‘Lonesome Road’ by Patricia Wentworth

 

Lonesome Road is Patricia Wentworth’s third ‘Miss Silver’ novel, published in 1939. I read most of these in my teens, then never re-read any until I came across this one recently in an Oxfam bookshop. I remembered liking Wentworth’s sleuth almost as much as Miss Marple and found that hasn’t changed.

The plot concerns Miss Rachel Traherne, a rich estate-owner with a strong sense of duty to her late father’s wishes and her extended family. She lives at Whincliff Edge, a large house situated on a cliff-top. It’s used as a second home by assorted relatives who come and go for free hospitality and the hope of hand-outs. A series of malign incidents make Rachel believe that one of her relatives is trying to kill her. Distraught with suspicion and fear, she consults Miss Maud Silver who had helped one of her friends.

At the writing-table sat a little woman in a snuff-coloured dress. She had what appeared to be a great deal of mousy-grey hair done up in a tight bun at the back and arranged in front in one of those extensive curled fringes associated with the late Queen Alexandra, the whole severely controlled by a net. Below the fringe were a set of neat, indeterminate features and a pair of greyish eyes.

In some ways Miss Silver has much in common with Agatha Christie’s Miss Marple and might be assumed to be inspired by her but actually, Patricia Wentworth got there first. Miss Silver makes her debut in Grey Mask – albeit in a small rôle – published in 1928, two years before The Body In The Library. Their chief similarity is the ‘invisible’ quality of old ladies. Suspects and murderers overlook them, not realising they’re being keenly observed.

Unlike her famous contemporary, Miss Silver is a professional enquiry agent and lives in a flat in London. You get the impression she has a shadowy network of helpers to call upon to check background facts. Most business-like, Miss Silver makes lists of suspects, alibis etc. in her notebook. She has also had a previous career.

‘I think you had better call me a retired governess.’ Most unexpectedly her eyes twinkled. ‘And that need not trouble your conscience, because it is perfectly true. I was in the scholastic profession for twenty years. I disliked it extremely.’

In later novels, Miss Silver has a good working relationship with Inspector Frank Abbott of Scotland Yard, who sometimes sends her on a case. She is invariably found knitting a baby’s matinée coat or bootees. Her modus operandi when she’s detecting is to pose as a house-guest. A distressed gentlewoman who appears a harmless old lady, an attentive audience with a fluttery manner. Nothing could be further from the truth. As she remarks to Rachel Traherne:

I had some conversation with all your relatives. I find that the manner in which people behave to someone whom they consider quite unimportant is often highly illuminating.

In Lonesome Road, Miss Silver’s task is to prevent a murder – which makes a change from an early corpse. The pacing and tension is so effective throughout that I didn’t miss the more conventional plot. In a sense this trope is a forerunner of the woman-in-peril psychological thrillers which are currently so popular. Such novels invariably contain some love interest and that’s something I’d forgotten about Patricia Wentworth’s writing. Her murder mysteries contain elements of what we used to call ‘romantic suspense.’

There’s usually a happy-ever-after for the leading lady and often for a young couple who never really made it to the suspect list. Agatha Christie too, sometimes united an attractive young couple along the way. Being an old cynic, I don’t want romance getting in the way of the murder! That apart, I really enjoyed Lonesome Road.

Although out in 1939, there’s no reference in the novel to the gathering war. It’s set in a timeless interlude between the two World Wars and we’re never told which county we’re in. Patricia Wentworth must have had the south coast in mind as there’s a London Road in the area and characters can run up to ‘town’ for dinner. The atmosphere of the locale is very well done, especially near the climax of the novel when place and weather enhance the tension.

The characters are believable, unsympathetic ones being particularly well-drawn. Like most vintage crime fiction, this is worth reading for the social history alone, an interesting snapshot of how the pre-war British middle class lived.

Most of all I liked the vivid sense of fear and menace creeping through the story. Patricia Wentworth evokes a real feeling of danger, hatred and terror, especially in a pivotal scene and the exciting denouement. She was a very good writer and this is a terrific mystery. Miss Silver is interesting and a formidable ally. I’ll certainly be revisiting her again.

