Aug 292014
 
From the Shameless Self-Promotion Department:

Revived and Reissued! Brand Spanking New! Eye-catching Design!

It's the latest reprint of a (somewhat) forgotten pulp classic from Raven's Head Press. Bury Me Deep (1947) by Harold Q Masur was the first of eleven fast paced, semi hard-boiled, detective novels featuring the hip and with it Manhattan lawyer Scott Jordan. Taking his cue from Raymond Chandler who he admits was his inspiration to write for the pulp magazines Masur pens a tale of avarice, manipulation, duplicity and murder. A new trade paperback edition was released a few weeks ago and is now available for purchase from amazon.com or by visiting Raven's Head Press. Our new cover design by artist Doug Klauba is a nod to the original 1st paperback edition (see below) published by Pocket Books back in 1948. Verna Ford, the blond in her underwear, has served as the inspiration for two previous paperback covers. Why not? Scantily clad women -- whether lounging and drinking from a brandy snifter or being threatened and menaced by dark men with guns -- have been the iconic imagery for pulp magazines and paperbacks since the 1920s.

It opens with Jordan discovering Verna in her lingerie helping herself to expensive brandy in the appropriate snifter. She's been waiting for someone in Jordan's apartment but it cant' possibly be him. He was away in Miami and cut his trip short to come home. No one was expecting him. Verna tries to put the moves on Jordan but he won't have any of it. Then she downs her brandy and immediately passes out. Jordan foolishly takes her to a cab, bribes the driver to babysit her until she comes to, and asks him to let her off at her home. But the driver soon discovers Verna is not dead drunk, just dead. The lawyer is immediately suspected of doing her in and trying to dispose of the body. So he decides to find out who she is, why she was in his apartment and who poisoned her brandy. The case becomes a lot more complicated when it turns out Verna was involved in a legal battle involving a will that leaves millions of dollars to the proper surviving relative of a husband and wife who died in a car crash. Lots of down and dirty action that turns pretty nasty. Villainy and double crossing galore! It's a corker, gang.

GIVEAWAY TIME! A full review of the book will appear tomorrow, but I wanted to take the time to help promote the Raven's Head Press release of this new editions. As usual I'm giving away three copies of Bury Me Deep. Don't all raise your hands at once. (First of all I can't see you. This is the internet, you know) Sorry, but this giveaway is confined to USA and Canada. If you'd like to be considered simply leave a comment below. Three names will be selected by a highly irrational process involving a blindfold and a dart board. OK, not really. Winners be selected at random, etc, etc. You know the drill. I'll announce the winners probably next Friday to allow for Labor Day revelers who may be drinking and BBQ-ing and whooping it up away from their computers to catch up on their blog reading.

If you like the good old pulp style action of fist fights in a barroom, slinky dames pawing the detective hero, no good skunks and slimy gangster types, sleazy dives and smoke filled saloons then the Scott Jordan books are right up your alley. I was genuinely surprised that I found Bury Me Deep one of the best of the Chandler imitators. Plus it's set in New York! How can you beat murder and deceit and treachery in late 1940s Manhattan? Harold Q. Masur was quite the interesting guy, too. Read this fascinating interview he gave Gary Lovisi back in 1992 when Masur was 83. Among many intriguing anecdotes he talks about how Bury Me Deep came to be written, his inspiration in Chandler, and how he walked into Simon and Schuster's offices with the manuscript in hand daring them to publish it. What chutzpah! He was also one very involved with the Mystery of Writers of America serving a stint as president in the 70s and as their legal counsel throughout his lifetime.


 Posted by at 3:32 pm
Aug 222014
 
When Agatha Christie discussed The Hollow (1946) in An Autobiography she mentioned that including Hercule Poirot as the detective was a huge mistake.  Consequently, when she decided to adapt it for the stage she removed him entirely.  I imagine if he were missing from the novel not much would be lost because what Christie was doing in The Hollow was decidedly different than most of her Poirot novels; the content borders on the profound. It is intensely serious and maybe the most personal of all of Christie's detective novels.

