The Tuesday Night Bloggers: Some lesser-known titles by Rex Stout

A group of related bloggers who work in the general area of Golden Age Mysteries has decided to collaborate and publish a blog post every Tuesday as the Tuesday Night Bloggers. We began in the spirit of celebrating Agatha Christie’s 125th birthday anniversary. We’ve now going to continue with a different Golden Age mystery writer every month; Tuesdays in January will be devoted to Rex Stout.

Rex Stout’s lesser-known titles

A lot of my fellow bloggers will be focused on the exploits of Nero Wolfe, and deservedly so. Nero Wolfe is one of the greatest literary creations of the 20th century; the books are original, intelligent, emotionally resonant, and have that strange quirkiness that seems to convince everyone who reads them that there actually is a brownstone on West 35th and Wolfe is at this moment yelling at Archie about the germination cards.  I love the Nero Wolfe stories, all of them, and I expect to talk about at least one of them this month.  But Rex Stout wrote for many, many years, and produced some very interesting work before he settled into the corpus exclusively. There is a lot of merit (and some silliness) in these stories and you may want to experience them for yourself.  Here are some of the high spots.

The Hand in the Glove: A Dol Bonner Mystery (1937)

Let’s start with the very best. If, perish forbid, Stout had never thought of Nero Wolfe, we might today be discussing the merits of about 35 volumes of the exploits of Dol Bonner, and the entire course of detective fiction would have been changed.  The idea of a female private investigator, or investigator in any sense, was flirted with occasionally by perhaps a double handful of early writers, but no single character really caught the public’s attention (despite a strong showing from Erle Stanley Gardner’s Bertha Cool) until Marcia Muller’s first Sharon McCone novel transformed the genre in 1977.  (It’s called Edwin of the Iron Shoes, and it’s worth your time; remember, she was inventing what a later generation of writers took for granted.)

Rex Stout almost managed it, though. To this day I’m not sure just why Theodolinda “Dol” Bonner, running her own private investigation agency, didn’t catch on. To me, this novel is catchy and clever, and manages to balance strongly logical ratiocinative thinking with some powerful emotional work. It is literally a country house mystery; wealthy P. L. Storrs is surrounded by his family, his associates, and his neighbours at his country estate, Birchhaven, when he is found strangled by being hung from a
tree with wire. This is the same thing that’s been happening at a neighbour’s game farm with pheasants and small animals, but Storrs’ death starts a furore that embroils everyone for miles and results in another death before Dol identifies the killer and threatens to shoot that person in the kneecap if a full confession is not forthcoming.  I don’t want to give too much of this away, but Dol is the only person who realizes the importance of a pair of gloves to a murder by wire, and goes looking for them.  She finds them inside a hollowed-out watermelon, and just exactly why and how makes for a fascinating few chapters.  Perhaps readers didn’t like that Dol is a self-declared “man-hater” who refuses romantic involvements coldly and vehemently; what we might describe today as a bristly and angry early feminist.  To me, that’s fascinating, but it might not have been what the reader of 1937 was looking for.  For whatever reason, this was the first and last Dol Bonner novel.  She reappears a couple of times later on in the corpus, notably The Mother Hunt where Archie needs female operatives to act as nursemaids, and she appears to have spent the rest of her life running her own agency. The source novel engendered a made-for-TV movie from 1992 called “Lady Against The Odds” which stars Crystal Bernard … I’m not a fan but it has its adherents.

I think this is a vitally important point in the history of the 20th century female private investigator novel and I urge you to find a copy for yourself. My own favourite is, as usual, the mapback version from Dell but the first edition is also strongly graphic and beautiful.  I gave a copy of this to a mystery writer friend of mine who intended to teach a university class on feminism and mysteries. Nora Kelly’s comment to me was, “Why does no one KNOW about this?” You may share her pleasure.

Three Tecumseh Fox mysteries

Tecumseh Fox mysteries are … meh. They’re well written and not stupid, but they’re missing some essential spark of vivacity that they require, and Stout had missed whatever it was.  Tecumseh Fox is a “quirky” private investigator but no one ever comes right out and says anything about him that makes much sense in that context. To me he just seems grumpy and unpredictable, but energetic and
interested in solving his cases. The first one, Double for Death (1939) is everyone’s favourite but mine; I actually prefer both the other two, 1940’s Bad for Business and 1941’s The Broken Vase.  Double for Death has a bitterly ironic twist in its finish that everyone enjoys; for me the central clue is telegraphed. Both the other two exhibit more subtlety in clueing. Stout reworked Bad For Business as a Nero Wolfe novella, “Bitter End”, in the same year, so apparently he liked the idea but not the characters.  The location of the central clue is certainly amusing, and the puzzle depends upon the reader being quite acute about a casual remark by one minor character, which I like.

