of Poe work for the BBC. ‘New Judgement’ John Dickson Carr on Edgar Allen Poe was broadcast on 22 May, 1944 at 22:05 on the BBC Home Service. I’m trying to track a copy of this down, so I’ll keep you up to date with that!