The narrator of most of this book is, by design, pretty repugnant — and honestly, I find the other characters so too, even when we get a little glimpse of the other side of the story. The satisfaction here is in seeing their plans come to grief, and waiting for everyone to get their comeuppance. There’s something satisfying in Hull’s skill about putting together these characters, but at the same time it feels like it would’ve worked better as a short story. Enough time to get the gist, without enough to start getting truly frustrated by the general horribleness (and stupidity, too).
It’s an entertaining enough read, but I was glad when it was over, too!
Like Seven Dead, this actually includes a love story as well, although of a rather different stripe (and maybe a bit less of the focus, since neither party is seriously suspected of the murders). It’s less prominent than the love story in Seven Dead, and thankfully less creepy as well, with some rather good scenes between the two of them negotiating their relationship. At the same time, there’s a convoluted mystery going on with several deaths, complex interrelationships and, well, the usual stock in trade of Golden Age crime fiction, really. It’s a country house mystery, too, just to hit all those traditional notes.
I found it solidly entertaining, and though it’s a bit less weird/creepy than Seven Dead, I think it was probably stronger for it. There’s something about Farjeon’s writing that I find rather more-ish, and I’d gladly pick up a bunch more of his novels. Sadly, I only seem to have The Z Murders left… though I should check for something by other publishers or maybe as an ebook.
The main point of interest in this classic is the fact that it was a first. The introduction is more interesting than the book in many ways, putting it in its context and explaining why it was significant. The introduction is short, don’t get me wrong, but the story itself is a fairly typical one in many ways. You can guess at the motives, and the mysteriousness is not at all mysterious to someone used to the genre. Not that it’s bad, just that it’s not particularly unique or surprising in any way. The writing is workmanlike, and in some places dips into being almost incomprehensible (but then, I find Dickens like that at his worst, and some people think he writes amazing prose, so take me with a pinch of salt). The plot probably was rather shocking at the time, but leaves me going, so? And of course, the poisoning by proxy is rather… impossible.
In any case, I had fun reading it in terms of connecting the dots with other classics of crime fiction, and it wasn’t a bad way to pass the time, but it’s not something I’m wildly enthusiastic about or would particularly recommend.
There is something really sinister and dark about this book. It’s one of those where drug-taking/mental illness really pushes the plot, and it leads to some really gruesome moments. That atmosphere is the best thing about the book, I think: that sense that you don’t quite know what’s going to happen next, because it seems like it could be anything. It’s not very subtle, but it works pretty well.
Of course, I don’t love mysteries which rely on mental illness for their sense of danger and their motives, because the facts are that mentally ill people are more likely to be attacked than to be the attackers, by quite a margin. But it’s a classic trope and this is a classic book, from a less aware time, so while I wouldn’t recommend it if that kind of thing really gets to you, I don’t hold it against it too much in how I enjoyed it.
Mind you, considering I didn’t like the detective that much and found the Watson rather boring, I’m not sure how to rate it. The sense of atmosphere is definitely worth something, though, and it’s not as though I found it a hard read. Until I sat down to think about it, I’d have gone with three stars easily.
The other Miles Burton book I’ve read was fun, but the plot was kind of out there. Death in the Tunnel is a little more down to earth, and I ended up devouring it. Burton’s writing is crisp and sure, and while the story has its twists and turns, it all makes perfect sense. Never are you left feeling that the detective has made a sudden leap and left you behind — you have the clues you need, provided you can make something of them.
I can’t really put my finger on why it worked so well for me: it’s just well-structured, with enough to keep one interested and some odd puzzles along the way. It’s also a glimpse at some interesting characters — the murder victim, for example, is fascinatingly self-righteous and determined he’s doing the right thing, while somehow managing to justify fraud. And it all makes sense, too; you can see the character and what drives him.
The fact that the detective (not the police officer, but the independent guy the policeman consults for some reason) is the same guy from The Secret of High Eldersham is kind of irrelevant: he remains a bit of a non-entity, just distinguished by being clever. The point of the book is more the mystery-solving through the understanding of the characters and clues presented. I enjoyed it, but if you were looking for a good series detective, Desmond Merrion isn’t the one.