Some other mysteries

Red Threads is a 1939 mystery starring Inspector Cramer, Wolfe’s constant antagonist, who here is sympathetic and helpful. The protagonist is a young female fabric designer — she shares her avocation with Stout’s wife Pola, and so that part of it is intriguing and interesting and rings with truth.  There’s a bunch of hooey about what are called “Indians” (in my part of the world the preferred term is “First Nations”), and it is so stereotyped and awful that it seriously mars the book for me.  The book is centred around a romance and ends happily; Stout was good at writing those romantic stories, I think.

Alphabet Hicks (1941, also published as The Sound of Murder) is about a detective named Alphabet Hicks who is pretty much the same person as Tecumseh Fox.  He’s quirky and unpredictable but there is nothing real underneath the quirks.  His one outing depends, unfortunately, on convincing the reader that two people’s voices sound exactly the same and would be mistaken one for the other. That may be the case, but it’s a story that is hard to tell in the written word.

The Mountain Cat Murders (1939) is set in a small town in Wyoming and features a spunky young woman trying to solve the deaths of her father and mother. The “Mountain Cat” is a glamorous, wealthy, and often-married playgirl who is easily the most interesting character in the book; the mystery is competent but essentially dull. One point in the solution involving an illiterate miner is … far-fetched.

Two strange novels

Honestly, I can’t recommend that you track down and read How Like A God, Stout’s “breakout novel” of 1929 that brought him to the public’s attention. It took me a few years to find a copy and I was almost sorry I’d found it, since the anticipation was much, much more pleasant than the achievement. This is a novel written in the second person, and I hope — sorry, you hope you’ll never have to go through that again, because you find it so damn disconcerting and unnecessary. It also has some of what a friend of mine calls “steamy bits” which are not as steamy as they must have been in 1929; as well, Stout seems to have been rather prudish about saying what he was getting at.

Much, much more interesting, I trust, is The President Vanishes, Stout’s one outing into the “political thriller”, published anonymously in 1934. There is a lot of stuff here that I wish I had the education in American history to be able to appreciate; it is clear that Stout is taking off “brownshirts” and fascism, and political laziness, and the far right wing. There is a lot of social history material here that I am only poorly equipped to grasp. What I do see is that Stout had the knack of writing a suspenseful thriller; if he had started writing them later on into their history, I think he would have produced some good ones.  There was a money-losing eponymous film made the same year; the film was protested by a Catholic morality organization for no really good reason that I can see, but again, this is social history beyond my knowledge. The book itself you may find boring and antique; I would actually agree but gee, there are the bones of a damn good book buried in there.

There are other novels and stories; I understand that a very early story whose events form the basis for Fer-de-Lance and a few uncollected pieces have just very recently been collected, so there’s something out there for even the most well-read Stoutian. There is a strange “lost world adventure” called Under the Andes from 1914, there are a couple of what I think of as Oppenheimerish Ruritanian romantic stories, and just generally a handful of stories from the slicks that don’t prefigure much of the excellence which Stout was preparing to achieve with Nero Wolfe. Nothing especially stands out unless you happen to be interested in the cognates of Edgar Rice Burroughs’s Pellucidar stories. And finally, Forest Fire (1933) is a novel with some early LGBT interest that may make you think of Rod Steiger in The Sergeant; it’s tough going as a novel, though, especially since this is another one where Stout is being oblique and prudish.

 

 

Nero Wolfe of West Thirty-Fifth Street, by William S. Baring-Gould (1969)

What’s this book about?

Most aficionados of detective fiction are familiar with the exploits of Nero Wolfe, the corpulent private detective who directs the activities of his associate Archie Goodwin in some 70 recorded cases written by Rex Stout (and a handful of licensed continuations by Robert Goldsborough). Nero Wolfe has been the subject of two films, four radio series, and two television series — you can read all about him in his Wikipedia entry here.

