Mar 062015
"Call in the others and we'll see if we can't figure out some way to pin this [murder] on some outsider -- preferably a Democrat"
--Dennis Tyler in The Corpse on the White House Lawn

Dennis Tyler, head of the Current Political Intelligence (CPI) branch of the State Department, is not a fan of exercise. Especially at 7 AM. When he is told to meet a couple of journalists, the White House Press Secretary and an old army pal on the White House lawn for a publicity stunt involving tossing a medicine ball around so early in the morning you can imagine he's not exactly thrilled. But he goes. He's a diplomat after all. He knows how this kind of publicity work in Washington DC. But the exercise doesn't last long. The ball goes astray several times and when he goes searching for it among the dwarf rhododendrons he literally stumbles upon a corpse in a tuxedo. And he's shocked to recognize the face as Ramon Sanchez, a Mexican diplomat and informer for the State Department. Sanchez has been strangled, his silk scarf still wrapped around his neck. Quickly, Tyler enlists the aid of his exercise gang to cover up the crime by moving the body as far away from the White House as possible. They dump Sanchez in the Potomac and hope that he'll remain there for a couple of days giving Tyler time to concoct a story that will spare the President and his staff the taint of a scandal.

Pretty far-fetched, isn't it? But no different from the kind of nighttime drama we are being fed these days on TV shows like Scandal and How to Get Away With Murder. The difference is this book was written prior to the outbreak of World War Two and is fairly influenced by pulp magazines plot mechanics.

Tyler turns detective and eventually learns of some stolen plans for a unique catapult design that can launch and retrieve airplanes at sea. Essentially, the invention renders an aircraft carrier obsolete. If the plans get in the hands of the enemy it might just wreak havoc with the US naval shipbuilding industry, possibly end it altogether.

Or so the author would have us believe.

The Corpse on the White House Lawn (1932) is the fourth of six novels featuring series character Dennis Tyler. It's an odd blend of detective novel, political satire and espionage. It also suffers from a schizoid identity in the writing. "Diplomat", better known as John Franklin Carter, has absolutely no skill in writing dialogue which leans towards histrionic exclamations, pun laden wisecracks and is generally unrealistic on every level. When his focus is on exposing the hypocrisy of politicians however, Carter has a clever way of turning a phrase. The novel works best when Carter is eviscerating the world he knew so well as a member of the State Department under both the Hoover and Roosevelt administrations. Here's one particularly trenchant passage:

Diplomacy, like Jehovah, works in devious ways its wonders to perform, and [Tyler's wife] had seen one treaty put over merely because the wife of a foreign delegate was regularly taken to the movies by a young foreign service officer, and another treaty completely wrecked because the American delegate had forgotten to lock his bedroom door. Wine, women, and red tape were still the three graces, or greases, which lubricate the government's work.

His characters and their actions seem to have been pulled from the pulp magazine writer's bag of tricks. The plot is filled with spy silliness like fountain pens that shoot tear gas and superhuman feats of daring do. There's a climactic fire in the White House, several near fatal bumps on the head, a kidnapping and some business with codes that use newspaper articles in combination with the number pi. Sometimes Carter has an original idea that seems perfect for his DC Setting. The bad guy, who happens to be an evil traitor selling information to enemy powers, has managed to co-opt the services of several cab drivers and formed a battalion of eager to serve, easily bribed,  getaway drivers who help him escape from the scenes of his spying and killing.

John Franklin Carter is a lot more interesting than the fiction he concocts. You'll find lots of information about him on the internet these days, but nothing to compare with what is discussed in Roosevelt's Secret War by Joseph Persico or an article I found in the Journal of Intelligence and Counter-Intelligence.  Carter was just as vain and rebellious as Dennis Tyler. It's hard not to separate the character he created from the author when you read his letters and diaries and know more about his personal life and political aspirations. Dennis Tyler is so obviously Carter's twisted superego realized in fictional form. Both men defy rules and regulations, act on their own authority, all in the name of saving democracy. Carter managed to manipulate FDR and have himself appointed as the head of a secret, off the books, one man intelligence operation created essentially to spy on Roosevelt's own advisers and cabinet members. Roosevelt even manged to siphon money from federally allocated funds to pay Carter so that his salary as a spy for the President wouldn't show up in the records of the State Department.  Like a member of the IMF in Mission: Impossible Roosevelt and the Secretary of State were ready "to disavow any knowledge" should Carter be caught doing something unethical or illegal.

Another post on Carter and two of his other books is in the works. Stay tuned!

The Dennis Tyler Political Detective Novels
Murder in the State Department (1930)
Murder in the Embassy (1930)
Scandal in the Chancery (1931)
The Corpse on the White House Lawn (1932)
Death in the Senate (1933)
Slow Dance in Geneva (1934)
The Brain Trust Murder (1935)

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Reading Challenge update:  Golden Age bingo card, space G1 - "Book with a color in the title"
 Posted by at 6:07 am
Feb 272015
And now for something completely different....

I've been reading a lot of early transgressive fiction as research for an essay to be included in a book slated for 2016. This has led me into a strange and fascinating world of crime novels with plots that touch on formerly taboo topics mostly to do with sexual preference and unusual sexual practices. So when I fortuitously came across a book called The Fetish Murders (1973), with that cover seen at left, I had to read it. It's not at all transgressive fiction as I thought it might be since it has at its core a respect for morality and normalcy and does not revel in all things rebellious or counterculture. Thankfully, it did not turn into a serial killer novel as the title seems to imply. It's an attempt to present what most people in the 1970s (and I guess quite a few these days, too) would view as a distasteful subject -- erotic fetishism -- in a humanistic compassionate setting. It succeeds to a degree, but it disappoints on a whole other level.

The Fetish Murders begins with a comical scene in which June Hissock, "Carnival Queen of East Ganford", storms into the police station to report being attacked. She is the latest victim of a scissors wielding maniac who has been cutting locks of hair from young blond women. June is incensed; her hairdo is ruined. And the attack occurred just before she was to award some prizes at a school in one of her many beauty queen publicity gigs. Smart aleck journalists have alternately dubbed this hair crazed phantom the Demon Barber and Jack the Snipper. The newspapers also make a lot of allusions to Pope's "Rape of the Lock". It's all tongue in cheek and ridiculing and all a bit wrong. For they have no idea just how dangerous this hair clipping creep will become.