This book comes in her mid-career, only two years after the publication of what Christie called "the one book that has satisfied me completely." That book is Absent in the Spring, one of her mainstream novels nominally lumped together as her Mary Westmacott romances though to call them romances is to do them a disservice. The Hollow is the least Christie-like of her detective novels of the 1940s; it might even be called the most Westmacott of her detective novels for it shares a lot with what is found in the pages of Absent in the Spring. Identity, self-delusion, misplaced and misinterpreted affections are all on display.  Above all, is one of her most recurrent themes -- the dangers of possessive love. It barely makes the grade as a detective novel, though there is some detection by the variety of characters and Poirot who is, in fact, a supporting character and not the lead. The Hollow is Christie's earliest attempt to write a wholly modern detective novel and uses the tropes and gimmicks that are her hallmark in a most realistic manner.

Ostensibly, The Hollow tells the story of a crime of passion. But as anyone who reads any detective novel knows appearances are always deceiving. What you see isn't always the truth. Gerda Christow is found by the swimming pool of the Angkatell estate with a gun in her hand. Her husband has been shot and three people come running to the poolside. As John Christow lies dying from his fatal bullet wound he cries out, "Henrietta..." who happened to be one of the three almost eyewitnesses who came running. When Henrietta screams at Gerda she drops the gun into the pool. She doesn't seem to remember anything: how she got there, where the gun came from, or whether or not she pulled the trigger. The gun is retrieved from the pool now spoiled of any fingerprint evidence and police lab reports prove that it was not the gun used to kill her husband. What happened to the gun that was used? And what was Gerda doing there?

Christie's writing is markedly different here. The emphasis is on character and not plot. Relationships are more important than who was where when the murder was committed. But most noticeably is the multiple viewpoint in the narration. It's the most author omniscient of her Poirot books. Much of the narrative is spent in the interior life and thoughts of the characters. We get to know more than any other of what they are thinking and what secrets they are harboring. Perhaps And Then There Were None, written seven years earlier, is the first instance of this kind of interior character work, but in The Hollow her effective technique makes the book a stand-out among her entire work.

Poirot may not take center stage in this novel but that is not to say that he is not instrumental in uncovering the truth. Henrietta Savernake, a sculptor and close friend to the Christows, has a notable scene in which she and Poirot discuss knowledge vs. truth. Henrietta likens crime solving to a creative art. She asks Poirot if he considers himself an artist. In response Poirot counters that it is a passion for the truth that trumps any creative power of a detective. "A passion for the truth," Henrietta says. "Yes, I can see how can dangerous that might make make you." The two continue to bandy with words and semantics and Henrietta implies throughout the conversation that she knows more than she is willing to give up. She challenges Poirot to act on his knowledge if he comes to know the full truth. By the book's close Poirot acknowledges that Henrietta was his most formidable antagonist to date.

Anyone interested in discussing Christie as a novelist beyond her skills as a master of the detective novel ought to read The Hollow. The murder is treated not as a puzzle but as a true mystery of human behavior. Complications arise, questions both investigative and philosophical arise out of the nature of this crime. Christie tells a story of devotion and love and protection in a world where violence is increasingly ambiguous. Has a murder actually been committed? In the end Poirot once again acts not so much as the agent of truth but as an agent of mercy.

NOTE: Those of you who live in the US and still like to buy used books in brick and mortar stores should know that many of the 1960s and 1970s paperback editions of The Hollow were reprinted under the title Murder After Hours. There are umpteen hundred copies of this book out there in US, UK and Canadian editions and under both titles. The majority of copies for sale through online bookselling sites are very affordable.
 Posted by at 9:17 pm
Aug 152014
 
 "Two forces. Interesting speculation indeed. But it had taken a small boy in search of a dog collar to identify the forces and uncover a crime."

Virginia Wales, a waitress in a hash joint in a California-Mexico border town, was a good time girl. Always looking for a laugh, an adventure, one of those "live life to the fullest" women who almost always land themselves in trouble at the expense of a good time. One night someone entered Virginia's hovel of an apartment and bludgeoned her to death with an award she won for jitterbug dancing back in 1937. An ugly crime, and an undeserving end for a woman who never really hurt anyone. But as Mitch Gorman says it was "[a] casual murder that didn't matter because it happened somewhere every night."

Helen Nielsen explores this tawdry, seemingly opportunistic, murder in Obit Delayed (1952), a story that begins as a domestic drama involving a lover's triangle gone wrong. It's a fine example of the detective novel as a character study of the victim. We get to know Virginia Wales, her troubling life masked by the veneer of an extroverted happy-go-lucky persona. She is still hung up on ex-husband and keeps turning to him for help. But as the story progresses Mitch Gorman, a nice example of that detective novel mainstay the reporter sleuth, discovers that it's not Virginia's life that is the key to the solution of the murder.