This book is what used to be called an “appreciation” — perhaps it still would be. It consists of a recapitulation of the plots of all extant novels and short stories as at the date of publication. Both Rex Stout and the series were still alive at this point and my first paperback edition is missing information about the final three novels, a couple of short story accumulations, and all of Robert Goldsborough’s continuation novels. As well, since all the stories take place against a common background of Wolfe’s New York brownstone and a recurring cast of characters, the volume accumulates what is known of persons, places, and things that figure in what has become known as the “corpus“. Corpus is a play on words referring to Wolfe’s bulky body and the complete oeuvre of his fictional adventures. As the back cover blurb on my first paperback edition (shown above) indicates, this is “a handbook for informed appreciation, a compendium and a chronology”. There is nothing here that attempts to bring any new understanding to where the character comes from, or to deepen your understanding of Nero Wolfe’s place in detective fiction; this is merely an assembly of facts and citations.

Why is this worth reading?

It’s not.

This is because we now have Wikipedia and the internet; anyone can now indulge him- or herself in whatever level of information and speculation they wish about the exact dimensions of Wolfe’s office, the placement of his red leather chairs, how many cookbooks precisely are on the shelves of his chef Fritz, etc. The publication dates and plot summaries of every single Nero Wolfe volume are available from Wikipedia and a number of other websites. There are single-purpose Wolfe-oriented discussion groups (one of which I helped moderate for a few years), organizations like the Wolfe Pack operate websites and have physical meetings, etc. The functions of this volume have been entirely superseded by the internet.

In fact, I’m kind of at a loss to know why this volume was published at all, although until Penguin reprinted it in trade paperback format I used to sell a lot of used paperback copies of the Bantam edition to Wolfe aficionados at fairly high prices. There is nothing in this book that one cannot glean from reading the novels themselves and, honestly, the novels are much, much better written and more lively. If you have read the books, then you don’t need plot recaps. If you haven’t read them, well, there is a faint likelihood that it will be of benefit to you to know what you’ve missed, but isn’t it better to merely obtain a list of the books and tick them off as you go? And if you for some unfathomable reason cannot live without knowing the dimensions of Wolfe’s office — his fictional office, I hasten to add, and subject like everything else in the corpus to the vagaries of Rex Stout’s constant forgetfulness of minor details — then that information can be gleaned from the novels themselves, and you can spend an evening if you so desire in drawing up a floor plan and trying to imagine what the waterfall picture looks like. This volume, incidentally, does not contain such a floor plan.

But if you are a Nero Wolfe fan, and you have tracked down a copy of Where There’s A Will complete with photographs, and you have spent a month’s rent on a first edition of Corsage, and have a copy of every Tecumseh Fox mystery and Alphabet Hicks mysteries and the Dol Bonner mystery, and Double for Death in the mapback edition, and the book/movie The President Vanishes, and the Nero Wolfe Cookbook, and all the Goldsborough novels, and and and — then you will not strain at the gnat, relatively speaking, that is this volume. You can acquire a copy on Abebooks for under $10 as of this writing. One of the entries for the hardcover first says “A ‘must’ for any serious Rex Stout collection.” And that sentiment brings me to my point.

In recent months I have been giving thought to “tie-ins”. These are artifacts that are connected with fictional characters but not usually invented by the original creator of that character. I’ve posted an article (found here) about Sophie Hannah’s authorized continuation of Agatha Christie’s Hercule Poirot character, The Monogram Murders. My piece here talks at some length about the relationship between the book and the film of S. S. Van Dine’s The Gracie Allen Murder Case, and goes into the nascent industry of the movie tie-in novel represented by such volumes as Ginger Rogers and the Riddle of the Scarlet Cloak. My piece even notes the existence of a Milton Bradley board game called “The Gracie Allen Murder Case Game” marketed as an adjunct to the short-lived film that will set you back a cool $700 or so IF you can find a well-worn copy, which you probably can’t; it’s bloody rare indeed.

In 2015, the movie tie-in paperback has perhaps waned in popularity from its zenith in, perhaps, the 80s and 90s, where it was very nearly obligatory for every film being marketed to boys and young men to come with its accompanying novelization (a kind of prosodic dumbing-down of the plot of the film in simple English), and for films featuring handsome male actors and/or musicians addressed to girls and young women to have an accompanying novelization in slightly higher-level language but more colour close-up photos tipped into the centre. Tie-in novels have rather died down in the subsequent years, but the concept is still going strong in ways you may find difficult to believe. Murder, She Wrote was last broadcast in 1996 (although there were four subsequent made-for-TV movies). Donald Bain, listed as co-author with the imaginary Jessica Fletcher, has published 35 volumes in the series of novels featuring Jessica Fletcher, most in hardcover; two a year for quite a while, including 2015. Thirty-five volumes, still going strong almost 20 years after the last episode of the TV series — quite an achievement.