No one has ever seen Jack the Snipper, not even the women whose hair he is collecting. Each young woman has been attacked from the rear, the hair quickly snipped from the nape of the neck and the attacker fleeing before the victim even knows what's been done. Sergeant Pinnett is a bit worried that the attacks seem to be on the rise. He has a daughter who also has blond hair. What if she should be next?

You can guess what follows. Not only is Marjorie Pinnett next on the list she is also fatally stabbed with the scissors in what appears to be an attempt to fight back. And now the Demon Barber is no longer just a creep but a murderer.

This is very bad news for reporter Peter Stack. He had just written an informative news feature on fetishism in which, quoting expert advice of psychoanalyst Dr. Luton-Bailey, he explained the harmlessness of the attacks. The article was to reassure the public and prevent hysteria and vigilantism. He's alarmed by the murder and even moreso when he learns the victim is the daughter of a police officer who he overheard vowing to seek revenge on the Demon Barber. Stack revisits Dr. Luton-Bailey to try to understand why the fetishist suddenly became violent. When the psychologist hears that this particular hair clipping attack happened from the front he comes to the conclusion that the Demon Barber must've been recognized by Marjorie. And in that moment he felt it necessary to kill.

Luton-Bailey is one of the better realized characters. His psychology is modern and sound, even sympathetic, but still a bit too Freudian. I was disappointed that here was yet another instance of a psychological suspense story that dealt with aberrant behavior that must be explained away by an absent father, a domineering mother, and a belittled and abused child who grows up to be a deeply disturbed adult living out "perversions" in order to deal with trauma. No attempt is made to discuss fetishism as a form of eroticism without the taint of mental illness. Not all sexual fetishism is about mommy and daddy issues. There's a lot more involved in the fetish world that Avon Curry didn't seem to want to explore.

Bringing us to the writer. That name is an obvious pseudonym and by page 20 I was sure that the androgynous sounding Avon Curry was probably a woman writer. The way that Marjorie and her friend Nancy are depicted, the detailed talk of women's clothes and hairstyling, the sensitive nature of so many of the male characters -- this seemed not to be a male writer at all. And I was right. After consulting The Dictionary of Pseudonyms I learned that Avon Curry was one of several pen names used by the prolific writer Jean Bowden.

Jean Bowden, retired at age 90
There is a lot about Bowden online these days after she formally announced at a 2009 SWWJ conference she was retiring from professional writing. She had a varied career beginning as an editorial assistant for a variety of British paperback houses including Panther and Four Square, moved on to become assistant fiction editor at Women's Own, and ended as editorial consultant for Mills & Boon. She has been credited with discovering Catherine Cookson and a few other bestselling writers. Concurrent with those publishing positions from 1958 to 2009 she used seven different pseudonyms to write over fifty novels consisting of romance, historical fiction, family sagas, crime and detective fiction and tie-in novels for the UK TV series The Brothers and Emmerdale. Her most recent incarnation as novelist is "Tessa Barclay". Using this name she wrote a series of crime/adventure thrillers featuring a series character, the ex-Crown Prince Gregory of Hirtenstein.

The Fetish Murders begins as a crime novel and slowly evolves into a psychosexual mystery but is never a true detective novel. Early in the novel Bowden reveals the identity of the killer and the existence of his mysterious girl friend Angela Good. The book alternates between Peter Stack's sleuthing -- both as a quasi psychological profiler with Luton-Bailey's assistance and a physical evidence gathering detective -- and the tortured behavior of Dennis Justinson determined along with Angela's help to shift the blame to an imaginary mad killer. There is one final twist Bowden adds towards the end of the book that is no real surprise to a modern crime fiction reader and sadly so ineptly handled that it fairly ruins the book. When the end comes it is violent as expected, tragic, a bit pathetic but wholly contrary to how the author led us to believe she felt about her antagonist. When Peter Stack calls Dennis "that thing" I was not just disappointed, I was pissed off.

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Reading Challenge update: Silver Age card R5 -"Author who uses a pseudonym"
 Posted by at 5:32 am
Feb 202015
Norman Pink is not your average private detective. He's not chasing after shapely women clients, sneaking pulls on a whiskey bottle hidden in his desk drawer or stumbling into a fistfight every ten pages or so. More likely he's stumbling over the rocky terrain of the English countryside, puffing on his asthma cigarettes, and making excuses for not being home to his very tolerant wife. On occasion he'll indulge in his never-ending work in progress -- a short story parody of Doyle's Great Detective who he has dubbed Sherbolt Houses (his partner is Dr. Tylersdad and housekeeper Mrs. Thames).  It's pure silliness and Norman knows it will probably never be published. Norman is in his mid sixties, a semi-retired ex-policeman, and happily married to a Beth who affectionately calls him Dad. Employed by Peerless Private Inquiry Agents, Ltd, Pink is passing his semi-retired life doing routine work mostly consisting of dreary and sordid divorce cases. But he has an obsession and it is this obsession that serves as the foundation of his first adventure in The Girl Nobody Knows (1965) by Mark McShane.

Years ago he was one of many who witnessed a horrific train wreck. Among the many victims was a young girl Norman had been watching prior to the crash. True to his policeman's instincts he had been wondering who she was, where she was going and why a 12 year old was on a train platform unaccompanied by any adult. When her body remains unclaimed after several days Norman saves her the ignominy of a potter's field burial by paying for her funeral and having a gravestone marking the site with "The Girl Nobody Knows" followed by the number 27 signifying her death statistic in the train wreck.

For the past twelve years Norman has been visiting the cemetery on the anniversary of the train wreck always alone, always seemingly the only person who cares about this anonymous girl. Until the day that opens this book when he chances upon another visitor at the girl's grave site. It's a woman dressed all in brown who seems oblivious to Norman's presence a few feet away. He approaches and gets close enough to see her face but she rushes away. In that brief moment Norman's policeman's training registers the woman's most telling feature -- she has one blue eye and one brown eye.

And so he begins his search for the drably dressed woman with an optical abnormality. With the aid of personal ads, clever role playing and some phone calls to eye doctors he comes up with a list of suitable women from which he begins the painstaking process of elimination until he quite by chance stumbles upon the cemetery visitor. Much to his surprise the woman played a small part in a case he had as a policeman many years ago. And slowly that case proves to be linked to the "Girl Nobody Knows."

This first outing is a real page turner. Pink is one of the most unusual private detectives I've ever encountered and his concern for the dead girl is at times heart wrenching. One night after a long night of searching and questioning Beth asks him, "You don't care too much, do you?" He asks what she means. "That we never had children." "I never even think about it," he assures here. They clasp hands and turn their attention to the TV. But the reader knows better. Norman has created an identity for the girl in the anonymous grave calling her Violette in honor of the color of the dress he last saw her wearing and imagines all sorts of possibilities for what her life was and could have been. He is determined to learn who she is so both he and the girl can finally have some peace.

