While I don’t quite share the optimism of my fellow impossible crime aficionado TomCat that a second Golden Age of detective fiction is on the horizon, there can be no denying that some great neo-orthodox detective novels have been written in recent years by the likes of James Scott Byrnside, Anthony Horowitz, and (with a heavy emphasis on the neo) Stuart Turton.
Turton’s debut, The Seven Deaths of Evelyn Hardcastle (2018), was a time-travellin’, body-swappin’ SF novel that also happened to have both feet firmly rooted in the Country House Mystery of yore and — amidst all the effective genre-melding — fundamentally delivered a solid mystery with some good clues and legitimate detection. Those of us who take our Golden Age a little too seriously might have had doubts going in, but it’s a great premise explored very intelligently and, bonus, must surely be one of the few 500+ page books published in the genre that actually needs to be over five hundred pages. Suffice to say, we all sat back and eagerly awaited what Turton was going to do next.
What he has done next is The Devil and the Dark Water (2020) which, if we wish to maintain a suitable degree of ignorance for anyone who has not yet read it, is going to be even harder to pigeon-hole from a genre perspective. I’m going to work hard to not give too much away here, too, because while there certainly are rational explanations to elements of this — the locked room murder, say, which it might be frustrating to have explained via supernatural means, so rationalists and impossible crime fans are reassured on that point — there’s a certain element of not knowing what you’re getting, and how much is rational, that is key to getting the most out of this.
Aspects of the explanation of Evelyn Hardcastle’s multiple demises veered into SF in a way that Golden Age writers were never too worried about explaining — the classic example here being Fire, Burn! (1957) by John Dickson Carr, in which a man is sent back in time from the present day to solve a murder at the dawn of the Metropolitan Police Force because, well, what sort of explanation would satisfy someone there? As such, it might well be that Turton’s ship-bound demon here turns out to actually be demonic, or some ghostly occurrences might have a supernatural origin. And, y’know what? Not knowing ahead of time is at least half the fun. Yes, I love knowing when a detective novel is straight detection but sometimes, as I have opined before, not knowing can be even better.
Our story here is set in a version of 1634 — there’s a very charming afterword in which Turton apologises for his historical inaccuracies — and sees detective Samuel Pipps being shipped back in disgrace from Batavia in the Dutch East Indies to Amsterdam. Precisely what that disgrace is will become apparent in time, but it’s mainly the framing device that gets Pipps, his faithful Watson/protector Arent Hayes, and various others onto a boat and out to sea. Because once out at sea, for reasons and by ways that you’re better of discovering for yourself, the fleet, and the Saardam upon which most of the action centres in particular, finds itself at the mercy of the demon known as Old Tom and all manner of shit hits fans that probably weren’t invented at this point in history.
Among the multifarious, eerie happenings we have the repeated appearances of a leper, the whispering of Old Tom’s voice heard throughout the ship as he tempts people to his cause, and three promised miracles: the impossible pursuit of the fleet by a boat whose lantern is seen out on the water at night at yet disappears when approached, the impossible vanishing of the mysterious cargo smuggled aboard by the Governor General Jan Haan, and an impossible murder by means of stabbing in a watched cabin. Reduced to a couple of sentences in that way, these events are inevitably robbed of their atmosphere and the sense of creeping dread the pervades the book, but Turton’s escalation of complexity in bringing us the baffling effect of these events on a whole shipload of people is both marked and very successful.
This is helped by some great prose, covering not just character introductions…
Cargo was being lowered into the hold through hatches in the deck, as insults were traded, blame assigned for tasks gone awry. The loudest voice belonged to a dwarf dressed in slops and a waistcoat, who was spitting names from the passenger manifest held in the crook of his arm. He put Arent in mind of a lightning-blasted tree stump, such was his stature and width, the roughness of his weathered skin and the strange sense of disaster he carried about him.
…but also charting the proto-Holmes/Watson dynamic that has sprung up between Hayes and Pipps in the five years they’ve been together:
For the most part, they investigated thefts and murders, crimes long committed and easily understood. It was like arriving at the theatre after the performance had ended and being asked to work out the story using pieces of discarded script and the props left on stage. But here was a crime not yet undertaken; a chance to save lives rather than avenge them. Here, at last, was a case worthy of Sammy’s talents.
The Seven Deaths of Evelyn Hardcastle took in multiple perspectives but, since they were effectively shells occupied by the same person, presented less a multiplicity of views than might be suspected. Here, Turton juggles differing perspectives of events from not just Hayes’ view but also that of Haan’s wife Sara Wessel, finding herself “bred for sale and fattened like a calf with manners and education” and sold for a dowry into an unloving marriage and trapped in a society that dismisses its womenfolk to the point of subjugation where “[d]eference was something she was supposed to put on every morning, along with her cap and bodice”.
