#626: Laura (1943) by Vera Caspary

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Noir — from the French, er, noir, meaning “black” — is a label adopted by, or possibly foisted upon, the end of the crime fiction genre where things get appropriately murky: we have anti-heroes, moral bankruptcy, dodgy dealings, and possibly criminals getting away with things and the social order not necessarily restored.  My Vintage edition of Laura (1943) by Vera Caspary showcases the New Yorker declaring this novel “Noir in a nutshell”…and that feels like a desperate bid to invite a female author into the sausage-fest that the annals of Noir tend to be.  Because, honestly, Laura couldn’t be further from that promised noirsette if it tried…and I really do think it’s trying.

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#623: Mr. Pottermack’s Oversight (1930) by R. Austin Freeman

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When digging his garden to lay a foundation for a new sundial, quiet, unostentatious bachelor Marcus Pottermack uncovers a previously-unknown well.  That same day, he receives yet another demand for money from the man who is blackmailing him, and it’s only a matter of time before one problem is used to solve the other.  And when curiosities about the man’s disappearance are raised in passing with Dr. John Thorndyke, it’s only a matter of time before that pillar of truth is on the trail of quiet, unostentatious Marcus Pottermack.  And yet, for all its conventional-sounding setup, Mr. Pottermack’s Oversight (1930) is a delightfully unconventional inverted mystery.

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#620: The D.A. Breaks a Seal (1946) by Erle Stanley Gardner

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In a recent conversation on the GAD Facebook group, I was reminded that I haven’t read any of Erle Stanley Gardner’s Doug Selby novels in a while.   In fact, it’s been a year — where does the time go?  So, Project One for 2020 is to get these Selby novels finished so that I can move on to the 30 cases featuring Bertha Cool and Donald Lam.  And then the eighty-four Perry Mason cases, which, at this rate, will keep me in blogging material until I’m about 146 years old.  But, for today and my belated return to Gardner’s world, we enter a very different Madison County: one where D.A Doug Selby isn’t the D.A — I suppose The Guy Who Used to Be D.A. Breaks a Seal just ain’t that catchy…

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#617: The Black Honeymoon (1944) by Constance and Gwenyth Little [a.p.a by Conyth Little]

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Sisters Constance and Gwenyth Little occupy an unusual place in the firmament of GAD.  Together they wrote 21 novels and, thanks to the Rue Morgue Press reissuing them in the early 2000s, there’s sufficient awareness around them for the term “forgotten” to be thoroughly inappropriate…but you’d have to be a genre nerd to name more than a handful of their books.  Their lack of a series character and the fact that they wrote no short stories (and a single novella, presumably harder to anthologise) doubtless play a part, but I think more telling is the fact that they’re remarkably difficult to pigeonhole.  You’re never quite sure what you’re getting, and that cuts both ways.

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#614: The Silent Murders (1929) by A.G. Macdonell [a.p.a. by Neil Gordon]

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Aaah, the serial killer of yore.  With a sizeable proportion of GAD ne’er-do-wells restricting themselves to one victim, and a lot of them adding a second to help out a floundering narrative, it’s often easy to overlook that classic era detective fiction produced more than a few really dedicated murderers.  The Silent Murders (1929) isn’t the first, though it is quite an early one for GAD, and so while the usual punctilios are observed — and may feel a little hoary nowadays — it pays to remember where you’re walking. As an entry in an under-represented stratum of GAD, this is easily good enough to make you rue the brevity of Macdonell’s detective-esque output.

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#611: The Seventh Hypothesis (1991) by Paul Halter [trans. John Pugmire 2012]

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Aaah, Christmas; time to drop into the comforting arms of the ones we know and love.  I tried to mix things up a bit this year, starting two Christmas mysteries to review this week…but neither really worked for me, and so I’m following my own advice and adding another pre-blogging Paul Halter title to my archives.  I distinctly remembered The Seventh Hypothesis (1991, tr. 2012) to be a doozy, with less of a focus on the impossibilities — though we get two in quick succession — and more attention drawn to a complex switchback of mellifluous plotting…so how’d it stand up to a second look?  Rather well, as it turns out.

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