 

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The Sherlock Holmes Book of Self-Defence – The Manly Art of Bartitsu

The Sherlock Holmes Book of Self-Defence – The Manly Art of Bartitsu, as used against Professor Moriarty is a fun-filled little book from the Ivy Press, based upon the original Edwardian articles and other writings of E.W. Barton-Wright, the devisor of Bartitsu.

While it’s a fun read, this delightfully-illustrated little book is practical too, and you might pick up a hint or two on defending yourself.

I spent a couple of decades indulging in martial arts, including Wado Ryu Karate, Kung Fu, boxing, wrestling, Jiu-Jitsu and Savate (French kick-boxing). Elements of the later two make up much of the ethos of Bartitsu. I’ve used similar techniques in training and the real world – they do work, though you really do need to practice and not just read a book.

Contrary to popular belief, Victorian and Edwardian society was not particularly safe. There were places in town and country where you might be attacked. Personal safety did prey on people’s minds.

Barton-Wright (1860-1951) was an interesting character. He was a consulting engineer by profession, work which took him all around the world, including Japan where he took up Jiu-Jitsu. Returning to London in 1898, Barton-Wright devised the hybrid Bartitsu (named after himself), publishing magazine articles and opening a Bartitsu Club in Shaftesbury Avenue. It didn’t last long, no doubt because of competition from many other schools of many other martial arts disciplines that became popular at the same time.

It did, however, make its mark on one famous writer – Arthur Conan Doyle, creator of Sherlock Holmes. When Doyle brings Holmes back from his supposed death at the Reichenbach Falls, Holmes explains to Watson how he escaped the grip of the fiendish Professor Moriarty:

We tottered together upon the brink of the fall. I have some knowledge, however, of Baritsu, or the Japanese system of wrestling, which has more than once been very useful to me…

Notice that Doyle gets the name of the art wrong, Baritsu rather than the proper Bartitsu, though this could well have been a proofing error rather than the author’s fault. Interesting to see how widely Barton-Wright’s martial art had become known.

This present book presents us with a number of these techniques, from how to “Deal With Undesirables”, such as evicting a troublesome man from a room, to how to escape when grabbed from the rear or by the throat. There are short chapters on how to fight with a walking stick, dealing with an attacker armed with a knife, how to throw and hold an assailant on the ground, and even self-defence using a bicycle as a weapon.

All very interesting, though if you want to take this up seriously you should perhaps enrol in a club and learn hands-on.

But this little book is a delight and well worth a read for devotees of historic crime fiction.

 

‘The Documents In The Case’ by Dorothy L. Sayers

Published in 1930, this is Sayers’ only novel not to feature Lord Peter Wimsey. While I don’t rate it as highly as the Wimsey stories – which I love – it was very enjoyable and I’m glad to have re-read it after many years.

The setting is the London suburb of Bayswater in 1928, where the Harrisons live in a tall Victorian house with their lady-help, Miss Agatha Milsom. When the story begins, their top floors are newly leased to two young men, an artist and an aspiring novelist. Harrison is a fussy, mild-mannered accountant – sounds perfect for a 1920s murderer – and his wife Margaret is much younger. She’s wonderfully described as a suburban vamp with lots of S.A.

As the title implies, this is an epistolary novel, not my favourite structure but it is addictive. No chapter breaks make it tempting to read just one more entry, which leads to many. I find the same effect when reading published diaries. I enjoyed seeing characters and events from several viewpoints, showing the vast inconsistencies in what we all call the truth.

The novel is divided in two parts and includes statements among letters. It reminded me of Wilkie Collins’s The Moonstone, where a time period is pieced together and analysed in an attempt to unravel a mystery. It’s an effective means of hooking the reader. You’re formally challenged to play detective from the opening page.

We don’t know the nature of the murder for some considerable time – or we wouldn’t but for the blurb. While I understand the publishers’ need for hooks to tempt buyers, I wish they didn’t give away so much – one of my serial rants. I suspect the first readers in 1928 began knowing less about what was going on than we do today.