Mitch Gorman is fascinated by the case. He uncovers a possible connection between Virginia's murder and a drug dealing gangster named Vince Costro. Dave Singer, Costro's lieutenant, had a relationship with the waitress but he is extremely upset over her death belying what he claims was only a casual friendship. Mitch thinks Singer knows who and why Virginia was killed but he's not talking to anyone. When another of Singer's girls, the garrulous gossipy lounge entertainer Rita Royale, turns up dead Mitch is certain the two women got in over their heads in some very nasty business. Business that Costro didn't want revealed. With the addition of these gangster characters the story enters new territory.

Deceptively familiar in its basic plot Obit Delayed is nevertheless a gripping, well told novel of non-discriminatory violence. Nielsen does an admirable job of describing how senseless murder, the fodder of tabloid journalism, can turn even the most cynical and skeptical reporter into a Nemesis of the hapless victim. Aided by society columnist Miss Atterbury (aka "the Duchess"), a smart-alecky colleague who would've been played by Eve Arden had this been a movie, Gorman devotes all his energy to turning a routine police case that might easily lay ignored on a sergeant's desk into a personal campaign for justice.

Multiple copies of the US first edition (Ives Washburn, 1952) and the Dell paperback published two years later will turn up in any internet book search and almost all copies are nicely affordable. The UK edition (Gollancz, 1953) is rather scarce. An eBook version available from Prologue Books. If you are inclined to reading and collecting digital books I suggest you check out their website for a wide variety of vintage crime fiction. Why not start by acquainting yourself with Helen Nielsen's work? You're sure to come back for more after sampling this one.

This book serves as part of Rich Westwood's 1952 Crime Novel Reading Challenge for August and another book knocked off my Bingo card for Bev Hansen's year long Golden Age Reading Challenge.
 Posted by at 3:13 pm
Aug 082014
 
Sometime this blog has a confessional tone and today I’m surrendering again to a not-so-whispered admission. The “Badass Biddy” category (a label I invented myself) is my perverse guilty pleasure. This subgenre deals with elderly women plotting malicious crimes and doing in each other with abandon. I’m not sure I want to explore why exactly I get such a kick out of reading these kinds of books (I dearly loved my two grandmothers so don’t even think about going there, Dr. Freud). Let’s just say almost every time I encounter one of these books the characters are so outrageously nasty they fascinate and delight me and the plots are filled with double crossing and the kind of cat-and-mouse mind games that make for a rip roaring read. I’m thoroughly entertained. I’m a little sicko, right? Not really true because sometimes the books go over the top into gross-out gore as in Nigel McCrery’s Still Waters and his sadistic psycho senior citizen murderess Violet Chambers. And for me that is always a turn-off. In the case of Shelley Smith’s novels, however, there is restraint mixed with suspense and a dash of macabre wit. Come and Be Killed! (1946), its ironic title already hinting at the black humor within its pages, is one of the best examples of the Badass Biddy crime novel.

Smith dedicates this novel to her Auntie Annie “who gave me six years of peace during six years of war”. I can’t help but wonder if that too isn’t a bit ironic having completed the book. There is little peace in this book and quite a bit of scheming and battle of the wits between expert poisoner Mrs. Jolly and Phoebe Brown, the actress bent on avenging her foolish sister’s mysterious apparent suicide. There is so much going on in this book I’m hesitant to discuss any of the intricate plot. Smith has structured the book deftly and she manages to shift the tone from satiric novel of manners to psychological portrait of a murderess to a page turning cat-and-mouse thriller.

Come and Be Killed! is divided into three parts. Part one introduces Florence Brown, a whining hypochondriac dependent on her sister Phoebe’s assistance. Phoebe is a self-involved actress of questionable talent and limited success. Florence begs her sister to accompany her on a vacation that a doctor has prescribed for her health. But Phoebe sensing it to be more a plea for money than companionship rejects her and rewards Florence instead with a vacation in a nursing home that is actually a mental institution. When Florence realizes that Phoebe has duped her and sent her to live with crazies she feels even more lonely than ever and is determined to escape. Turns out it’s easier than she could imagine. She simply walks out one day while the staff is preoccupied with a busy outdoor recreation event and soon finds herself at a train station. There she is almost immediately befriended by the solicitous Mrs. Jolly. Florence begs for train fare to help her get back to her sister, but Mrs. Jolly has a better idea. The two women go off together leading to Mrs. Jolly offering her home to Florence. And poor Florence does not live very long in that household. For Mrs. Jolly we soon learn has a habit of knocking off her elderly lady roommates.