Sammy Pipps may be the only detective on board — though he prefers the term “problematary”, which I love — but as he spend most of his time locked in a cell it’s Sara Wessel and Hayes who will do most of the heavy lifting for the majority of the book, along with Sara’s prodigiously talented daughter Lia and Creesjie Jens who, while Sara’s closest friend, is also the mistress of Jan Haan. One could choose to take issue with this ‘sisters doin’ it for themselves’ vibe, but if anything it falls more into the classic pattern of the detective being the outsider, able to use their gifts or perspective to achieve a result that has been beyond those too close to the problem to want to see it fixed:
They were each going about this investigation in their own fashion, using the tools given to them by God. Sammy observed, Creesjie flirted and Lia invented. Sara asked questions and Arent was going to fight, same as he always had.
Indeed, there’s a great commentary here on such talents being so highly prized, in a world where people who “didn’t know how to stitch a sail or tack the ship” and “were rich because their families were rich” and whose “children would be rich because they were rich. On and on in an endless loop”, the only currency that can be brought to bear is less the promises of Old Tom which prove so tempting and more the clear-sighted capability to see what others simply will not. This is explored through one character in a manner I’ll leave up to the reader to encounter this book, but also in the detective archetype Pipps represents:
Here was a commoner, born with nothing, who’d upended the natural order by virtue of his cleverness. In pursuit of his goal, he’d accuse a noble as readily as a peasant. Here was somebody for whom the old rules didn’t apply. Through Sammy, Arent saw the world he aspired to, like a distant land spied through a smudged glass. Sammy was what Arent had left home to find…
From that perspective, then, it’s a shame that we see so little actual detection. We’re told of the cases of Pipps’ that Hayes has written up and had published in various newspapers, and Pipps makes some observations early on that he frankly admits are lucky guesses…and then much of what results ends up being very light on the actual methods and modes of achieving an answer to a problem through application of close attention (it’s fitting, too, how the Folly — I’ll not tell you what it is, you’ll know when you’ve read the book — is equally…unexplained and unexplainable). Turton, leaning hard on Sherlock Holmes (“Most of [Pipps’ cases] he solves after a few minutes, then he sulks because he’s bored, so he spends the money he earned indulging any vice that’s near at hand.”) might have feared too much the pastiche, but it feels a missed opportunity to make a famous detective with lots of notable cases under his belt a character in your ‘mysterious things are happening’ novel and then not set him loose upon them.
Away from the pursuit of answers, Turton makes a great job of the atmosphere of the Saardam, where below-deck passengers and crew live cheek-by-jowl, the former appalled at the unpleasantness of their accommodations and the latter with somehow even less to their name and, oftentimes, more in their past that they wish to evade which, in turn, makes for a mix of tempers and criminal tendencies that gives rise to all manner of problems given how difficult it can be to get away from each other:
The only way to command such men was through fear. Drecht would have to know which offences to turn a blind eye to and which insults required blood. If Drecht didn’t kill him, if he didn’t defend the honour these men didn’t have, they’d call it weakness. For the next eight months, he’d be fighting to get back even a pinch of the authority he’d boarded with.
This makes the book longer than it needs to be, but the additional perspectives are equally superbly valid in feeling the febrile air that the rumours and actions of Old Tom give rise to. If Seven Deaths… was a Country House Mystery, Devil gives you plenty of time to reflect on what’s happening belowstairs…
The downtrodden yearned for stories to explain their misfortunes, though what they really wanted was somebody to blame for their misery. It was impossible to set fire to the blight that had ruined your crops, but a blight was easily summoned by a witch, at which point any poor woman would do.
So, what of it as a mystery?
To address the impossibilities first, I don’t really know how impossible I’d say they are. The circumstances inevitably make thorough investigation difficult, and therefore much of what you’re told is also dissatisfying for being withheld until the answers were ready to be revealed. The disappearing cargo and watched room stabbings are borderline for that reason: without more information, you don’t know they weren’t attainable (and, indeed, the stabbing could have been done in at least two other ways…one of which is briefly hinted at, the other not even that). I like the watched room stabbing, though, and it works into the narrative more clearly than another murder elsewhere whose workings are left frustratingly vague. The leper, the vanishing ship, the whispering voices…these, I don’t feel qualify — they’re mysterious, and woven into a design of commendable intricacy, the complexity of which few others would have the skill to take on, but they’re not as disconcertingly impossible as the word should make us believe. This does not sell itself purely on the impossibilities, and I didn’t read it for that, but anyone coming purely for those will be a little disappointed.