We are told early on that Harrison is an expert on fungi. Say no more – all keen Golden Age readers know what that means! A keen forager and cook, he’s writing a book on the subject, accompanied by his water-colour illustrations. Poisoning is a deliciously sinister method of dispatch. For a writer it’s full of possibilities, as devious as deadly, not requiring brute force or even the presence of the murderer. So handy for arranging an alibi and for the more squeamish killer. It’s worth noting that The Documents In The Case is Sayers’ following novel after Strong Poison.

One of the novel’s strengths is its lively characterisation, shown especially in Miss Milsom. In reality, how terrible it must have been to be a ‘lady-help,’ existing in an uneasy limbo between family and servant. Miss Milsom is engaged partly as a companion to Mrs Harrison. She sits with the family and is treated as a sort of distant relative but her duties include the cooking, which she does badly.

You could say Miss Milsom is a great positive-thinker, self-help books being as popular then as now. She busies herself in enthusiasms including handicrafts, littering the flat with her half-finished work. A letter to her sister explains:

I am experimenting on some calendars, made like the old-fashioned tinsel pictures, with the coloured paper-wrappers off chocolate creams. Some of the designs are simply beautiful.

Miss Milsom is also obsessed with sexual repression. It was fashionable at the time to read Freud, consult a ‘nerve doctor’ and worry about the state of one’s glands. Mental and physical health, exercise, faddy diets, dodgy sects and gurus were all popular preoccupations in the inter-war years. Though presumably not among people struggling with the Means Test and the Depression.

She consults these psycho-analytical quacks, who encourage her to attach an absurd importance to her whims and feelings, and to talk openly at the dinner-table about things which, in my (doubtless old-fashioned) opinion, ought only to be mentioned to doctors.

In several of her novels, Sayers satirises neurotic middle-aged spinsters seeking self-expression. Wickedly funny, though it could be argued her caricatures are unkind. It’s a mistake for us to read history through a filter of modern values. These were women who perhaps never thought of a career other than marriage and motherhood. And their best chance of happiness was lost on the Western Front.

You can sense Sayers’ impatience with foolish women who didn’t make a fulfilling life for themselves, above all with useful work. A glimpse of the theme she developed with Harriet Vane, culminating in Gaudy Night. At the time of writing The Documents In The Case, Sayers was working in the advertising agency which inspired Murder Must Advertise, a vivid portrayal of office life in the thirties.

The young artist and writer here are part of the London Bohemian scene which is a popular Golden Age setting, often Ngaio Marsh territory. Sayers uses this in parts of Strong Poison and The Unpleasantness At The Bellona Club. A female character in The Documents In The Case contrasts with Miss Milsom as a level-headed, hard-working novelist, rather like Harriet Vane.

There’s a very good sense of place, both in the dull, respectable streets of Bayswater and when the novel shifts to the wild countryside near the Dartmoor village of Manaton. When we lived in Devon, this was one of my favourite parts of the Moor for walking. Sayers really captures the flavour of the landscape and its people. It’s a pleasure to read about passengers travelling the long-axed, country branch-line from Newton Abbot which climbs on to the Moor via Bovey Tracey. (Parts of the old railway line survive for walking).

Earlier editions credit Robert Eustace as co-author, though new editions have dropped his name, even from the front matter. This was the pseudonym of Dr. Eustace Barton, a medical doctor who also wrote thrillers. He suggested a crucial part of the plot and helped with the forensic side.

Overall, I don’t think The Documents In The Case works with the brilliance of a Wimsey novel. It feels expermental somehow and an epistolary form is bound to feel slightly disjointed. But the characterisation, atmosphere and a clever puzzle make it well worth reading. And as a glimpse of its time, the social detail of a vanished, pre-war England is invaluable.

 

 

Leslie Charteris: Call For The Saint

Call For the Saint offers us two Simon Templar novellas (or novelettes as Charteris preferred to call them). The collected volume was published in 1948 and features two of the best post-war Saint stories. This was the last time Charteris used the novelette format, though it was revived by other Saint writers in the 1960s, around the time the Roger Moore television series aired.

In the first tale “The King of the Beggars” Simon Templar is in Chicago and takes to the streets and alleys as a blind beggar to investigate the mysterious individual who declares himself just that – the King of the Beggars. Not that this king is generous to people forced on to the streets. In fact, this king is running a protection racket, forcing street beggars to hand over most of what they have collected to him.