In a very general sense, a tie-in is a commercial product that is associated with a character, either real or imaginary, but that does not contribute to the original purpose or reason for the celebrity of that character. Jessica Fletcher was the main character of a television series; therefore, novels — as well as lunch boxes, memo pads, aprons, tote bags, coffee cups, and “appreciations” — which feature that character are all tie-in materials.

There are mysteries which purport to be written by celebrities like Martina Navratilova and Willie Shoemaker, and ones which apparently actually were written by Steve Allen. Those are tie-ins to celebrity. There are ancillary novels that accompany various series of films and television; Quantum Leap books, Babylon 5 novels, Indiana Jones adventures, and enough Star Trek novels to sink a Battleship — which also has its own movie tie-in novel. Frankly, the thought of a board game becoming a film which is then turned into a novel fills me with wildly mixed emotions ranging from nausea to hilarity, but mostly I find it bathetic in the extreme. That novel must take awfulness to a new Stygian depth. I have the weird feeling that if I open the novel, I’ll implode and form a new Heinleinian multiverse, or something.

What the tie-in process boils down to, though, is that a writer creates a character; in this case, Nero Wolfe. The character becomes very popular and people are anxious to get, and read, new books in the series. (Or to experience new Indiana Jones films or watch new episodes featuring Jessica Fletcher or, way back when, listen to new radio episodes featuring The Shadow.) The original material doesn’t appear fast enough to suit enthusiastic fans, and this is where tie-in materials start to be created. What also happens, of course, is that the creation of these tie-in materials makes economic sense to someone. If you can create a lunch box for $1 and sell it for $3, fine. But if you can put a picture of Donny Osmond on it and sell it for $7, even if you have to pay Mr. Osmond $1 for the privilege, you are doing very well indeed. A $3 lunch box works as well as a $7 lunch box; what you are saying is that you like Donny Osmond and want your luncheon companions to know that, and it’s worth $4 to be able to say so.

Back in the day, this was a primitive form of branding. The manufacturers of Ovaltine knew that children liked radio stories about Little Orphan Annie and so created mugs for drinking Ovaltine with pictures of Little Orphan Annie on them. Note that in the old days, these things related directly; Ovaltine provided mugs from which one could drink Ovaltine, and this is an elegant closed circle. It didn’t take long to figure out, though, that there were two ways in which this process could be made to pay. One is that the tie-in didn’t have to relate directly to the character; for instance, a Little Orphan Annie colouring book. The other is that sometimes it is worthwhile to create tie-in materials that are nearly worthless and give them to children (and credulous adults) as ways of cementing brand loyalty. Hence, the Little Orphan Annie secret decoder ring. If you listened to the radio program and possessed a decoder ring, you would receive secret messages which you could decode — mostly, as I understand it, having to do with the advisability of drinking lots of Ovaltine. If you were a child who was not in possession of the ring, your ring-less status was derided by your friends and it was clear that you were not getting the full benefit of your fannish appreciation of Little Orphan Annie. Children who owned rings were au courant with the cultural zeitgeist, although I doubt they’d have expressed it that way. Either way, children drank more Ovaltine and more than repaid the cost of the nearly worthless rings.

As time marched on and branding became a more sophisticated process, the existence of tie-ins was a signal of a certain level of brand involvement by the parent company. The folks at Disney were the masters of such branding programs. When the very first sketches were being laid down for the first nascent ideas that were to become, say, The Lady and the Tramp — those sketches were also passed to the marketing department to get to work on Lady and the Tramp comic books and plastic toys and lunch boxes and colouring books and dozens of other things. And the number and extent of such tie-in materials signalled the level of investment that the parent company found worthwhile. Lassie and Dan’l Boone had huge ancillary marketing materials in hundreds of categories; a decade later, The Munsters and The Partridge Family took those numbers into the thousands. You could sleep on Munsters sheets and eat Munsters cereal from Munsters bowls, and carry your Munsters lunchbox home from school while wearing your Eddie Munster jacket, read a Munsters comic book, and play with your glow-in-the-dark Munsters toys and games, while signed-in-plate photographs of Butch Patrick and Yvonne de Carlo smiled down from your bedroom walls. There was no limit to the things upon which Munsters iconography could be stencilled — that is, until they went off the air and everyone had to have a Star Trek lunchbox. There’s no money in static branding.