With so much going on elsewhere, and with so much genuine suspense around how rational some of it will or will not be, there’s a lot for Turton to tie up and/or dismiss in a satisfactory manner. The final 50 pages are dense in explanations and show a lot of moving parts that aren’t quite as neatly imbricated as I would have hoped…but, in all honesty, I can’t fault the man for wanting to over-design an engine of this complexity. Bits of it rely on luck, bits of it seem to rely on too much stretching or compacting of timelines, but as a work of imaginative fiction that keeps you guessing and answers everything you want I think you’ll struggle to find much better being written today.
It’s possibly on account of this big-picture approach that the little details which would make this more satisfying get a little neglected. The ‘ladder’, say, is treated as a completely attainable objective, and the revelation in the final line of chapter 10 would…not be an easy thing to achieve. My feeling is that something with this big an engine works better when all the parts operate independently while also providing a piece of the grander scheme (think of — or, indeed, read — The Madman’s Room (1990, tr. 2017) by Paul Halter, which is smaller in scale but no less delicately balanced). That some of the chronology feels a little garbled when explained — and not least on account of the Sudden Knox Decalogue point that comes out of nowhere and…wouldn’t work, surely…?) — is possibly down to this sense of events needing to happen rather than being meaningful per se, and this leaves a bit of a sour taste where some of the consequences appear to have not been fully considered. You have to plant trees if you want a forest, and sometimes you have to find the land, secure funding, and make sure there’s appropriate access for the contractors, too.
I’ll willingly concede, however, that I’m at fault for hankering after a style of storytelling that went out of vogue 80 years ago. If you want to gaze upon the visage of trying to baffle out ulterior motives to confounding events, The Devil and the Dark Water is possibly the most satisfying book of that type that 2020 will provide. It is rich, complex, long on character and plot, and debouches its revelations with a talent for invention that makes me hope there’s much more to come from Stuart Turton’s mind. It’s not quite the Golden Age puzzler I would have liked, but then it’s also not the Golden Age any more, is it?
Finding a Modern Locked Room Mystery ‘for TomCat’ attempts:
The Botanist (2022) by M.W. Craven
Hard Tack (1991) by Barbara D’Amato
The Darker Arts (2019) by Oscar de Muriel
Mr. Monk is Cleaned Out (2010) by Lee Goldberg
Impolitic Corpses (2019) by Paul Johnston
The Secrets of Gaslight Lane (2016) by M.R.C. Kasasian
Murder at Black Oaks (2022) by Phillip Margolin
Angel Killer (2014) by Andrew Mayne
Now You See Me (2019) by Chris McGeorge
The Magic Bullet (2011) by Larry Millett
The Direction of Murder (2020) by John Nightingale
The Paris Librarian (2016) by Mark Pryor
Lost in Time (2022) by A.G. Riddle
The Real-Town Murders (2017) by Adam Roberts
By the Pricking of Her Thumb (2018) by Adam Roberts
Murder in the Oval Office (1989) by Elliott Roosevelt
Red Snow (2010) by Michael Slade
Ghost of the Bamboo Road (2019) by Susan Spann
First Class Murder (2015) by Robin Stevens
18 thoughts on “#728: A Little Help for My Friends – Finding a Modern Locked Room Mystery for TomCat Attempt #15: The Devil and the Dark Water (2020) by Stuart Turton”
“If you want to gaze upon the visage of trying to baffle out ulterior motives to confounding events, The Devil and the Dark Water is possibly the most satisfying book of that type that 2020 will provide. ”
Almost completely here with you on this book. (I think I might have been the one to recommend it when asked for impossible mysteries set on a ship?) It’s entertaining, complex and I found it’s answers satisfying, although the conclusion to the novel felt too facile morally speaking and rushed for where it ends up. I did think it worked a little better as clued-in mystery, with many of the parts fitting in better than I had any hopes of half-way through (at which point I just gave up trying to keep up and assumed nothing would come together). It also does the really impossible thing of somehow making every one of its 80+chapters end with a revelation or cliffhanger, which was honestly the most impressive thing about it.
Personally, it reminded me of a big budget film by Christopher Nolan. Turgid, a little overlong, doesn’t come together completely, but filled with big ideas, swing-for-the-fences execution and crowd-pleasing moments.