Norman's second outing Night's Evil (1966) is as far removed in tone and subject matter as his first adventure. The story starts with a typical private eye opening: a wife wants to learn the truth about her husband's death. Elaine Bland hires Norman to find out why her husband Otis was visiting a carnival where he ended up stabbed to death. Strangely, she doesn't care who killed him. She want to know if he had been seeing another woman. She had suspicions about him for months and his violent end seems fitting to her. She only wants her suspicions proven or disproved. Norman first has to track down the location of the traveling carnival and then infiltrate the tightly knit world of its performers and employees.  Secretly he is also interested in finding out the identity of the murderer but he keeps that as close to himself as he did his relationship with Violette in the first book.

The group of primary suspects at the hyperbolically named Blegg's International Shows is quite a motley crew. From the belligerent owner Alfred Bleggs who has a lot of shady business deals he would rather not be discovered to the lonely dwarf Scurly Steeves, an ex-performer who has become the carnival's self-described PR agent, a job that is really no more than a sign painter and poster hanger. Scurly is secretly in love with the sexy young Molly, step-daughter to one of the amusement ride operators who has a dark secret all her own. She spends most of her time practicing knife throwing and earning a few extra shillings taking photographs of the customers then developing them in her makeshift photo lab in her family's tent.

There's also Charles Meek who shows up looking for work and a mystery woman named Carla.  Meek we soon learn is a former physician. Norman is curious why a well-to-do doctor would give up his career for the life of a carnival handyman who does nothing but fix faulty wiring and mend broken electrical sockets. Meek isn't talking. Carla seems to be the reason he stays on at the carnival yet no one has heard of the woman, let alone seen her. Like all the others Meek has a terrible secret, perhaps the scariest part of the book is when Norman learns the truth about this very mysterious man.

Rounding out the crew is Rosa, the gypsy fortune teller who seems to have a genuine knack for seeing into the future. Her visions of a hellish doom will have an eerie resonance in the cinematically rendered climax.

Because this story is confined to a small group of suspects who rarely leave the grounds of the carnival I found it less engaging than The Girl Nobody Knows. McShane creates some mystery in slowly revealing the secret lives of these troubled people but the overall mystery of who killed Otis Bland never seems to have any urgency or importance. Norman is more intrigued by the odd behavior of Charles Meek, the constant lying of the others and the shifty business practices of Bleggs. It's only in the final thirty or so pages that the book becomes exciting. McShane abandons his wishy-washy psychological suspense and transforms the story into a Grand Guignol revenge scheme gone haywire. The solution to the murder comes quite by accident amid a flurry of flying knives, smoke and fire, and hysterics from a trio of characters.

1st US Edition, Doubleday Crime Club (1966)
The final novel in this trilogy is The Way to Nowhere. It's pretty darn scarce. It was not published in the US making it all that more hard to find. My attempt to find an affordable copy failed miserably.  I have no idea what the book is about as I also failed to find any newspaper or magazine reviews of the book.  Maybe one of you lucky enough to live in the UK or Canada might find it in a local library.

The first book is definitely worth reading. If you like Norman enough you may want to move onto the second title to see a new side of him. Both titles were published in the US and UK and both received paperback reprints in the US. If nothing else Night's Evil gives you a few more silly paragraphs from Norman's ongoing Sherbolt Houses story.  That at least will bring you a smile or a chuckle or two. It certainly made Norman laugh.

The Norman Pink Trilogy
The Girl Nobody Knows (1965)
Night's Evil (1966)
The Way to Nowhere (1967)

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Reading Challenge Update: Silver Age Bingo space S6 "Book with professional detective" and
Silver Age Bingo space I5 "Book with spooky title"
 Posted by at 6:04 am
Feb 132015
Anne Chamberlain's debut novel The Tall Dark Man (1955) can barely be called a crime novel. Why this book was marketed as a cat and mouse thriller is beyond me. It's not. Yes, there is a crime. But the story is one of those experimental psychological novels that used to flood the shelves in the 1950s. What makes it noteworthy is the voice of the protagonist -- a 13 year old girl. And she is one troubled little girl.

The book is almost a retelling of The Window that remarkable movie with Bobby Driscoll as a boy known for telling lies who witnesses a murder and his desperate attempt to get any adult to believe what he saw was true. Driscoll's character is harassed and hounded by the villains and we fear for him legitimately. Sarah Gross, Chamberlain's heroine of sorts, also is an overly imaginative youngster with a flair for spinning tales but what she sees may not have been real. Unlike the Driscoll character Sarah is more akin to Mary Tilford from The Children's Hour, a mean spirited liar intent on causing harm.

Sarah lives under the shadow of an ugly reputation as a vindictive rumormonger after she tells a very nasty story about one of her male neighbors who slighted her one day. We learn that Sarah spends most of her lonely childhood gazing out of windows, dreaming up stories of the strangers she watches often ending those stories with a lurid finish. In the opening chapter Sarah witnesses a violent fight between two men in hunting garb that ends in a savage and bloody death. But who is going to believe the girl who told such a whopping lie about an adult and impugned the character of some of her schoolmates? Sarah lingers too long at the window and almost too late realizes in horror the murderer is staring at her through his binoculars.

Knowing she cannot tell anyone what she saw without being thought a liar again Sarah is forced to resort to her manipulative ways to escape the school and elude the murderer who she is sure is after her.  Having failed to convince any of the adults to accompany her home or drive her away (she usually walks to school) Sarah holes herself up in the girls' bathroom hoping against hope that the "tall dark man" doesn't get inside and finish her off. Over the course of the book, which takes place in a single evening, the reader gets to know Sarah and her secret life as storyteller and dreamer, her sad upbringing in a home where her father gambled away their savings, a home of heated quarrels and little love. Sarah retreats into her imagination further frustrating her mother and her teachers who have already suggested Sarah be taken to a child psychologist.