Templar is in alliance here with a feisty theatre actress, Monica Varing, who goes undercover herself.

The joy of the piece is Templar’s Runyonesque and extremely dim hoodlum sidekick Hoppy Uniatz, one of the happiest character creations in thrillerdom. Hoppy gives an added delight to the stories in which he appears. Here his ability to mouth out BB shot plays an important part in the yarn.

The second story, “The Masked Angel” is set against the world of fixed boxing bouts. Charteris captures the atmosphere of the ring rather well and we even have a climax where the Saint puts on the gloves himself – to the delight of the crowd.

The story is set in New York and re-introduces two well-known characters from the canon – Police Inspector Fernack, who shares the same love/hate relationship with Templar that Claud Eustace Teal of Scotland Yard enjoys. How frustrating it must be for well-meaning cops that they can never bring the saint to heel?

The other character is Patricia Holm, the Saint’s sometime girlfriend and partner in crime. This is one of her last appearances (she takes her final bow in Saint Errant published the same year, and she hadn’t appeared since the earlier The Saint in Miami).

Reading this story, you get the feeling that all is not well between the Saint and the delightful Patricia. He has his saintly eyes on another (unavailable) woman and Patricia isn’t very happy about it. In fact, there’s a real edginess between Patricia and the Saint in this one, as though both know that the writing is on the wall in a relationship coming to an end.

For me, the Saint is never quite the same when Patricia leaves, and I don’t recall there being any reason given for the breakdown of their relationship. If any Saintly readers know why Charteris decided to give her the elbow, please comment.

Call For the Saint is a wonderful read if you want a few hours of complete escapism, both stories are beautifully-written and full of atmosphere.

At the top of his form, nobody did this kind of story better than Leslie Charteris.

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A Happy New Year to everyone who reads this. 

Chief Inspector Morse’s New Year Mystery – ‘The Secret Of Annexe 3’

I loved Colin Dexter’s novels when they were first published but until now had only re-read The Wench Is Dead, his superb historical mystery. The Secret Of Annexe 3 is Dexter’s seventh novel, published in 1986. This was the story I recalled least, as it was the only title not adapted for the ITV drama. The murder takes place around a fancy dress night at an Oxford hotel, on a snowy New Year’s Eve.    

It surprised me from the opening pages that Colin Dexter did a lot of foreshadowing and using an author’s ‘voiceover.’ Those men and women we are to meet in the following pages.

At that moment a train of events was set in motion which would result in murder – a murder planned with slow subtlety and executed with swift ferocity.

I often re-read Victorian novels where foreshadowing and chatty asides from the author were popular devices. I don’t mind at all when Trollope suddenly addresses his readers for several paragraphs or Wilkie Collins starts dropping direct hints about dark deeds ahead. I’m happy to accept it was the style of the age and find it endearing but in a late twentieth century novel, it seems distracting.

A minor point though, for I’d forgotten how absorbing it is to visit Chief Inspector Morse’s Oxford with its intelligent prose and lovely sense of place. The characters are very human with their failings and I liked the way secondary figures are given lots of back-story.

It’s interesting to see how society has moved on from a story written thirty years ago. Some guests at the fancy dress contest and dinner-dance, at the heart of the case, would be on very dodgy ground today. The hotel’s theme is ‘The Mystery of the East’ which is interpreted in a variety of ways.

It must have taken the man some considerable time to effect such a convincing transformation into a coffee-coloured, dreadlocked Rastafarian; and perhaps he hadn’t quite finished yet, for even as he walked across to the dining-room he was still dabbing his brown-stained hands with a white handkerchief that was now more chocolate than vanilla.

Another guest is dressed in the black garb of a female adherent of the Ayatollah, in a voice muffled by the double veil of her yashmak.

The Secret Of Annexe 3 has an intriguing plot with the hallmarks of a Golden Age puzzle. The Haworth Hotel has acquired the building next door which is part-way through its conversion to an annexe. Four rooms are completed and booked for the New Year festivities. When one of the guests is murdered, the annexe is the setting for a classic locked room mystery with a closed circle of suspects. Heavy snow has fallen and the three day hotel package makes a modern substitute for the winter country house-party, beloved of vintage crime fiction.