Reading these is just like a holiday for my brain — undemanding, quick, but usually reasonably satisfying. I actually got a little bit more involved with this one that I expected, and found myself really disappointed by whodunnit — not because it was badly written or didn’t make sense, but because I didn’t want that character to be the culprit. Alas. Everything was worked out very cleverly, though, and involved a good amount of solid policework rather than gut feelings, etc, which I always find more interesting than magical solutions.
It’s not the most sparkling of writing, but it works. I’m not in a tearing hurry to read more books by Freeman Wills Croft, but I don’t plan to avoid them either. It’s like a nice snack: solid enough to keep me going, though I’ll be wanting a fuller meal later on.
The Secret of High Eldersham is a bit of a weird one, really, with a lot of rather sensational stuff going on. It seems like it’s going to be one of those sleepy little village mysteries, but then there’s a whole mess of occult stuff coming in! Not that it’s unenjoyable, as aside from occasionally rolling my eyes at the drama I did rather enjoy it. It’s fairly typical in many ways of the period, with the intrepid amateur detective (who doesn’t quite run rings round the police, but they’re definitely indebted to him) and a love interest, terrible peril, etc, etc.
Miles Burton makes it work, though, and I’ve enjoyed another of his books too (finding it, on the whole, less sensational and more realistic). I’d recommend at least giving this a try! The pacing isn’t 100% perfect, but for the most part it ticks along pretty nicely.
Wow, this was just… kind of disappointing? I mean, there are aspects of it which are fairly unique — actually characterising the skinflint uncle who must die for the heir to inherit, and giving him maybe a softer side; following the crooks and getting into their heads as well as the innocent(ish) bystanders and the police, and the victim, etc. But in the end it just doesn’t come together: you don’t get to see the bad guys get their comeuppance, not all the mysteries are answered (if you even care by that point), and the “hero” insofar as there is one is a weak mummy’s boy who can’t take responsibility for his own actions or figure out how to take care of himself for even a moment.
It’s just… meh all round. I’m not really finding the ‘warm period charm’ Edwards mentions in his introduction; really, I’d be quite happy to have skipped this one.
This is a really entertaining entry into the British Library Crime Classics line-up: the premise had me from the word go, for sure. It’s a locked room mystery with a rather creepy beginning: a would-be burglar stumbles on a room full of corpses in a seemingly empty house. There’s a serious romantic plot that I think might put some readers off, especially as it involves a guy getting rather creepily fixated on a painting of a young girl and deciding he has to know her (though at least he knows she’s an adult now); sometimes it doesn’t feel like the primary point is the mystery, but instead the relationship between two people who are mostly on the edge of it.
There’s also some rather odd banter between the inspector and the policeman who works with him. Sometimes I seemed to be missing context — which makes no sense, considering they weren’t supposed to know each other long before the case, so it should all be perfectly comprehensible — and sometimes it just seemed like the dialogue was trying to be too clever.
Nonetheless, it’s entertaining and the weirdness of that opening kept me interested in how the mystery itself worked out. Unlike with some of the other books reissued by the British Library for the Classic Crime series, I do actually find myself rather eager to pick up another book by Farjeon, instead of just pleasantly entertained but not ready to leap on it. The Z Murders and Thirteen Guests are now on my TBR pile.
Obviously, when you read this, you can’t help but compare it to Gaudy Night if you’re a Sayers fan, or at least versed in your Golden Age crime fiction. It’s set at a women’s college in Oxford, after all, though it lacks the maturity and reflection of Sayers’ novel — the characters are mostly undergraduates, and there’s some leaning on stereotypes like the one single foreign student who attends the college (and doesn’t think about time, or tidiness, or anything else in the same way as British students — of course). The characters get all entangled in solving a mystery half for the fun of it, although there is the same focus on protecting the reputation of the college as Harriet and her peers feel in Gaudy Night.
Overall, it’s entertaining, with a fairly obvious (to me, anyway) mystery; it’s an interesting read as part of my ongoing dive into Golden Age crime fiction — but I’m not in a hurry to read Mavis Doriel Hay’s other two novels republished by the British Library. I probably will, but they haven’t catapulted to the top of my list.