The book is a strange mix of psychological study of a borderline antisocial child and an allegory of childhood fears. Chamberlain manages to saddle poor Sarah with a closetful of character flaws ranging from self-loathing to pettiness to desperate longing for one single friend. She's a sad little girl and often one scary little girl as well. In one chilling passage she actually believes that she caused the "tall dark man" to kill the other and begins to identify with the killer recognizing in herself a streak of cruelty that could easily lead to violence. It's hard not to see her as a forerunner to a nastier, less victimized Carrie White. In the first paragraph she makes mention of having had her first period in the past six months and hating herself for "[becoming] a woman". There is a later sequence where she and her mother discuss menstruation with Sarah becoming ever more indignant and spiteful towards her mother when she tries to explain her daughter's ongoing biological changes.

Lost in all of Sarah's ruminating and fixating is the tall dark man of the title. As the story progresses he becomes less a murderer in search of an eyewitness and more of a hazy marauding symbol of everything that a 13 year-old can possibly be afraid of. Chamberlain's writing also tends to waver in and out of nightmarish surrealism and cozy naturalism.  At times her gift for naturalistic dialogue, much of it rendered in spot on Midwestern idiom, gives way to a jarring kind of heightened theatricality peculiar to allegorical playwriting.

The story languishes too much in Sarah's past. Chamberlain heaps on pop psychology explanations for Sarah's tortured emotions. Her continual trips into her past trying to sort out her conflicted feelings for her father and her stepfather grow tiresome. At it weakest moments the story devolves into the well trodden terrain of soap operas. What's at stake and what Sarah fears for in the present is too often abandoned. Intermittently we are reminded of the looming threat when the murderer appears outside windows as a ghostlike face or is seen loitering by the school flagpole. However he never really seems like a menace. He's more of a lingering shadow than a palpable danger.

There are lighthearted moments amid all this grim and self indulgent dreaming. When they do come they are more than welcome. A scene between two janitors complaining about the slovenliness of teenage girls in the third floor girls' bathroom is hysterically funny. Later when a group of students rehearsing a play invade Sarah's bathroom sanctuary she at last finds a handful of allies and much longed for companionship and some long overdue compassion. For me the scenes with the drama students were the best part of the book.

The Tall Dark Man received numerous accolades when it was first published. The paperback edition I have is loaded with blurbs from laudatory reviews that highlight its suspenseful nature. All of the quotes used make the book seem like a real nailbiter and a page turner. One reviewer claims she started the book at 1 AM and didn't put it down until she finished three hours later. But this is a case of exaggeration coupled with overlooking what the book is really about. The final two chapters are the only sections I found to be fraught with tension and the only times I received a smidgen of a frisson. I enjoy being misled in the context of a plot when I read crime fiction, I don't like being misled by marketing hype.

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Reading Challenge update: One of two books I read for Rich Westwood's "1955 Book" for February.
 Posted by at 6:04 am
Feb 062015
I've known about Let's Kill Uncle (1963) for a long time.  But I only knew the movie version as adapted and directed by William Castle. For a teenager growing up in the 1970s that movie was pretty wild stuff.  It's stayed in my memory ever since I first saw it. Two teenagers in fear of their life plot to do in their nefarious uncle, a former commando highly skilled in martial arts and assassin techniques, before he kills them first. But having seen this movie only twice in my life I was not at all prepared for the book.  The only thing the book and movie have in common is the basic plot and the two first names of the children who are only 10 in the book.  Everything else is completely different.  And the differences are even more wild than the movie.

Rohan O'Grady (pseudonym for Canadian writer June O'Grady Skinner) has concocted a fantastical story that is a glorious mixture of Grimm's fairy tales, macabre black comedy, ecological critique and a whole lot more.  It's one of those rare books that defies pigeon holing and classification of any kind.  So unique and original in every facet it's hard to believe why Castle decided to change the movie and in effect cheapen everything that makes the book so odd and bewildering, charming and bewitching.

Did I just call a book about two potential child murderers charming?  Yes, I did. These ten year-olds, first introduced as holy terrors having nearly destroyed an entire ferry and terrorized the passengers while crossing from Vancouver to an unnamed Gulf Island, undergo a magical transformation in a matter of days. It's as if the Canadian island where they have been sent for a summer vacation has truly cast a spell on them.  But in truth it is the subtle manipulation of the adults who have little patience for bratty kids that has a positive effect on these little monsters. As the story progresses Barnaby and Christie grow to be great friends and their pact to do in the thoroughly diabolical Uncle Sylvester while fraught with danger and peril is really no more horrifying than Hansel and Gretel shoving the witch in the oven.  It's a matter of survival and an eerie rite of passage. Even as they plot to kill Uncle they also plan to blame a mentally disabled young man they have befriended.  But wait -- how can that be charming? I'm at a loss to explain it all.  By rights it should be revolting, and yet the outrageousness never once seems vulgar or offensive.

June Skinner as seen
on the rear DJ of the US edition
June Skinner's writing is the key. She guides the reader masterfully avoiding all the pitfalls of quaint and cutesy incidents and never once veering into self-parody.  For the first half I kept asking myself it if it was intended for children.  Past the midway point it is clear that children are not Skinner's main audience, though I imagine her adult themes (elitism and racism, ravages of war, destruction of wilderness and its consequences, among others) perhaps have a powerful resonance for modern young readers. Still the writing has a quiet soulful mood so peculiar to the best of children's books, one in which a sonorous voiced narrator is telling a bedtime story. You're lulled into a world where the writer paints rich pictures of a rural Canadian village, gives each supporting character deep meaningful lives and sharply voiced dialogue. She even gives thoughts and human emotions to animals just as in a fairy tale.

We get to know the animals just as intimately as we do the human characters, especially how they feel about the humans they encounter. There is a misanthropic bull named Iron Duke also plotting a death wish for his cruel owner.  There are dogs, cats, horses, and even a budgie all getting their chance to shine over the course of the novel. Most importantly there is ol' One-Ear, a cougar as battle scarred and world weary as Sgt. Albert Coulter, the local Mountie still haunted by dreams of being a prisoner of war.  Coulter and the cougar have a lot in common and Skinner does an impressive job of tying these two together over the course of the story.  How many books have you read where a mountain lion is given to expressing ennui when faced with the choice of turning vegetarian or starving?

Remarkably, Barnaby and Christie manage to befriend this cougar suffering from a poor diet and a weltschmerz that nearly outdoes Young Werther's.  Too exhausted to chase them away or frighten them with a roar One-Ear becomes their playmate and surrogate pet. Barnaby and Christie grow to be friends yet also seem to transform once again into miniature adults playing house with One-Ear as their adopted child.  Just as the adults of the Island have managed to tame the little monsters from the ferry these two children seem to be taming a wild beast.  Barnaby never forgets their mission, however, and soon he finds a way to add One-Ear to the plot to do in Uncle Sylvester.  Will it all go according to plan?  Little do the children know that Uncle has been spying on them with the aid of his high powered binoculars and his surefooted jungle tracking skills.  Just how much has he learned about their plot?  Who will get who?