In the second part Smith travels back in time and we learn that Mrs. Jolly was born Violet Russell (why are all these badass women named Violet?). This section reveals Violet’s life story and the origin of her murderous inclinations. The finale and third section is the closest to a detective novel if more of the inverted type. Smith continues the story of hapless Florence and her sister. Phoebe is now remorseful over her indifferent treatment to Florence. “We are never kind enough, are we?” she laments. “And the dead remind us bitterly by their absence of lost opportunity.” The actress begins to suspect that her sister’s death was no accident. Fed up with incompetent police work Phoebe manages to track down Mrs. Jolly and, using her skills honed on the stage, play acts and matches wits with the killer in a dangerous and deadly climactic showdown.

Come and Be Killed! has been reprinted twice in the US since its first publication in 1946. Once in a 1940s era digest paperback from Mercury and again forty years later in 1988 by Academy Chicago. In the UK it was reprinted at least three times in paperback, two of those editions are used to illustrate this post. There are multiple copies in both US and UK editions, paperback and hardcover, available at very affordable prices in the used book market as of this writing. If you’re like me and admit to this guilty pleasure or if you like the kind of crime novel where wily characters match wits with one another you’re sure to find Come and Be Killed! a delectable treat. Without hesitation I recommend this finely written, expertly plotted and thoroughly entertaining book.

 Posted by at 3:32 pm
Aug 012014
 
The prolific and multi-partnered Richard Wilson Webb teamed up with Martha Mott Kelley under his Q Patrick pseudonym and wrote two novels. Cottage Sinister (1931) was their first followed by Murder at the Women's City Club (1932). This second team effort from Webb and Kelley shows some slight improvement mostly in the tight plotting if not their tendency to indulge in nonsensical chit chat and quirky character traits. The most remarkable thing about Murder at the Women's City Club is that there are only three men among the large cast of characters: Inspector Manfred Boot,  Bob Dunn a journalist, and Sebastian Thurlow, fiancé to one of the women suspects.  The mostly female cast, therefore, allows the writing partners to spend a bit too much time with gossip, bitchy verbal catfights and other eccentricities in this dialogue-laden mystery novel. Oddly, while I was bothered by this kind of speech and chit chat in Cottage Sinister it works well in this book and is only enhanced by a baffling series of murders that border on the impossible crime subgenre.

Dr. Diana Saffron, ex-dean of a Women's Medical College and currently Professor of Internal Medicine, is being cared for by her devoted friend Deborah Entwhistle and watched over by her protégé Dr. Freda Carter at the Women's City Club. Dr. Saffron is irascible and demanding and very much disliked among the rest of the residents of the club. Among the permanent guests are Mrs. Mabel Mulvaney, the dictatorial president of the club, Constance Hoplinger, a ditzy mystery novelist; Amy Riddle, dutiful social services worker; and Millicent Trimmer, Secretary-Treasurer of the club and the one burdened with listening to the almost daily complaints from the other members. One night Dr. Saffron is found dead in her room having apparently committed suicide by turning on the gas tap located directly next to her bed. But there are whispers of murder when the Dr. Saffron's room is gone over by Inspector Boot. Too many oddities in the bedroom don't add up to a clear picture of death by suicide, like the partially open window and the puzzling discrepancy of the two gas taps, one open and one closed. When a second death by gas occurs Boot is convinced there is a mad killer hiding amongst the residents of the Women's City Club.




The plot is tricky and a bit convoluted with a neat twist in the finale. Manfred Boot is a gruff, not very pleasant policeman who does admirable detective work. In the end, however, he is upstaged by Deborah Entwhistle. She has been doing detective work of her own both on and offstage and comes up with the somewhat startling solution to the deaths. And there is also a final surprise in the last sentence.