And so I believe that the adults to whom brands and characters were marked with tie-in materials became accustomed to thinking of characters as the appropriate subject of tie-in materials. For something to be culturally significant, it had to be accompanied by tie-in materials; and this brings us finally back to Nero Wolfe of West Thirty-Fifth Street. As I said, there is really no reason for this volume to exist. It is a kind of cooing noise expressing pleasure at the idea of Nero Wolfe. But it was created, and marketed, as “A ‘must’ for any serious Rex Stout collection.” That’s an idea that deserves a little unpacking.

What exactly is a “serious” Rex Stout collection? I’d venture to say that it’s one that is worth the most money. But I have been in the position of selling relatively worthless objects at hefty prices — like, for instance, first editions of Nero Wolfe of West Thirty-Fifth Street — to people who didn’t want them for some pleasure that they’d receive by reading the book, but merely wished to possess a copy of the book so that they could say they owned one. So that, indeed, they could prove they had a “serious” collection. I think a “serious” collection can be paradoxically defined as the one that contains the highest number of frivolous objects. The less the object has to do with the original character, the more it’s only in the possession of the “serious” collector. The possessors of these serious collections are thoroughly convinced that the money they spent on acquiring them will be recompensed some day, perhaps by an envious younger person who will double or triple the price paid in order to acquire the tie-in object. But for an example of where that goes wrong, I give you (a) Beanie Babies; (b) the egregious and nearly worthless objects known as “collector plates”; (c) the entire output of the Franklin Mint. Did you pay $500 for a copy of a script from the original Nero Wolfe TV program, apparently annotated in Lee Horsley’s handwriting? Kiss your $500 good-bye, unless you can find someone with the same disease you caught; you may have to infect them personally with the importance and significance and sheer gravitas of such a scarce object.

As to why one would have a Nero Wolfe “collection” that consisted of anything more than novels written about Nero Wolfe — your guess is as good as mine. I confess to having owned a “Nero Wolfe” necktie that is vaguely orchidaceous, that I bought at the time of the Timothy Hutton TV series; it’s a nice tie, but I never wore it and gave it to my brother. I bought it because it was attractive, not because it was associated with the program. It cost me about twice as much as it should have. I have a copy of Nero Wolfe of West Thirty-Fifth Street that originally sold for 75 cents; I paid $3 for it, and I would expect to get $5, possibly from one of my readers. That’s the used book business; old books are worth what they will bring from a knowledgeable reader. I paid $35 for a bootleg DVD of 1937’s The League of Frightened Men, because I wanted badly to see it; I wasted $35.

In fact, I actually really, really like the Nero Wolfe novels and stories; I’m well versed in their details and chronology. I’ve read every single one, again and again. I can quote chunks of them. But let me confess; I don’t care in the slightest how big the front room is, or how big the globe is, or the dimensions of the waterfall picture. I don’t care, I don’t care, I don’t CARE. I like the characters, I like the writing, and I like the spirit and feeling of the books. But by and large, I can tell you — anyone who is trying to convince you that there is something called a “serious Nero Wolfe collection” is trying to take your money. I know this, because I have stood behind the counter of a mystery bookstore and sold people copies of this book, and the Cadfael Companion, and a twee little volume purporting to detail the Wimsey family history, and Agatha Christie tote bags, and Murder, She Wrote coffee cups, at a minimum of 100% markup and, frankly, whatever the traffic would bear. I did that so that I could afford to keep the store’s doors open to make copies of really good, well-written mysteries available to people who wanted to read them, but the people who manufactured the coffee cups have no such excuse.

I have no objection to getting together with like-minded people to discuss the novels and stories, as long as it doesn’t get too out of hand. Most members of organizations like the Wolfe Pack are sensible and intelligent bibliophiles who esteem the same fiction I do, and know the difference between a first edition in jacket of Fer-de-Lance and a TV script that Lee Horsley has scribbled on. In fact, some of my best friends, et cetera. I enjoy finding depths of meaning and a better understanding of American cultural themes and motifs in the books, and I enjoy discussing those things with other people. But if you come to me looking for my $3 paperback of Nero Wolfe of West Thirty-Fifth Street, I might take $5 but I’ll try to stick you for $12 — and I’m a relatively nice person. Other merchants will not be so kind, and you may end up with a sample of Lee Horsley’s handwriting at vastly inflated prices.

If you think you need to have a “serious Nero Wolfe collection” — try and understand that that really consists of fiction written featuring Nero Wolfe. Be well-read rather than “serious”; buy the novel and not the lunch box. And leave this book alone.