Woven around the duelling murder plots we get a fascinating character study of Sgt. Coulter.  He has fallen in love with the wife of the Island's vicar and every night he writes a love letter to her, sharing with her his doubts, fears and hopes for the two kids to whom he has become both a guardian angel and surrogate parent.  He never mails these letters. Just as soon as he has finished pouring out his heart and soul he rips up the letter. Coulter is the most intriguing character in the book, complex, conflicted, compassionate and impassioned. We learn he is probably the only member of the Royal Mounted Police who hates horses. We watch him suffer through nightmare flashbacks to the POW camp and his haunted visions of the aftermath of the concentration camps he was forced to visit before being sent back to Canada. His story is both humorous and poignant and yet another example of how Skinner has crafted a beguiling story.  There's so much more to this novel than what the title implies.

For a long time this was a very hard to find this book. Luckily, for all it is now readily available in both a paperback edition and digital book from Bloomsbury in their marvelous series that also brought back into print Miss Hargreaves, A Kid for Two Farthings and other well-loved but sadly overlooked novels. Anyone interested in reading one of those rare indescribable books, one that reads like no other you've read before, ought not to be put off by the title or the cult movie.  Let's Kill Uncle is quite a magical and unforgettable reading experience.  In fact, I can't wait to read the book all over again.

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Reading Challenge update: Silver Age bingo card, space L2 - "Book made into a movie"
 Posted by at 9:07 am
Jan 232015
Sir Anthony West is an addicted gambler. He is in debt to the tune of £1000 and he hasn't a clue how to dig himself out. As luck (and abounding coincidence we will soon learn) would have it Jasper Morgan knows of his troubles and offers him a challenge that might put Sir Anthony back in the black. Morgan knows that West is an avid car enthusiast and likes to race around the countryside where the police tend not to care about speeding. Morgan offers the use of his Mercedes and dares West to race the car in excess of 40 mph through a well known speed trap just outside of Comlyn, the city in Cornwall where The Comlyn Alibi (1915) takes place. If he succeeds without getting caught £1000 is his to do with as he chooses. But if he is caught by the police and arrested in order to get the £1000 West will have to pass himself off as Jasper Morgan. That will help to explain why West happens to be driving Morgan's car. Also, Morgan insists that there be a passenger seated next to him who can verify that West successfully made it through. If stopped and arrested, West will just have to explain to the witness why he's impersonating Morgan. Emboldened by the challenge and seeing it as his only chance to pay off his creditors West agrees. The same day that West is speeding through Comlyn in the borrowed Mercedes Jasper Morgan's wife is shot in the orchid house on his estate and her expensive jewelry is stolen. Seems there was an ulterior motive for Morgan making the bet. Now he has an ironclad alibi and West cannot reveal anything of the bet without implicating himself.

The Comlyn Alibi is an entertaining example of a plot that sticks to a sensation novel formula and almost succeeds as a fine modern crime novel. Headon Hill, pseudonym for Francis Edward Grainger, has a no-holds barred style of telling a story with rapid pacing and well drawn characters most of whom escape rigid stereotyping. While there is still the garrulous landlady, the conniving vixen, comic cops, an ex-convict turned butler, and unctuous villains Grainger also manages to add a bit of originality into the tired old formula of upright do-gooders matching wits with utter baddies. Supt. Noakes, for example, is not your typical policeman buffoon. He speaks in an ersatz intellectual patter trying to pass himself off as an educated man but he exploits his position of authority in order to obtain free food and drink in the homes of those he interrogates. Most of his attention is not on the case but on his stomach. As he polishes off glasses of expensive whiskey he lectures the suspects on his "h'axiom" of looking for the husband whenever a wife is murdered. But he is puzzled when Morgan seems to have an airtight alibi having learned of his arrest at the speed trap and his subsequent overnight stay in the Comlyn jail. Noakes is a stand out among the minor characters.

Oh yes! He really does say that.
This is more of a thriller but not without aspects of a puzzler of a detective novel. Morgan and his cohort, Professor Zimbalist are clearly villains from the get-go. There is never any question that Morgan is responsible for his wife's death if he is not the actual murderer. But what exactly is this nasty duo up to at the old abandoned tin mine? They are witnessed by several people digging around and pocketing small rocks. Zimbalist claims to be an archeologist and assures Mavis Comlyn, daughter of an elderly squire who owns the land where the mine is located, that the two men are interested in fossils. She suspects little, but the reader knows better. Morgan has designs on Mavis; he wants her as his wife. Once he is married to her Morgan hopes he will be able to gain access to the land as part of her inheritance. Mavis seems doomed.

Coincidentally, as in the case of the previously reviewed Samuel Boyd of Catchpole Square, there is a teen amateur sleuth. This time a 14 year-old boy not a girl. Tom Burbury spends much of his time lurking about the old shipwreck where shifty Mike Hever, descendant of a family of smugglers, has taken up an unlikely residence. Morgan and Zimbalist are seen visiting the wreck and Tom eavesdrops on several key conversations that reveal the wedding plot being hatched. Tom discovers quite a bit and drawing on his keen interest in geology knows exactly what the rocks found at the old mine contain. They are teeming with uranium ore. Tom knows the value of radium that can be extracted from that ore, if not the then unknown dangers of its radioactivity.

Grainger was a rather prolific writer beginning his career in 1895 and continuing well into the late 1920s. His plots seem to belong to the world of Collins, Braddon and Richard Marsh what with forced marriages, blackmail galore, and heroes using a variety of disguises in order to ferret out the villains. His prose can often feel stodgy and melodramatic if not risible ("Tony was the bravest of the brave, but he realized that lying dead in the sand he would be of no use to Mavis in her dire extremity."). Nevertheless, he manages to give the books a contemporary feel and he knows how to tell a suspenseful and entertaining tale.

Several of his books are rather unusual (not to mention extremely scarce) like The Divinations of Kala Persad, a collection of short stories that mix crime and the occult and feature a protagonist who is a snake charmer/fakir/sleuth. His series character Sebastian Zambra appeared in two volumes of short stories but never in a full length novel that I know of. Many the "Headon Hill" books are available in digital versions from a variety of online websites either free or for a nominal fee. Expect to pay a chunk of change for any of the original books from the Edwardian era if you are lucky to find any of them in a used bookstore or online. Few of Grainger's books as "Headon Hill" were published in the US with the majority of his work having only UK editions making them all that more scarce.