Amid the fine detective work by both professional and amateur is a primary focus on the characters' idiosyncrasies. The action is enlivened by absurd exclamations from Constance Hoplinger (published under the pseudonym "Gerald Strong") who treats the murder investigation as a sort of writer's laboratory. She plans to use the circumstances surrounding Dr. Saffron's death for an exciting chapter in her current still unfinished novel and keeps pestering Boot for insider police information to give her work authenticity. Webb and Kelly have also thrown into the pot a pair of not so funny comic servants. They are a married black couple who, typically for this era, behave and speak like cartoons with their embarrassing phonetically rendered dialogue and foolish superstitious antics as when one literally jumps into a closet to hide from the police. The maid Cornelia, especially, seems to have escaped from the pages of an Octavus Roy Cohen book and seems very out of place here.

I liked the sequence when Boot having had his fill of "Gerald Strong", aka Miss Hoplinger, decides to read one of her books to get an idea if she's smarter than she appears. He discovers in the pages of The Black Serpent a plot with remarkable similarities to the murders committed at the Women's City Club. In Strong's novel the victim was murdered by automobile exhaust and the serpent of the title was a black rubber tube run from the car's tailpipe into a bedroom via a cracked window. He begins to think that either Miss Hoplinger may in fact be a bit more sinister than she presents herself or that one of the women in the club has a perverse sense of humor and has it in for the mystery novelist.

Murder at the Women's City Club is one of the most difficult books in the Q Patrick canon to locate.  Unlike most of the books published under this pseudonym it was not reprinted in paperback by Popular Library in the United States, nor am I aware of a British paperback edition. It exists as far as I know only in a scarce hardcover from the little known (and short-lived) Philadelphia publisher Roland Swain and in an even more uncommon British edition from Cassell under the title Death in the Dovecot. I was lucky enough to find one amid the ocean of used books in the eBay auctions a while ago and paid only $65, but that was an utter fluke. It should've been priced probably twice that amount. While this book has a few elements to recommend it I wouldn't break my back looking for a copy. The few that are for sale online are in the collector's price range starting at $100 and go up to $650.

 Posted by at 3:28 pm
Jul 252014
 
A house party in a 12th century Norman castle in Wales is the setting for Death on Tiptoe (1931). The characters make up quite a Christie-like cast: young dissolute and irresponsible heir; portrait artist and womanizer; flirtatious heiress; pouty melodramatic young woman jilted by the artist; lovestruck governess; two bratty children; vengeful British Major; reserved and sensible barrister; failed diplomat who is an utter twit; his wife who is love with someone else; and the host and hostess, Sir Harry and Lady Undine Stacey.

It is Lady Stacey — a transplanted French woman with pretensions to becoming a great baronial estate holder — who is the victim. The opening chapters quite brilliantly plant the seeds for her cruel murder, and there are at least four characters who outright threaten her prior to her body being discovered three weeks later in a chest in the attic where she had hid during a game of hide and seek, an entertainment she arranged for her guests.

Cleverly done, fairly well clued, with quite a bit of misdirection. The novel culminates in a melodramatic ending with a somewhat surprising murderer and an intriguing motive. Ashby would later expand the idea of this Gothic detective novel in He Arrived at Dusk (my review of that book is at Mystery*File here ), a far better book with more effective use of folklore, legends and supernatural content.

R(uby). C(onstance). Ashby is the alter ego of Ruby Ferguson the name under which she is better known. From 1949 through 1965 Ferguson was a popular writer of children's books and romance novels. As Ashby (her maiden name) she wrote a handful of detective novels and suspense thrillers with Gothic overtones. A few years ago Death on Tiptoe was reprinted by Greyladies Press, an independent publisher located in Scotland, but I checked their website and that edition is no longer for sale. However, you might luck out on the used book websites and find a copy.

(This is a slightly altered version of a review I originally wrote for Steve Lewis' superb website Mystery*File.)
 Posted by at 3:10 pm
Jul 182014
 
Troy Bannister has flown to Taxco from her safe New York job at Frobisher’s where she is the jewelry buyer. She is to judge a contest of silver designs and the winner will be set up in a private studio to make a line of custom made jewelry for her employer. The contest was her idea and the winner unbeknownst to her employer has already been chosen. He is Jerome Blake, her old flame whom she has tracked down to Taxco. She is sure that when he is chosen the winner and given the $5000 prize money plus the opportunity to work in his own studio back in New York that she will finally have a chance to win him back and marry him. But when she learns of a local silversmith who is regarded as the best of the contest’s entrants she sees her deceitful plan start to crumble. She must see exactly what this talented artist, an immigrant Polish man named Casimir Lazlo, can create and if is indeed a superior craftsman find a away to eliminate him from the competition.