My favourite edition

I have a first paperback edition that I skimmed to write this piece, and I’ve had and sold a number of copies of the first edition; since I always made more money from the true first, seen here, I suppose it would be my favourite edition. It’s certainly the one with the best graphic design of any I’ve seen. As of today on Abebooks, a decent copy should set you back somewhere around $25 depending on where you live. Beware of the BCE (book club edition), which looks quite similar but is relatively valueless.

My least favourite volume

I will add here that if you think I was hard on THIS volume, I reserve the utmost scorn and disapproval for a similar volume by one Ken Darby. William Baring-Gould was merely an enthusiastic fanboi before the term existed, albeit a literate and well-read one; Darby regurgitates the same material in worse prose and less exact detail and, to my enormous distaste, stops for a wholly unnecessary chapter to “prove” that any rumours that Messrs. Goodwin and Wolfe are gay are false and vile canards, and says a lot of nasty things about homosexuality in the process. Frankly, I’m gay and had never even considered such an idea; it’s directly contradicted over and over by the Stout-written stories themselves. I gather that the Darby book is out of print and relatively unavailable, and in my opinion it should stay that way, because the author was a vulgar and homophobic toad. I’ll decline to provide you with the title of this piece de merde or even to tag his name; let the book die in its well-deserved obscurity.

 

Murder at the New York World’s Fair, as by “Freeman Dana” (Phoebe Atwood Taylor) (1938)

Author:

“Freeman Dana” is a one-time-only pseudonym of Phoebe Atwood Taylor, who is much better known for her series about “Codfish Sherlock” Asey Mayo, and her eight comedy mysteries about Leonidas Witherall as “Alice Tilton”. Wikipedia has little to say about her personally, and it seems as though not much is known, but it seems to be agreed that her family lost its money in the Depression and PAT (as she called herself) started writing for money.

Publication Data: Published, under the personal supervision of Bennett Cerf, by Random House in 1938. The edition I read for the purposes of this post is NOT the first edition shown above; I read the 1987 Foul Play Press trade paper edition with a brief foreword by Dilys Winn and an extensive afterword by Ellen Nehr, who contributed a wealth of knowledge that I’ve raided for this discussion. Unfortunately, as sometimes happens, the entire internet was unable to offer a reproduction of its boring cover; I can testify that it is accented in the same blue and orange that mark the first edition, which I gather were the colours of the fair itself. Frankly, you should be glad you can’t see it; it is mostly grey on grey, and a representation of a train’s window with a three-quarters-pulled shade upon which is written the title of the book. The art consists entirely of textures (it’s dark beyond the window, it seems), the typography is indifferent, and the small representation of the fair’s logo accurately displays the perisphere (the round thing), misrepresents the shape of the trylon (the obelisk-like object) and seems to omit the helicline entirely (a kind of ramp). It’s like something went wrong with their cover art and they had to put together a cover in a morning.

To the best of my knowledge, there are only the two editions of this book. The first edition was published in an edition of 900 books and that was pretty much it until 1987, whereupon this book appears to have sunk from sight again.

About this book:

Standard spoiler warning: What you are about to read might discuss in explicit terms the solution to this murder mystery and will certainly give away large chunks of information about its plot and characters. Please read no further if you wish to preserve your ignorance of its details. You will also probably find here discussions of the content of other murder mysteries, perhaps by other authors, and a similar warning should apply. 

Mrs. Daisy Tower is, pardon me for saying so, a tower of rectitude; she’s the 67-year-old widow of a former state governor and the protagonist of this novel. As we begin, she’s at the end of a nine-month stint recuperating from a broken hip and a bout of pneumonia as a house guest of her solicitously attentive nephew and niece, Egleston and Elfrida, and has reached the limits of her patience with frequent doses of beef tea, good advice, and their slatternly housemaid Fannie. Upon a rebellious whim, she borrows some money and clothes from the cook and escapes by hiding in a laundry truck, making her way to Boston and thence to visit the World’s Fair in New York. And thus begins a novel that is part murder mystery, part screwball comedy, and quite a bit of World’s Fair guidebook.

Mrs. Tower’s act of rebellion soon develops ramifications; she learns that Eggy and Elfrida have been managing her money and property to their own benefit and are so horrified at her disappearance that they’re having the local ponds dragged. Daisy soon accumulates a small cadre of people around her, all of whom wangle an invitation to travel to New York in the private train of millionaire art collector Conrad Cassell. It’s not only Daisy who has reason to stay out of sight; one of her new associates recently had a run-in with Cassell and has been followed ever since. Luckily he is not aboard the train, but the mysterious shadow soon ends up dead in the train car.