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Reading Challenge updates: Second book for Rich Westwood's 1915 Book Read and O4 ("Author Never Read before") on the Golden Age Bingo Card.

 Posted by at 4:07 pm
Jan 162015
Chances are if you are asked to name one woman mystery writer from the early twentieth century you wouldn't immediately think of Natalie Sumner Lincoln. I'd wager that you are probably reading her name for the very first time. She was a contemporary of Anna Katharine Green, Isabel Ostrander and Carolyn Wells all of whom are better known and all of whom she was clearly trying to emulate.  Ostrander was the most innovative and talented during the heyday of these women's careers. Green gets all the accolades for being the Grandmother of Female Mystery Writers. Carolyn Wells.... um... she has a special place all her own in the history of mystery fiction. Lincoln, however, is truly forgotten and most of her books have been out of print for close to a century, some longer than that.

As examples of early 20th century detective novels her work is not the best of their kind. An intense perusal of multiple magazine reviews of Lincoln's more exemplary work published between 1915 and 1925 indicates she was popular during her time and probably sold a lot of books. Based on my reading of The Official Chaperon (1915), the first book I've read of hers, I think she may also be a candidate for inclusion in that dubious Hall of Fame known as Alternative Mystery Classics.

Lincoln was born and raised in Washington DC where she worked as a newspaper reporter and later editor and where the majority of her novels are set. The Official Chaperon, while not exactly typical of the kind of detective novel she was known for, is a template for the characters and situations Lincoln was obsessed with. It tells the story of a group of entitled wealthy Washington socialites and politicians who are primarily concerned with their reputations and social standing. When a string of thefts upset their status quo they are alternately forced into both protecting their loved ones at whatever cost and outing the kleptomaniac hiding in their society.

Margaret Langdon as
illustrated by Neysa McMein
Margaret Langdon is the primary suspect. She has been hired as a chaperone to Janet Fordyce, only a few years younger than herself, and together they attend dances, parties and make social visits to wealthy households. Each time Margaret and Janet make one of their visits someone loses a valuable item. Jewelry, lace handkerchiefs (apparently highly prized in this era), and money are stolen. Coupled with these thefts is the fact that Margaret was recently fired from her secretarial position in the home of Admiral Lawrence when the codicil to his dying wife's will went missing. He accused Margaret of destroying it in order that her sometime boyfriend Chichester Barnard, Lawrence's nephew, would benefit from Mrs. Lawrence's estate. Eventually through a series of absurd coincidences and plot contrivances Margaret comes to be accused by multiple characters as the ballroom thief. But the reader knows better.

Early in the book Margaret witnesses Janet Fordyce pocketing a valuable jeweled brooch. She manages to retrieve the brooch and attempts to return the item to it rightful place. Of course she is caught doing so by the woman who owns the brooch. And of course it appears that Margaret is taking the jewelry not replacing it. The entire story is predicated on this kind of cliche incident. Lincoln manages to reinvent this scene about four or five times over the course of the story making Margaret seem like a true kleptomaniac.

Margaret catches Janet in the act
(illustration by Edmund Frederick)
Here's a perfect example of her plotting. Janet and her soldier boyfriend Captain Tom Nichols are caught in a speed trap. Tom asks Janet not to use her real name if the police ask for it. Whose name do you think she uses as her alias? That's right. Poor ol' Margaret Langdon. When they have to pay a fine of $50 (admittedly very steep for 1915) and Tom doesn't have enough money he offers to use a combination of his $23 in cash and Janet's bracelet as collateral. The police agree to the loan of the jewelry (!) as long as Tom returns the same day with a cash balance. It turns out the bracelet is not Janet's. She lifted it from a society matron and ten minutes later the matron's husband is also pulled over by the cops at the speed trap. He also has to pay a fine and sees the bracelet on the cops' desk. He immediately recognizes it and asks who left it behind. The cop refers to his arrest records and says: "Oh some woman named Margaret Langdon."

This is not really a detective novel at all. It's not even a crime novel though thievery makes up much of the plot. It's nothing more that an early twentieth century version of a 1980s nighttime soap opera. It all reminded me of episodes of Dynasty in which wealthy people dressed in expensive clothes (a lot of space is devoted to the wardrobe descriptions), drink champagne, carry themselves haughtily and accuse each other of stealing each others spouses and partners rather than jewelry and handkerchiefs.

While there's no adultery going on in The Official Chaperon there is a lot of philandering mostly by the ne'er-do-well Chichester Barnard, the obvious villain of the piece. There's even an Alexis Carrington in the cast. Pauline Calhoun-Cooper (how do you like these hoity-toity names?) adds a contemporary spice to the proceedings and at least made me laugh with her constant accusations, her bitchiness and superior attitude. Only nineteen years old Pauline is also one of the youngest women in the cast of characters. So young, yet so old. Sigh...

Speaking of bitchy -- Lincoln has quite a way with her dialogue. Here are some zingers that I particularly enjoyed:
"Life is too short to bother with ill-bred and stupid people. I came to Washington to avoid them."

"Congressmen of today belong to the ancient and honorable order of inkslingers."

"If thee made virtue less detestable, Becky, thee would have more converts."  (Spoken by Madame Yvonett, a Quaker who likes her thees and thys, to her cousin Rebekah, an uptight religious hypocrite)

But these quips and intentional moments of humor are rare. Lincoln reserves her dialogue writing talent for paragraph long tirades filled with melodramatic pronouncements of anger and pitiful displays of desperate "love-making." Most of it is over-the-top even for 1915. I found myself laughing at most of these moments of high drama when I wasn't rolling my eyes.

And now a warning... (Now a warning?) Here comes a HUGE SPOILER. You may want to skip this paragraph...but I'd continue if I were you.

Most ridiculous of all is the novel's resolution when the reader learns that Janet is not really a kleptomaniac at all. Through the erudite pontifications of psychiatrist Dr. Paul Potter we learn that Janet's thievery was achieved through hypnosis.  She was the victim of an insidious post-hypnotic suggestion triggered by the mesmerist villain's blowing in her ear! This ending was so absurd and out of left field I could only think of Harry Stephen Keeler. He had yet to write a single story in 1915 so I can't even credit him as one of Lincoln's influences. But you can be sure I'll be reading more books by Natalie Sumner Lincoln. My hope is that she outdoes herself in terms of the absurd ending of The Official Chaperon. Stay tuned!