Someone does that job for Troy. Shortly after she has met Lazlo and seen his exquisite workmanship on an intricately stamped necklace, he is murdered. Troy’s guilty conscience and unethical ways get the better of her. Imagining the worst and thinking that she might actually be thought the killer she stages the scene of the bloody murder to look like a suicide. She flees Lazlo’s studio but not before impulsively stealing the copper plate that made the beautiful design in the silver necklace. All of this occurs in the first two chapters. This is our protagonist? Knight seems to be writing a Patricia Highsmith novel with a love mad female version of Tom Ripley, a woman who cares for no one really but herself.

Bracelet designed by Taxco silversmith
Hector Aguilar (circa 1940s)
Soon word is out that Casimir has committed and suicide yet no one can believe it. The other artists who have entered the contest recognize that their chances are now greatly increased for winning the coveted prize money and the job as jewelry designer in New York. But someone suggests that Casimir was murdered in order to achieve that advantage. When they also discover that Troy had visited Lazlo prior to the judging day they are in a furor and begin to think that the contest was rigged from the start. Troy has few friends among the artists including Jerome, living under the alias of Joe Blank, who is quick to uncover most of Troy’s deceit and her involvement in Lazlo’s death. Eventually it is Jerome/Joe, with the aid of Lazlo's daughter, who will take over as the lead character and solve not only Lazlo's murder but another murder of a local Mexican artist who was secretly entering a creation of his own in the contest.

The tone and language of The Blue Horse of Taxco (1947) is completely different than the Elisha Macomber (her best known series detective) novels in Knight’s early writing period. It’s darker, not at all lighthearted, and fueled with the illogical passions of impulsive desires not unlike the novels of pulp and noir writers. She is finding a way to tell a story of crime without resorting to old-fashioned thriller tropes and set pieces that seem lifted from cliffhanger serials. Gone are the quaint clues and girl sleuthing sequences found in her early books. Knight’s focus now is on character as opposed to multi-layered puzzling plots which is not to say that she has completely abandoned the puzzle. There is still the mystery of the pieces of the figurine of the title that will feature in the plot. But overall the story arises out of the characters’ behavior and thinking and their relationships not an artificial manipulation of events created only to bamboozle the reader.

(The above is a slightly edited portion from a longer essay on Kathleen Moore Knight I wrote for issue #68 of Geoff Bradley's fine journal Crime and Detective Stories (CADS). The issue will be coming out in a few months.)
 Posted by at 5:00 am
Jul 112014
 
Jean Deslines is worried about losing her identity.  Her father keeps talking about putting her away in a mental institution for her own safety. Jean has been bragging about her flirty seduction of the local clergyman in her Australian home of Katoomba. She's also been reading up on psychology books at the suggestion of her cousin Myrtle who knows a psychosexual aberration when she sees one. Now Jean's head is overloaded with Freudian psychoanalytical jargon and discussions of female hormones, the lack of which she believes is at the root of her troubles. She's also starting to have surreal dreams in which she envisions a female gladiator who takes the form of the goddess Minerva slaughtering her enemies. And every now and then she hears the sounds of bells and an ethereal voice giving her private instructions on carrying out the murderous events in her dreams. Is it any wonder her father is worried about her? Oh, I forgot to mention Jean is only fifteen years old.

To preserve her identity and prevent any tinkering with her mind and soul at the hands of interfering psychiatrists Jean is advised by that Voice to murder her father. And she does so in a lovingly savage way. It's the beginning of her descent into a surreal world of hallucinations, indulgent sexuality and violent murderous attacks. Imagine if you will a most bizarre mix of the selfish child murderess Rhoda Penmark, vindictive pathological liar Mary Tilford, and seductive teen age vixen Lolita and you have only a smidgen of an idea of what Frank Walford has created in Jean Deslines. It's difficult to believe that a fifteen year old girl is narrating this lurid tale of madness, pansexuality and brutal murder. Jean may very well be crime fiction's first bisexual serial killer.  Oh, I forgot to mention that Twisted Clay was published in 1933.