The Christopher Nolan analogy here is spot on — given the final page of this as the destination of the whole affair, it all makes sense that things occur as they do. In the narrative decisions are taken to reach that ending even though they make don’t fully sense in the commission of the story, They just get it to the end point, so have to happen that way. And plenty of books have done this over the years, so there’s no shame in it, but they did it with decidedly fewer words and moving parts, so the reader has less chance to go “But hang on, didn’t..?” come the end.
But a blockbuster it certainly is, and Turton is pretty fearless in taking on something so huge and steering a course that sees him to that ending. His prose is also superb at times — the idea of guilt being what undoes most criminals is beautifully put across — and he’s provided in two books a virtual textbook on how to manage large casts of distinct characters. More power to him going forward, I say.
Yes, after I read The Singing Bone you recommended this as another seafaring mystery. Somehow I imagine that this is a bit different than R Austin Freeman…
Just a bit, yes.
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“While I don’t quite share the optimism of my fellow impossible crime aficionado TomCat that a second Golden Age of detective fiction is on the horizon…”
Oh, yee of little faith! Everyone thought my optimism was adorable when I predicted a renaissance in the late 2000s, but here we are and the fact that it happened cleared the way to a Second Golden Age. I don’t know when it will actually materialize, but I’m confident it will happen and the option of self-publishing will make it very difficult for established publishers or snobby critics to stamp it out. Mark my words, there are now, or in the very near future, readers who read all these reprints/translations and get inspired to write a modern rendition of the pure, plot-driven detective story of their own. Once that ball starts rolling, you’ll only to wait a short while before having to admit that Tom was right again. 🙂
Writers like James Scott Byrnside and Robert Innes will be seen as trailblazers, like G.K. Chesterton and R. Austin Freeman, who bridged the gap between two different eras.
Anyway, I’ll admit that this one sounds much more intriguing than The Seven Deaths of Evelyn Hardcastle and not just because of the Dutch element of the story, but it sure makes it the most fitting title for this series of blog-posts! I promise I’ll get to Elliott Roosevelt’s Murder in the Oval Office and Adam Roberts’ The Real-Town Murders in 2021!
I’d love you to be right — if only so you got to experience the sensation for once 😛 — and I can’t deny that there is some very good work being done with the detective novel at present. But a golden age needs far more than three or four accomplished practitioners, and I feel the market is so flooded with inferior quality products that no amount of manning the pumps of great detection will ever result in the level of creativity and talent in the genre we’d love to see. But, hey, it would be magnificent, and I’d be at the front of the queue to congratulate your foresight.
Hope you enjoy this if/when you get to it. I’ve read a few other modern locked room mysteries for this series this year, and this is the only one so far that I could summon the enthusiasm to write about. And it’s 550+ pages long, which would ordinarily test my patience, so you know it has to be good if I got through all that and am still enthusiastic about it 🙂
Oh, interesting coincidence. I’d just finished reading Seven Deaths last week. Didn’t even know he had a new book!
Guess I’ll have to add it on The Pile (TM).
Always nice to have more to add to The Pile. I mean, can you imagine running out of books to read? Good grief, it doesn’t bear considering!
“It’s not quite the Golden Age puzzler I would have liked, but then it’s also not the Golden Age any more, is it?”
😭 I’m shocked those chow choc puppies aren’t sobbing uncontrollably by the end of your review. I’ve read ‘Evelyn Hardcastle’, which was almost painfully long – and certainly too long towards the end – but was nonetheless an inventive and pleasurable puzzle. And so I’ve been eagerly anticipating this title. Looks like I should really save up the two James Scott Byrnside novels I’ve left unread for birthday treats.
Oh, I didn’t think I gave it that bad a write-up😄 This is by no means a disaster — you’ve read my other reviews in this series, right? — it’s just not the tidy little puzzle it would have been is written 90 years ago. No harm in that, and certainly it wasn’t my intention to put anyone off it…
I even said I’m looking forward to what else Turton does, which is surely a positive thing, unless I strike you as some sort of self-abnegating masochist who enjoys not enjoying stuff. Which, given the amount of self-published and modern crime fiction I’ve torn into over the years, might be understandable now I think about it.
One day I’m going to give guys like Horowitz and Turton a chance. I will read Byrnside first, though.
A second golden age will eventually come, but first there should be a paradigm shift for it to happen. We’ve been recycling the late XIX century writers (and doctrines) for quite some time now; Dostoievsky, Dickens, etc. The realm of raw emotion, pain and misery as food for the soul: random negative sh*t happens and strikes like a ten ton hammer straight out of a colombian telenovela on crack. Christianna Brand, for instance, tried to marry both worlds with relative success but I bet her novels were perceived as old and moldy by many back in the day, and yet they feel somewhat modern today.