Everyone arrives at the World’s Fair and most of the rest of the book is spent with this small group running around trying to solve multiple segments of the mystery while staying out of the hands of the police. They disguise themselves as official tour guides (which coincidentally enables PAT to display having done a great deal of research about the buildings and layout of the Fair) and race around at breakneck speed, forming theories, testing them and discarding them — and in the meantime having run-ins with international dignitaries, Cassell and his staff, and everyone else who comes into their orbit.  The first victim is identified, surprisingly, as Egleston Tower, and his demise is soon followed by that of Elfrida; Eggy needed money badly and the group must learn why both he and Elfrida were trying so hard to contact Cassell in person.

In the finale, the motley group of crime-solvers learns that there’s a plot to set off a large quantity of explosives in a Fair building during a ceremony; they defuse the explosives and the situation, bring the crime home to its perpetrator, and live happily ever after.

Why is this book worth your time?

Dilys Winn, in the foreword, was graceless and uncomplimentary — honestly, it’s a wonder that any of the trade edition sold, since most people would put it back on the bookstore shelf immediately upon reading her comments. She says that she’s a PAT enthusiast and compares the experience of reading this book with finding that there’s a Rex Stout title she hasn’t read — only to find out that it’s a Tecumseh Fox story, to her dismay. In other words, Ms. Winn thinks this is the worst book by a good author, a sentiment which is echoed by Ellen Nehr in the afterword. We learn that Westinghouse intended to bury a time capsule in the courtyard of its pavilion at the Fair and Bennett Cerf, the publisher of Random House, decided that a novel specially written for this momentous event would be part of the time capsule.  He selected PAT, who seemingly needed the $250 advance. She submitted a first draft and, as Nehr remarks:

“Mr. Cerf and a number of Random House staff members (one of whom had read and admired all the Asey Mayo novels) were unanimous in pointing to the manuscript’s essential weakness. In a letter, the publisher baldly states that the novel was singularly marked by an apparent lack of interest on the part of the author.”

Nehr also quotes from the actual note that accompanied the submission of the first draft, and I found it fascinating to learn about PAT’s creative process. I thought it was worth a large-sized quote which was of great interest to me:

“If you are wedded to the Little-did-we-guess-two-weeks-from-Candlemas-we-would-be-corpses School, you will loathe this. It isn’t an orthodox mystery; it couldn’t be. But it has corpses, a detective, suspects and an occasional clew. I don’t feel that I can accent too strongly two important points. The worst problem I faced was that of keeping the murder at the Fair. The minute the police arrived, there would be no Fair colour, because everyone would be whipped away. for that reason, the characters had to be manipulated into positions where they couldn’t go to the police, or be caught. That way, everyone stayed at the Fair, roamed at will and at random. The other problem was how to make people, who are wanted for and involved in a murder, actually go to a fair. There was one solution, and I hope you don’t think the chases are overworked. So, before you and your readers uncork the vitriol bottle, I hope you’ll bear these mechanical problems in mind. … And if you say the helicline with it (Trylon, perisphere, helicline, remember?) I said it first back in chapter three.”

Insightful indeed. I now have considerably more sympathy with ghost writers who are required to write around a character, situation, or … something or other … created by external forces that cannot be ignored when creating a tie-in novel. The deformations that had to go on in this book to keep its action at the Fair are substantial and strain the reader’s disbelief to the utmost.

Nevertheless, I think you will be surprised at just how readable this novel is. You will have already gathered that it’s not a great mystery, but it’s not an atrocious one either. In fact if you are a fan of PAT’s work as “Alice Tilton”, the eight novels which chronicle the high-speed and highly nonsensical activities of Leonidas Witherall, “The man who looked like Shakespeare”, you will find this novel at the very least worth a few hours of your time and you will occasionally chuckle aloud; I certainly did. For the PAT fan like Dilys Winn and myself there are occasional aha! moments where you recognize a character or phrase that recurs later in PAT’s oeuvre in a different context; for instance, the off-hand reference to Tootsy-Wheetsy breakfast cereal which recurs in a short story found in Three Plots for Asey Mayo (see my review here). Similarly, there are a few characters here whom the PAT aficionado will recognize, although not by name; the helpful young newspaperman, the officious clubwoman who cannot be deterred, the pompous member of multiple fraternal organizations, the grande dame soprano who actually has the common touch, etc. If you’ve read all of PAT’s novels, you’ve met most of these people before, and you’ve seen them collected into a group and moving at breakneck speed through a comedy mystery. In this novel, though, the highly competent housewife takes centre stage, and displays great insight into how people think without worrying too much about clues and evidence. “Isn’t it amazing! I thought that to solve a murder, you had to have material clues. Things like shreds of Harris tweed, and scraps of paper, and hairpins of a peculiar color and size. But think what we’ve pieced out, just from odds and ends!”