As this is clever, devious Colin Dexter, complications pile upon twists for Chief Inspector Morse and Sergeant Lewis. The corpse cannot be identified, the time of death can’t be established, the other guests have fled before the police arrived and hardly a single guest at the Haworth had registered under a genuine name…

By this point in the series, Morse and Lewis are comfortably established in their respective rôles of the brilliantly intuitive, erratic thinker and cheerful, hard-working side-kick. We’ve been rewatching the boxset and this time I’ve been struck by how offensively John Thaw’s Morse often speaks to Lewis in the earlier episodes. The underlying affection and Morse’s dependence on Lewis takes a long time to develop. In The Secret of Annexe 3, the relationship between the two men is much warmer with less conflict than on screen. Lewis gets more moments of quiet humour, showing how well he has the measure of Morse.

This is the last title published before the legendary television drama began early in 1987. It’s well known that the production team decided to change Sergeant Lewis from the novels, giving a contrast in age of the two leads. Colin Dexter dropped some description of Lewis in the later novels to fit Kevin Whateley’s portrayal. In the pre-television novels, Lewis is a heavily-built Welshman and a grandfather, only slightly younger than Morse. Other small changes were made such as Morse’s car becoming the classic Jaguar shown on screen.

Morse isn’t melancholy or sad in this outing, only tetchy as he’s given up smoking again. He’s on fine form, trading insults with his old friend Max the police surgeon, fancying the hotel receptionist with her enormous 80s specs, disappearing in pubs, betting shops and nearly spending the night with a call-girl. He also enjoys an invitation to Sunday lunch and an afternoon spent with the Lewis family, unlikely for the television Morse.

In the main, Morse is happy as he has a wonderfully baffling case. The twists and red herrings are like a conjuror performing a succession of card tricks. The suspects are very thoroughly shuffled.

When all is revealed, a pivotal part of the plot doesn’t bear too close an examination – to say the least. That was surprising and shows how even the great crime novelists can occasionally get carried away with the intricacies of their plot. Even so, I found The Secret Of Annexe 3 a very enjoyable read.

‘The Vanishing Box’ by Elly Griffiths

Recently published, The Vanishing Box is Elly Griffiths’s fourth historical crime novel featuring Detective Inspector Edgar Stephens and his old friend Max Mephisto, the stage musician. I loved the earlier books and this one continues their high standard.

It’s December 1953, leaden skies over the sea-front, snow is falling and Max Mephisto is back in Brighton, topping the bill at the Hippodrome. Somewhat uncomfortably, he’s sharing his act with his daughter Ruby as an equal partner. Meanwhile, Edgar is investigating the unusual murder of Lily, a quiet young florist. Flowers are made a deliciously sinister motif throughout this mystery.

Lily lodged in a typical dreary boarding-house of the time. The period detail is beautifully done with female clerks giving homely touches to their cold rooms, flowered skirts on dressing-tables, cooking on gas rings, a sharp-tongued land-lady and no gentlemen callers in the house.

Among the lodgers passing through are two girls in the show with Max. They’re performing in a tableaux vivants act where scenes of famous women in history are depicted by almost nude artistes, posed like living statues. Their modesty is just about preserved by carefully arranged props and famously, huge fans made from feathers and the stage darkens as they rearrange their poses.

These acts scraped past the Lord Chamberlain’s office – the theatre censor – provided the girls didn’t move. Not so much as a twitch was allowed. The best-known example was the show at The Windmill in London’s Soho. Their tableaux were legendary for elegance, sauciness and glamour – and for continuing throughout the Blitz. Their post-war slogan was We never closed.

As Edgar’s case leads to Max’s theatrical world, a well-written plot – packed with suspects and red herrings – races to an exciting denouement. This was a fast read, the author’s prose has a lovely flow and it was hard to put down.