The perception of what constitutes real, relatable characters is also a product of a given time. The same happens with “outdated” ways of thinking.
I hope TomCat is right about this new wave of classic mystery writers, but for me some pieces will have to fall in their respective places first for us to enjoy a new dawn in the next ten or twenty years.
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Oh, I want there to be a second Golden Age of detective fiction, but the very nature of a “golden” age requires a high number of people to be producing that type of fiction to a high standard consistently — we’re not at that stage, even if a few luminaries are showing the way.
I also agree that there’s been so much recycling, and there’s so much published these days that anything genuinely great is either going to get overlooked or sidelined as not what will sell in large quantities. After all, if people really want to read classically-style detective fiction there’s plenty of it from the first Golden Age available — especially with the reprints we’re fortunate enough to be seeing these days. That wasn’t the case in 1930!
Time will tell, of course. Maybe when Brad finally finishes Murder at Dungarees he’ll have a Roger Bannister effect and all those four-minute-mile GAD writers will come pouring out of the woodwork…
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“I hope TomCat is right about this new wave of classic mystery writers, but for me some pieces will have to fall in their respective places first for us to enjoy a new dawn in the next ten or twenty years.”
“…the very nature of a “golden” age requires a high number of people to be producing that type of fiction to a high standard consistently — we’re not at that stage, even if a few luminaries are showing the way.”
I’ve heard the same thing in the past. A ton of stuff needed to happen and fall into place to have more publishers like Crippen & Landru and Rue Morgue Press. Not only did we get that boom in reprints, but a steadily growing stream of translations on top of it. These reprints and translations are going to be the building blocks of the Second Golden Age.
One of the reasons why there’s so much published today that’s either recycled or not the genuine article is because the genuine article has been largely absent from the public view for decades. Until relatively recently, you had to know where to go and what to look for to get your regular mystery fix. So it’s not surprising that the traditional detective story descended into a dark age and became somewhat of a lost art since the 1960s. But that’s now all changing!
The internet giving a new and open market place to small publishers and secondhand booksellers made a Renaissance Era inevitable. This renaissance will eventually blossom into a Second Golden Age. Sadly, none of us will be around for the Third Golden Age with Martian detective fiction, written by settlers, as its crown jewel. Just imagine S.H. Courtier or Arthur Upfield with a Martian setting.
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Your theory is very good, and I sincerely hope it come to pass. Though, of course, if it does I shall delete all these comments and claim that you never said anything of the sort 🙂
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Just finished this book this morning. Much better plot and characters than in … Evelyn Hardcastle but also too long and a bit cluttered. It was good but not stellar; he’s riding on the hype of his first book. At least this time he wrote a real novel. I still get a sadistic vibe from this writer that truly disturbs me. While this book never angered me as 7DoEH did there are certain types of scenes that he lingers over in a very perverse manner. I think he’s also one of these new breed of thriller writers who follows the “twist for the sake of a twist” style of storytelling. Much of the finale seemed arbitrary.
How about the dedication to his infant daughter? Why dedicate such a violent and ultimately cynical book with only a handful of decent people to a little girl? Very odd.
I still get a sadistic vibe from this writer that truly disturbs me
It’s difficult to know — because I understand where you’re coming with that, and yet I also see the story leaning so heavily into its supernatural and horror elements that I also feel these elements are deliberate genre tropes being repurposed purely for the aims of this story. I suppose we’ll know better when his third book comes out…!
The finale does seem to overreach — I admie the ambition of it and, with a bit of time to reflect, I appreciate that the sort of book I was expecting was not the sort of book he set out to write, I thought we’d be more in the tightly-plotted 1930s idiom, where it is, as you rightly say, much more of a twisty modern thriller.
I find his use of apparent classic mystery tropes in framing storise that turn out to be something different to what they initially appear intrguing — Turton remains a fascinating writer to me for this reason. I would prefer to go in to something that sounds like a country house mystery and get a Country House Mystery, but his willingness to flex the edges of the genre exhibits a compelling pull on me. Even if I can’t really say why… 😄
I was reminded initially of the set-up of an Alistair Maclean novel as he did a number of seaborne thrillers with a disparate group of passengers each with their own agendas and Arent Hayes to some degree fit the outsider tough guy role of his usual narrators. The conclusion is quite interesting as well.
I don’t know if I saw the suspense of this in the same way Maclean uses it — I saw that rather more in Nine–And Death Makes Ten by Carter Dickson — but I know what you mean about the different agendas (agendae?) and how they come together to form a narrative.
Glad you liked the conclusion of this; I still haven’t quite figured out how I feel about it!