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Reading Challenges:  1.  1915 Book for Rich Westwood's challenge.
2. Golden Age Bingo card space G3 - "Book with a crime other than murder." In fact, there is no murder in this book at all!
 Posted by at 2:03 pm
Jan 092015
Beatrice Lestrange Bradley is at her most frustratingly oracular and infuriatingly intuitive mode in Groaning Spinney (1950). I hesitate to call this a detective novel because frankly it isn't though there is the barest trace of Mrs. Bradley's keen detective skills put to use. This is a crime novel with an obvious set of criminals; there are no real surprises in the denouement for those who crave that in their mystery fiction. Still there are an intriguing enough set of circumstances surrounding a couple of puzzling crimes that kept me reading.

I haven't read any of Mitchell's books in anything resembling chronological order. I tend to pick them based on the plot summaries and whether or not a handful of Mitchell experts consider the book one of her best. I guess if I had stuck to a rigid order reading process I might have noticed the subtle change from her parody of the detective novel format (while still remaining somewhat true to the fair play doctrine) to this current style of crime novel where the puzzles really don't matter to her, but the characters and situations do. For obvious reasons I have avoided most of the duds ever since I inadvertently read about three of them back to back and was turned off of Gladys Mitchell for a long time. Mitchell can be, at least to me, incredibly dull and "unreadable" sometimes -- a word Mitchell herself has blithely leveled at John Dickson Carr. Sacrilege! With all my reading history in mind you may understand why Groaning Spinney just passes muster for me, but only for a variety of set pieces and the revelation of one of the cruelest and most sadistic crimes Mitchell ever invented.

Basically, the story is a borderline impossible crime story that incorporates the legend of ghost that haunts the forest of the title. When a dead man is found in the very same position that the ghost likes to adopt (hanging over a stone fence face first) there is superstitious talk of a ghostly murderer wreaking revenge. Then a woman goes missing and the village begins to be plagued with an explosion of nasty and insinuating poison pen letters. Did someone strike back at the anonymous letter writer when the toxic words struck too close to home? Mrs. Bradley, her nephew Jonathan Lestrange, and his wife Deborah all join forces with a curious and baffled police constabulary as well as the rigidly rational Chief Constable to get to the bottom of the villainy. There is confusion about whether or not anyone has been murdered and if so what method was employed which makes this a quasi-impossible crime. There is also the oddity of the positioning of the body and how it got here in the first place that adds to the mystery. But the novel is focused mostly on character and a brilliantly realized country setting.

The ghost element is weakly handled, not really as creepy as in other better Mrs. Bradley books that deal with possibly supernatural events surrounding a murder. But a completely different type of near supernatural aspect was utterly fascinating. This is in the character of Ed Brown, who reminded me of how Dickon from The Secret Garden might have turned out in his adulthood. Ed has an uncanny ability to befriend wild animals, especially birds. There is not a single scene where he appears in the book where some creature doesn't walk up to him fearlessly or a robin flies down from a tree to perch on his shoulder. His animal magic comes in handy in the final uncovering of the convoluted murder plot involving insurance fraud and impersonation. Ed Brown was the most original and my favorite character in the book. His presence alone was worth the price of admission.

Young Gladys as she is depicted on
vintage Penguin editions of her books
That is not to say that Aunt Adela (why does she waver between wanting to be called Beatrice and Adela? Yet to figure that out.) is not in fine form here. We get to see her being a crackshot with a pistol yet again and in the climactic fox hunt we see she is quite the badass equestrian putting to shame men half her age with her athletic skill on horseback. Her detecting talents here are mostly confined to the usual oracular and enigmatic statements about knowing who the culprit is early on but not telling anyone her thoughts. "To the devil with your metaphors and quotations,!" the exasperated Chief Constable shoots back at Mrs. Bradley in one of Mitchell's wittier moments. Later in this sequence Mrs. Bradley says, "You have no fear, and I will have no scruples," much like a cloaked and bedrugged Sibyl. Yet amid all the banter and allusion dropping the reader can't help become frustrated with the author for not letting him in on her lead character's thoughts. Mrs. Bradley intuits too much, guesses a lot, and -- of course -- everything she has mentioned or alluded to is proven correct in the end. But we'd never know if she was telling the truth or not, would we? I really find this kind of detective novel tactic tiresome and sometimes infuriating.

This is a rather unusual Mitchell novel in that I kept finding analogies to other books I've read in the past. Most of her story telling is unique and all her own, but this time Gladys seemed to be borrowing a lot although I will admit it's just all coincidence. I couldn't help but feel as if I was reading a Patricia Wentworth novel. Mrs. Bradley was acting exactly like Maud Silver without the supercilious coughing and clacking of knitting needles. Most eyebrow raising to me were the echoes of the savagery on display in that horror-cum-detective novel The Grindle Nightmare in both the method and teamwork of the culprits involved in Groaning Spinney. Fans of noir and gruesomely dispatched murders might like this book but it's along haul to get to the violent and truly horrific pay-off.

Leading me to a warning: there are animal deaths in this book. They all occur offstage and therefore the reader is spared the gory possibilities, but the discovery of some dead dogs will not endear Mitchell to any lovers of man's best friend. I've read several books in the past with torture and slaughter of household pets and mentioned it almost off-handedly in my reviews only to learn many readers of this blog avoid any book with animal deaths. So I thought I'd throw this out as a cautionary label.

Groaning Spinney has been out of print for ages but thanks to's Thomas & Mercer line and the UK branch of Random House's Vintage Crime imprint this scarce title is available again both as a physical book and an electronic one. In the US you can get only a digital version, but in the UK you have your choice of either. Granted the Vintage Crime Classics are not at all attractive books with their unimaginative typographic covers on a scarlet background and they are manufactured print on demand, but there are perfect replicas of the original first UK editions inside. And they are still a heck of a lot cheaper than shelling out over $200 for a crappy reading copy. In a fit of book buying mania I bought about five Mitchell books I've been wanting to read for over ten years now but have never been able to find in the used book market. You can be sure that I'll be reporting on those, both good and bad, when I'm done with them.
 Posted by at 4:49 pm
Jan 022015
The opening sentence to The Mysterious Mr. Badman (1934) is a corker:

When at two o'clock on a sultry July afternoon Athelstan Digby undertook to keep an eye on the contents of the old bookshop in Keldstone High Street, he deliberately forgot to mind his own business.