There’s so much I enjoy about Elly Griffiths’s Stephens & Mephisto series. In addition to her strong plotting, she’s extremely good on character and place. Her characters always feel true to life. Edgar and Max are very likeable leads, I especially like Max’s world-weary restlessness. The two sergeants Bob and Emma, with their gentle rivalry, are believable and it was interesting to see Bob get a more prominent role in The Vanishing Box.

Brighton makes a wonderful setting, almost a character in its own right and the author leads us through its real seedy streets and wealthy squares. To anyone who loves Brighton, it’s poignant to glimpse the lovely old West Pier still standing, the former Hanningtons department store and the Hippodrome as it once was. (There’s an interesting author’s note about the real travails of the theatre in the novel and thankfully, hope for its future). It’s hard to think of a more atmospheric town in England for crime fiction – and many authors would agree.

Elly Griffiths evokes post-war British society and its sense of changing times very well. There are all sorts of divides in the novel; between those affected by serving in the war and those too young like Sergeant Bob Willis, young women who work until they expect to marry and those like Emma, and Edgar’s fiancée Ruby, who want a satisfying career in a male-dominated world. There’s a sense of loss vying with a new optimism. The country’s both down at heel and on the up. While there are bombsites and war debt, there’s a new, young Queen on the throne, women are wearing Dior’s New Look and television is starting to make an impact.

I really like the theme of theatre, magic and illusion in this series. The contrast between the lure of show-biz and the shabby life backstage is superbly done. Tableaux acts are starting to feel outdated – though obviously still popular with the dirty raincoat brigade. Max disapproves of the new-style comedians who don’t tell gags with punchlines and of a new magician, a cetain Tommy Cooper, who deliberately messes up his tricks. This fading world of variety gives an outstandingly good sense of place to the series.

An historical detective novel to get lost in, The Vanishing Box would make a perfect seasonal read and a lovely last-minute Christmas present.

 

 

‘The Dead Shall Be Raised’ by George Bellairs

The Dead Shall Be Raised is one of the many novels reissued, thanks to the British Library Crime Classics series. This is a lovely choice for Christmas reading, as it’s full of festive atmosphere. Published in 1942, this was George Bellairs’s fourth novel and the third published that year. It features his regular detective Inspector Thomas Littlejohn of Scotland Yard.

The story begins on Christmas Eve 1940, as Littlejohn stepped from the well-lighted London to Manchester train into the Stygian darkness of the blacked-out platform of Stockport. The feeling of Britain during wartime is evident throughout the narrative, beginning with a vivid account of journeying in a dim, shadowy railway carriage on an unknown branch line at night.

Inspector Littlejohn is on his way to be reunited with his wife. She is staying with an old friend in the north, after the windows of their London flat were blown out by bombing. His destination is Hatterworth, a town in the Pennines, surrounded by moorland. After missing the bus from the nearest station, Littlejohn is given a lift by a genial Superintendent Haworth, head of the local police. Hatterworth is full of Christmas spirit.

The night was still crisp and frosty, with stars bright like jewels. In spite of the black-out, there were plenty of people astir in the darkness. Sounds of merry voices, shouts of goodwill and here and there groups of boys carol-singing at the doors of dwellings and holding noisy discussions concerning the alms doled out by their patrons in between their wassailing.

There’s a delightful scene on Christmas night where a musical Superintendent Haworth is singing in a performance of The Messiah at the Methodist chapel, a big event for the town. Bellairs gives such an affectionate portrayal of a small community. Totally believable and full of charm, it’s like peering into the past. However effectively authors recreate a period setting, for me, nothing beats the writing of the time. It speaks to us across the decades. No worries about authenticity and research, the author was there.

And the past is soon making itself remembered in Hatterworth. The Home Guard are busy on manoeuvres on Milestone Moor.

The place was dotted with khaki-clad figures, running, leaping, stumbling, attacking, earnest in their mock-battling.

While some of the men are laying a trench, they find a skeleton. A generation ago, two local men were murdered nearby. The killer was generally thought to be known but never found. The old investigation is re-opened and with a Scotland Yard man on the scene, Littlejohn happily agrees to assist.

It’s a pleasure to follow the team’s intelligent, realistic gathering of evidence. Inspector Littlejohn is one of those determined, thoroughly decent policemen frequently encountered in pre-war crime fiction and the Hatterworth force are very well-drawn. Local knowledge proves invaluable as they question the witnesses still living.