Frank Walford
This week Patti Abbot Asked us to read a book about a femme fatale. Though typically we don't find a femme fatale this young until the pulp writers of the 1950s in books by writers like Gil Brewer, Day Keene and Jonathan Craig and most of them aren't clinically insane Jean Deslines is about as fatal a femme as you can find in the genre fiction of the 1930s. So horrific are the events described in Walford's book it was banned almost immediately upon publication and remained out of print for decades. Modern readers will find so many of what is now considered formulaic in serial killer literature and yet no one was writing about such things in Walford's time. Even Lawrence Block didn't write about a serial killer prostitute until 2012's Getting Off and even then he used his lesbian erotica pseudonym Jill Emerson. Walford was way ahead of his time in creating his surreally intellectual, linguistically gifted and very dangerous teenager. Way, way ahead.

Twisted Clay has been reissued by Australian British indie press Salt Publishing under their horror imprint Remains Classics in a handsomely designed facsimile of the original first edition complete with replication of the original dust jacket. The book comes with a foreward by Remain's editor Johnny Mains as well as a biographical and literary introduction to Frank Walford by critic and supernatural fiction maven Jim Doigs. It's a fine reissue of a landmark book in the genre. Highly recommended for literary connoisseurs, genre fiction addicts and anyone curious about those obscure books that sometimes reach legendary status due to their unavailability. This is one instance when the legend cannot even approach the actual content of the book.

For more wicked women, amoral temptresses, and literary femme fatales in forgotten books of the past visit Patti Abbot's blog.
 Posted by at 5:00 am
Jun 272014
 
Today marks the centenary celebration of "strange story" writer Robert Aickman who was born June 27, 1914.  As part of the celebration of what would have been Aickman's 100th birthday Faber & Faber has reprinted several of his story collections including the two featured in the post today. Dark Entries (1964) was Aickman's second collection and his first book of stories written solely by him. Cold Hand in Mine (1975) is his fifth collection and is well known to book collectors for the US first edition (Scribner, 1975) has a DJ illustrated by Edward Gorey.

I've written previously about the strange stories (his preferred term) of Aickman in my post on Powers of Darkness. But re-reading these tales in their new editions brought forth some interesting recurrent themes in his writing. Aickman doesn't really write traditional supernatural stories though some of them incorporate tropes of ghost story fiction and horror fiction. There is always an ambiguity pervading the stories, a ghost may not be a ghost at all but the fervent imagining of a disturbed mind. There are some instances of outright horror as in his chilling tale of the walking dead in "Ringing the Changes" found in Dark Entries or the thing that lives in the lake in "Niemandswasser" or the grisly and nightmarish true purpose of "The Hospice" both in Cold Hand in Mine. But more often than not the odd and bizarre events tend to be shrouded in a haze of the characters' twisted perceptions of reality and enhanced by their personal quirks and eccentricities.

In my current reading of the stories I discovered something else. The men in Aickman's stories are often the victims of glamour. Contemporary connotations include glamor as a synonym for stunning beauty but it original connotation hinted at a supernatural power, mostly of the fairy world, to bewitch and hypnotize and control a human. Whether this inclusion of glamor and spell casting is intentional or not on Aickman's part I cannot say, but in at least five of the stories I read the male protagonists make mention of the captivating beauty of a woman they encounter and they almost immediately fall under her spell. Take for example Carfax, the renaissance man and traveler in "The View." His attraction to the bewitching woman he dubs Ariel leads to him to friendship, romance and an unfortunate fate. He finds himself not only under her glamorous spell, but the spell of the home in which she lives. His room affords him a view that is ever changing in its scenery and by the end of the story he realizes that he has spent not a few days with Ariel but several years.

There are six long stories in Dark Entries and eight in Cold Hand in Mine. Most of them run between 30 and 50 pages. Aickman takes his time telling his tale, like a patient artist at work on a canvas he paints landscapes with carefully chosen words that evoke a sublime atmosphere blending dread and anticipation of the characters' inevitable doom. No one really escapes unscathed in an Aickman story. If they are lucky enough to survive their encounters they will carry with them a haunting memory of the world of the macabre and the weird. Many of Aickman's characters are forever changed and scarred by their inexplicable adventures. And the reader taking in Aickman's narratives cannot help but be affected as well.