Partly on holiday, partly to advise his nephew Jim Pickering on whether or not to take up a physician's locum tenens position nearby Mr. Digby has been minding Daniel Lavender's bookshop where he has been temporarily given a bedsit while visiting the town and his nephew. On his first day in charge Mr. Digby is visited by three successive customers all looking for the obscure work The Life and Death of Mr. Badman by John Bunyan, best known for his religious allegory The Pilgrim's Progress.  Mr. Digby is intrigued.  Even more so when not too coincidentally a copy is brought into the store by a young man selling a pile of old books.

Based on the title alone you have probably guessed that this is not a book about a "bad man" but rather a bibliomystery about the desire to own a book. But is the book all that valuable?  Turns out the book holds a rather incriminating letter with information that could be damaging to noted M.P. Sir Richard Mottram.  No sooner has Mr. Digby found this letter the shop is broken into and the book stolen.  Then one of the inquisitive customenrs is found propped up against a tree, a pistol in his hand, dead from an apparently self-inflicted gun shot.  Is his death related to the stolen book?  Or the letter inside the book?  Was it suicide or murder? The search is on for not only the book but for the other two men who were inquiring after the volume.

Mr. Digby is joined in his amateur sleuthing by his nephew Jim and Sir Richard's stepdaughter Diana Conyers who was the person who gave the books to the boy to sell in the first place.  Together the three of them uncover an extortion plot, some political machinations, and one of those familiar unctuous gentleman villains so popular in thrillers of this era. Harvey combines some excellent detection with the usual tropes of the pursuit thriller. Mr. Digby puzzles out the method and motive for the murder based on the hairs of a mountain goat, some wood shavings and a missing sleeping bag! How's that for some amateur detective work?  Jim and Diana engage in subterfuge, farcical impersonation and all sorts of wily Q & A style detective work in order to get to the bottom of the skulduggery. And with a cast of characters with names like Olaf Wake, Euphemia Upstart, Neville Monkbarns and Kitchener Lilywhite you know you in for a bit of whimsy along with the mayhem.

The Mysterious Mr. Badman was a delight from start to finish, the perfect book to end last year's indulgence of vintage mystery obscurities.  Quite a surprise to me also since I had known William Fryer Harvey, prior to finding this elusive book, only as the writer of excellent macabre and supernatural short stories that tend to be a lot more somber than this often lighthearted novel.  He is probably best known for his horror story about a possessed piano player that became the movie The Beast with Five Fingers. Harvey's creepy M. R. James influenced paranormal story "August Heat" is found in numerous anthologies devoted to the best of supernatural fiction.

A bit of research proved to me that Athelstan Digby previously appeared in an equally rare book of short stories in which he apparently first appeared as an amateur sleuth. Whether or not Jim Pickering also appears in The Misadventures of Athelstan Digby (Swathmore,  1920) I will never know.  I remember a copy of this genuinely rare book turned up for auction on eBay a while ago but I failed to win the book. It sold for over £200 if I remember correctly.

Currently there are four copies of ... Mr. Badman for sale online and they range from $70 to $115.  I paid £1 for mine back in 2005. Very lucky! Chances of finding one in a US library are slim unless you have access to the University of Arizona or UCLA libraries where two copies are held. As ...Mr. Badman was published only in the UK by Pawling & Ness, a very minor and short-lived publisher, I imagine that you might have better luck if you live in the UK or Canada and consult your local interlibrary loan services.

UPDATE:  Some fun news related to William Fryer Harvey's other detective stories. A reader of this blog sent me an email with a link to another blog where anyone interested can read the stories from The Misadventures of Athelstan Digby.  Just click here.

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This was the very last book I read for the Vintage Mystery Golden Age Bingo Reading Challenge.  It filled in the card completely on space L4 "Book with a Man in the Title."  Thought I'd be done with 36 books a lot sooner.  I was reading until the stroke of midnight on December 31.  For those interested, all the books I read for both the Golden Age and Silver Age Bingo Cards are listed in this post.
 Posted by at 5:01 pm
Dec 192014
Stephen Dusack has a bit of a problem. After suffering major injuries in a train derailment he is under the care of both doctors and psychiatrists. He has been interviewed multiple times about his life history and each time he tells his story about growing up in South Africa, working for a mining company, and recently leaving that country for England where he hoped to start life anew in the little village of Studdold all the medical staff tend to give the impression that they doubt his veracity. They all think he is David Orme and send Stephen home with Orme's secretary and business associate Howard Downey. Broke and without even having started his new job Dusack reluctantly agrees. At Orme's massive estate protected by electronic gates and a gun toting chauffeur Stephen's identity crisis plunges into a nightmare world of conspiracy, paranoia and murder attempts.

Davies spent most of his writing career riffing on themes of identity confusion and amnesia. He wrote in all genres often blending and hybridizing well known tropes of detective fiction (amnesia victims) and science fiction (mind altering drugs) into a kind of new subgenre of his own invention. Psychogeist (1966) tells of a young man who cannot remember who he is and alternates with his hallucinatory dreams of an alien world that parallel the story of his recovery from amnesia. Or is he actually an alien who crash landed on Earth? Probably his best known crime novel treatment of identity loss is his second novel Who Is Lewis Pinder? (1965), originally titled Man Out of Nowhere in the UK. Give Me Back Myself (1971) belongs with Davies' crime fiction novels. It presents the story of Stephen's search for his true identity as a tale of an unbelievable conspiracy with no introduction of either supernatural or science fiction elements.

In these amnesia novels we are always hoping for the hapless protagonist to find at least one ally who will believe his story, help him uncover the truth and bring the villainy to light. Stephen finds his allies quite by accident when he asks for directions of his next door neighbor Ambrose Kenny. Later Kenny's daughter Fran will stop by for her weekly visit and she will turn out to be both confidante and detective cohort. The manner in which Stephen and his two allies slowly uncover the plot is done with ingenuity and a few startling surprises. You have to credit Davies with a fertile imagination in continually finding new methods to essentially tell the same story repeatedly.

Though his books are out of print copies of nearly every one of Davies' fascinating books are easily found in the used book market at very affordable prices. I'm sure many of his books, not just Give Me Back Myself, can be find both in US and UK libraries as well.

I read this book for both Bev Hankins' Silver Age Vintage Mystery Reading Challenge and Rich Westwood's 1971 Mystery Reading Challenge. For more on L. P. Davies breathtaking displays of variation on the theme of amnesia and identity confusion see Sergio Angelini's reviews of Man Out of Nowhere and The Alien.
 Posted by at 1:52 pm