Bellairs writes some lovely sketches of country folk. His characters ‘leap off the page’ and have a feeling of real figures recalled. They hark back to a bygone age of country writing with farm labourers, gamekeepers, poachers and tramps. I loved the descriptions from the wild moorland with its lonely inns to the town’s foundrys and iron-workers. His sense of place is superbly done.

If there’s any weakness in the plot, modern readers would probably point to a shortage of suspects – but this is such an engrossing read, that doesn’t matter. The story gradually becomes a how-do-we-nail-the-murderer? And how they do is very satisfying.

The Dead Shall Be Raised is fascinating for its wartime atmosphere. The detectives’ wives are busy knitting scarves and balaclavas for the troops. Even a local tramp has his ration-books and identity-card. Apparantly the author was working as an air-raid warden at the time of writing. A timeless rural community has been forced to adapt, stoically and cheerfully. It’s poignant for the reader to know that way of life will never quite resume.

The British Library Crime Classics edition is extremely good value as The Dead Shall Be Raised comes with another Bellairs title The Murder Of A Quack, set in Norfolk. Though short novels by today’s standards, they’re not novellas but full-length mysteries. There’s also the bonus of an informative introduction by Martin Edwards.

I’m a great fan of George Bellairs – the pseudonym of Harold Blundell (1902-82) – a bank manager and journalist who wrote over fifty detective novels. It’s pleasing to see his work readily available again and enjoyed by new readers. His writing has a real charm about it and this one is a perfect read for Christmas.

 

 

‘Balmoral Kill’ – My Scottish Novel

As a hillwalker who also writes novels, I always like to root my plots and characters in a real landscape whenever that is possible. I might alter it, fictionalise it, or just change the odd feature – but I like to start with a reality. And at some point in my fiction I like to use an actual place I know, walk around it and imagine my characters playing out their adventures upon it.

 

I always knew, right from the beginning, that my Victorian thriller The Shadow of William Quest would come to a dramatic conclusion on Holkham Beach in Norfolk. And I knew that the final duel between my hero and villain in Balmoral Kill would have to be in some remote spot in the Cairngorms, though within easy reach of the royal residence of Balmoral Castle.

But I wasn’t sure where.

In all my Scottish stravaiging I had never been to Loch Muick (pronounced without the u), though I had read about it in my numerous Scottish books and looked at it on the map. It seemed an ideal location for the conclusion of a thriller.

So the summer when I was writing the book, when we were staying in Ballater, we walked up to take a look, circling the loch and examining the wild mountains and tumbling rivers round about. Plotting a gunfight (even a fictional one) takes some care. I wanted it to be as probable and realistic as possible. This is, after all, a book about experienced assassins. I wanted the line of sight of every rifle to be exact.

We also had to check out the hills around. Both my hero and villain are great walkers and “walk-in” to places where they expect to see some action

And a beautiful wild place Loch Muick is. It was a favourite picnicking place of Queen Victoria, who used to linger for days on end at the lonely house of Glas-Allt-Shiel, in mourning for her beloved Prince Albert. Today’s royal family picnic there even now. The house is as I describe it in the book, as is the surrounding scenery. Believe me, I checked out those sightlines. Every shot described in the book could be taken in reality. Even now when I think of that loch and the Corrie Chash above it, I think of my characters being there. Sometimes they are all very real to me.

We also revisited Balmoral Castle (actually they only let you into the ballroom!), strolled through its grounds and examined the countryside round about. I was able to work out the exact routes taken by all of the characters who found themselves on the shores of Loch Muick on a late summer day in 1937.

Other areas of Scotland feature in the book too. I partly fictionalised the places I used in the Scottish Borders, though those scenes are based on the many walks I’ve done around Peebles, the Broughton Heights and Manorwater. In one flashback scene in the Highlands I have a character journey from Taynuilt and out on to the mighty twin peaks of Ben Cruachan, and then into the glens beyond, to kill a man in Glen Noe. Some years ago I did a lot of walking in that area and had considerable pleasure in reliving my journeys as I penned those scenes.