For more about Faber & Faber's paperback reprints of Robert Aickman's books visit this page at their website. They plan to release a total of six of his books. It is also worth noting that Tartarus Press, an independent UK publisher of supernatural fiction, has reprinted all of Aickman's books in hardcover editions. All of them are still available. As part of the centenary of Aickman's birth Tartarus has also published this month The River Runs Uphill, an autobiographical volume originally published in 1967. Read more at the Tarturus Press website.
 Posted by at 2:06 pm
Jun 202014
 
John Franklin Bardin wrote this delightfully odd genre blender using the pseudonym "Douglas Ashe." A Shroud for Grandmama (1951) begins as a HIBK style Gothic suspense but from the get-go Bardin assures the reader the story will not be your average Gothic with a damsel in a nightie running rampant through a spooky house. To begin with Abigail Longstreet wouldn't be caught dead wearing a nightie. In the second place she stumbles upon her octogenarian grandmother's corpse at the foot of a staircase surrounded by dancing footprints in the dust with no other footprints leading to or from the body. And lastly, dead old Grannie Ella is wearing nothing but a white bikini. Abigail immediately takes care of this embarrassing situation by removing the puzzling footprints that suggest a ghost was present and hauling dead Ella upstairs and making her more presentable by removing the scanty swimsuit and dressing her in the shroud conveniently left in her bedroom closet. Just what the heck is going on at the Longstreet estate?

And then there is Abigail herself. She's only twenty-eight years old but she chooses to dress and speak as if it were 1900 rather than 1950. Her quasi-Edwardian way of narrating the book is exemplified by lines like "Grandmama abhors hurly-burly". She also tells us that her preferred manner of dress includes brocade dresses with high collars, hemlines that are ankle length, and high button shoes. No close fitting revealing clothes or high heels for her. One character calls her a Gibson girl lookalike. She's anachronistic to the max. Yet being a heroine in a Gothic suspense novel she is of course drop dead gorgeous and it's her beauty that entrances handsome young stranger Albert Crump who just happens to be passing by her grandmother's home the night of her mysterious and bizarre death.

Just as soon as Abigail is finished tidying up the scene of her grandmother's death she is interrupted by the perfectly timed appearance of a policeman. Inspector Stephen Elliot is shrewd and crafty and he immediately gets down to business. Turns out he's been a watching the house at the request of an anonymous tipster and he saw Abigail enter, find Ella and rub out the footprints, and take the dead body upstairs. He also stuns Abigail with the news that her grandmother was murdered. Thus begins an expertly told tale of deceit, family secrets, betrayal, revenge and avarice.

Inspector Elliot has his work cut out for him. Each member of the family received a letter purportedly from Ella summoning them to her house. Never mind her being blind. Abigail explains away how a blind woman as disciplined as her grandmother could still painstakingly compose letters in her beautiful copperplate handwriting. There is only a tell tale upslant. Re-examination of the letters shows an absence of the upslant. Elliot thinks the letters are forged. Was the murderer luring everyone to the house to prevent them from having alibis and thus complicating the case?  Is this murderer out for more than just the death of Grandmama Ella?

There are some other Gothic touches like the legend of Sybil, a rambunctious ghost who haunts the house with poltergeist activities when she's not waltzing through the corridors leaving a trail of footprints behind her. And there is the secret of Claude Bryant, Abigail's father, who supposedly died during his service as a soldier but who may still be alive. Finally there is Claude's bastard son whose complicated history is slowly revealed throughout the murder investigation. But my favorite part is when we meet Abigail's sister Maude who is completely caught up in her new found way of life through Dianetics! Bardin has great fun mocking L. Ron Hubbard's pseudo-religion in Maude's dialogue. She spouts forth her zealous beliefs peppered with the ridiculous vocabulary of Dianetics. She does a lot of talking about "engram pressure" and firmly believes that Sybil maybe responsible for killing their grandmother.

This is a lively and entertaining detective novel highlighted by great sleuthing from Elliot who often resorts to verbal trickery and sets a few traps for his deceitful suspects; the utter bizarreness and impossibility of the murder itself; and a fantastic protagonist with an engaging and eccentric narrative style in the person of Abigail Longstreet. The book was reprinted under the title The Longstreet Legacy in its paperback edition and is somewhat scarce in either hardcover or paperback. Still for those who like their detective novels fanciful and odd this one comes highly recommended. The hunt for this scarce book is well worth your efforts.

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Reading Challenge update: Golden Age Bingo card - space L1, "Book with spooky title"
 Posted by at 2:18 pm