With the British library Crime Classics range apparently achieving the impossible by arranging for Green for Danger (1944) and Death of Jezebel (1948) by Christianna Brand to be reprinted, the time seemed ripe to take her second novel Heads You Lose (1941) out of the shelf space that it recently started occupying and see how it stacks up.
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The tension at the heart of the likes of the wonderful British Library Crime Classics and American Mystery Classics ranges is that they’re reprinting some genuine classics — Home Sweet Homicide (1944) by Craig Rice, The Bride Wore Black (1940) by Cornell Woolrich — whose authors I’d love to comprise their output for the next few years, but likes of E.C.R. Lorac and Mary Robert Reinhart will sell plenty of books to people who aren’t me, despite me feeling better books are out there. So while it would be harsh to say that The Great Hotel Murder (1934) by Vincent Starrett feels like a wasted opportunity, I can say that I’ve now safely read as much Starrett as I have any interest in reading.
Another Tuesday, another triumvirate of stories from the Exeunt Murderers [ss] (1983) anthology of short crime fiction by Anthony Boucher.
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Roughly twenty years ago, the British publisher Orion released a series of reprints under the banner of Crime Masterworks which had something of a transformative effect on the books Younger Me started to look out for. Included in that selection was the short story collection Nightwebs (1971) by Cornell Woolrich.
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How to explain my fascination with the work of Walter S. Masterman? The five books I’ve read so far are all written in a sprawling, loose style evoking detective fiction’s Victorian forebears — as if actually penned in the 1880s and discovered in a trunk before being published during the genre’s Golden Age — and the consequent veering of his plots should vex me immensely. And yet I keep returning to these Ramble House reprints because there’s something fascinating about Masterman’s insistence on writing books in this style despite the genre accelerating away from him. I mean, RH have published twenty-five of his novels…so he was hardly a flash in the pan.
Three more non-series tales from Exeunt Murderers: The Best Mystery Stories of Anthony Boucher [ss] (1983).
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After the very enjoyable work done by Herb Lester and Caroline Crampton in mapping the key locations of Agatha Christie’s English mysteries, it was surely only a matter of time before a similar project was attempted. And This Deadly Isle, which maps the locations of a raft of Golden Age mysteries across the country, is the delightful inevitable follow-up.
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This might be the longest-gestating punchline in blogging history, but it was also about time I returned to Clayton Rawson. Ever since the American Mystery Classics reissued Rawson’s debut novel Death from a Top Hat (1938), I’ve been waiting for them to release his second, The Footprints on the Ceiling (1939), so that I could finally experience it. And then I discovered a few months ago that I’d already bought Footprints as an ebook and it had been waiting, long-forgotten, on my e-reader of choice. And, as someone who feels Rawson’s best work might have been his short stories, I have to say that I very much enjoyed…most of this.
Having previously written about the Nick Noble stories and Sister Ursula stories by Anthony Boucher collected in Exeunt Murderers [ss] (1983), I turn my attention for Tuesdays this month to the remaining, non-series works in that volume.
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Another year, another collection of forgotten or unknown tales from the luminaries of detective fiction’s Golden Age brought to us by the tireless efforts of Tony Medawar. So how does Bodies from the Library 5 (2022) stack up?
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The Invisible Event 