The book begins in London and journeys into the East End. I’ve walked the streets and alleys of Whitechapel, Stepney and Limehouse by day and night over the years. Balmoral Kill is set in 1937, so there has been a great deal of change in nearly eighty years. The East End was very badly bombed in the War and thoughtless planners have destroyed a lot more. But enough remains to give you the picture. Once more, I could take you in the steps of my characters through every inch of the places mentioned.

Very often going to these locations inspires changes to the writing. Balmoral Kill was half-written by the time we explored Loch Muick. The real-life topography of the place inspired me to make several changes to the novel’s conclusion.

And now I’m back to writing my Robin Hood series set in the 1190s. The landscape where it is set has changed very considerably in the centuries since. So more imagination is needed, though I still try to root my scenes in reality.

As a walker as well as a writer I find going on research trips is the best way to conjure up locations with the written wo

Click on the link below to take a look at Balmoral Kill..

‘A Christmas Railway Mystery’ by Edward Marston

Recently published, this is the fifteenth in the historical crime series featuring Inspector Robert Colbeck, known to the press as ‘The Railway Detective’. Edward Marston’s murder mysteries are always enjoyable and it’s nice to have one with a seasonal setting. It’s a title I’d always find hard to resist.

It is December 1860, Isambard Kingdom Brunel is recently dead and the mystery takes place in Swindon, Wiltshire in the workshops of his empire, the Great Western Railway. The body of a workman is found in the erection shed, where the huge locomotives are assembled. The head of the corpse is missing. No spoiler – this is revealed in the jacket copy. Inspector Colbeck and his steadfast sergeant Victor Leeming are on the case, racing against time – and not only due to the old trope of will they make it home for Christmas?

Colbeck and Sergeant Leeming are very likeable and Edward Marston includes some gentle humour with regular supporting characters. His people are realistic and clearly delineated. Plenty of suspects, all with feasible motives, make it hard to work out the murderer – something we crime fans want most of all.

Edward Marston’s knowledge and research make his mysteries very appealing. The theme of steam railways gives a terrific sense of place for fans of Victorian crime. Hard to think of a more atmospheric setting than a crowded, smoky terminus or a swaying compartment with leather straps and hat-boxes. The author keeps this series fresh with cleverly varied aspects of railway murder and readers can enjoy Colbeck’s mid-Victorian Britain knowing that everything they read is authentic.

The setting of A Christmas Railway Mystery is fascinating. Swindon was a rural market town – near the countryside immortalised by the great Victorian essayist Richard Jefferies – until overtaken by the GWR in the 1840s. It was chosen for its position – on the Wilts and Berks canal for transport and between London and the West Country. The market town became known as Swindon Old Town, once the GWR built their Locomotive Works and Railway Village for the workmen. The GWR’s land gradually became known as New Town and the mile or so of countryside between the two areas was filled, as sadly is always the way. Had Brunel never opted for Swindon, the town would perhaps be much smaller today.

Much of the mystery takes place at Swindon New Town, among the village terraces and shadowy corners of the coal sidings, locomotive sheds, machine shops and brass foundry. The Railway Village was built along similar lines to model factory villages like Saltaire and New Lanark, intended to cater for all the needs of employees’ lives. Homes came in different sizes according to position in the company, as varied as clerk, manager or blacksmith. The GWR built a church and chapel, pubs and an enlightened Mechanics’ Institute with an indoor market, entertainment, lectures, classes and the country’s first free lending-library. The workmen even had their own orchestra. (By the end of the 19th century, Railway Village also had its own health clinic and dentist).

The author evokes a claustrophobic community where residents must conform and the family of the murdered man will soon be evicted from their company home. The skilled workforce have come to Wiltshire from industrial areas and been poached from other railway companies. Strangers who bring conflict between factions and the inhabitants of the Old Town. A fraught setting for murder.

A Christmas Railway Mystery is one of the strongest outings for The Railway Detective. Darker in tone than some previous stories, it has a tense sub-plot for irascible Superintendent Tallis, one of our favourite characters. Already looking forward to the next one, I’m glad Edward Marston shows no sign of running out of steam!