So it’s unlikely that you will be surprised by the ending, and it’s exceptionally unlikely that you’ll find it believable. As Bennett Cerf noted, it didn’t seem as though her heart was in this novel. But as to why it’s worth your time — it’s the most rare and hard-to-find novel of what I will call a first-rate second-rate mystery writer. PAT was no Agatha Christie, but she has earned her place in American mystery literature and a certain amount of honour for her skills and talents, and if you want to truly understand her, you have to read all of her work. If you approach it with an open mind and not allow yourself to be put off by Dilys Winn pre-judging the novel for you, you will find much to enjoy. And the occasional guffaw, like when I found out what was in the soprano’s suitcase.

There is one further piece of information provided by Ellen Nehr which will not likely be a surprise to PAT’s fans; PAT wrote fast. For instance, she began Banbury Bog on May 20, 1938 and finished it some twenty days later. From a letter from January 1938:

“I know there’s nothing now but for me to get down to the business of writing; only it seems — well there’s no point in disillusioning you, but my scripts usually reach people on time, via air express. They’ve never been known to reach anyone ahead of time, ever. It’s all on acc’t of my habit of not beginning a script until two weeks before it is due. Then the suspense, you see, is genuine. Taylor books have Pace. Eight years of fresh killed fiction has convinced me (have convinced, maybe) that you can’t murder slowly. But of course, as Norton always says, “I think beforehand, and That Is Something.” And I truly think I’ve got some things brewing for you.”

So it seems likely that, based on the correspondence and documents unearthed by Ellen Nehr, PAT was given a year to research this novel and wrote it in the final two weeks before the deadline. I don’t know if there are other authors who are so procrastinative, but it gives me hope for my own extremely poor writing habits to someday pay off. I work the same way — I think and think and think, and construct the document in my head, and then sit down and pound it out in an extremely short time moments before it’s due. I’ll never be the writer that PAT was, but at least we have one thing in common, and I feel good about that.

Notes for the Collector:

The first edition (Random House, 1938) is apparently the only hardcover edition; it was published in a single edition of 900 books. The New Jersey antiquarian bookseller who wants $1,200 for his VG copy in VG jacket calls it “an uncommon and desirable title” and I must agree. A few other copies I note are selling for between $180 and $550 and this to me seems to be a more reasonable range.

The only other edition of which I am aware is the trade paper edition I used to review this book, from Foul Play Press (Countryman Press) in 1987, which contains a brief foreword by Dilys Winn and an exhaustively knowledgeable 9-page afterword by that excellent reviewer Ellen Nehr, stuffed with interesting research and quotations from letters. In the introductory material, buried in copyright dates and ISBNs, is a note: “The publisher would like to thank Ellen Nehr for the energy and enthusiasm she has brought to this project.” I do too; it was great to have a copy of this to read. I remember buying this book as a gift for my sister when it came out, and paying what was then the rather large sum of CDN$12.95 (the price sticker still adheres to the back cover; the US price was $8.95). You can source a couple of copies on the Internet for between $7 and $15 more than 25 years later, which indicates that the book has held its value — I consider the two copies priced at $85, from different booksellers, to be an aberration.

It’s odd to think that PAT’s most valuable book is possibly her most poorly-written one, but that’s the way of book collecting. Crappy books don’t sell well and are not reprinted, and not picked up by paperback publishers, making them scarce and desirable. Compare the $1,200 copy to, say, the best available copy of this writer’s first novel, a VG copy in G jacket for $750 (and it’s a Haycraft/Queen cornerstone). Of course having a beautiful copy of the first edition would be lovely, and anyone reading this would be very welcome to send me one. 😉 But honestly, if you want to read this novel and appreciate it, the trade paper edition with the material by Ellen Nehr would be the best; if you can afford it, buy both and read the trade edition. It seems like any copy of this hard-to-get book will hold its value.

2014 Vintage Mystery Bingo:

This 1938 volume qualifies as a Golden Age mystery; second under “N”, “Read one book with a place in the title,” which in this instance is of course the New York World’s Fair. For a chart outlining my progress, see the end of this post.