Well, look, it was bound to go wrong, wunnit? In four weeks of reading and writing about Cornerstone titles, assessing their merits and examining whether I felt they added anything to the corpus of detective fiction, I should have foreseen coming across one absolute dud. And trust me to get confident after three (largely) enjoyable weeks and leave this too late to replace with anything else, eh? Right, let’s get this over with.
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Max Carrados (1914) was the first collection of stories to feature Ernest Bramah’s eponymous aristocrat, blinded in an accident before deciding to turn his hand to detection, and another entry on the Haycraft-Queen Cornerstones list. Certainly the concept of a blind detective is novel enough to capture the imagination, but does Bramah do enough with the potential here to warrant consideration as one of the foundational texts of detective fiction?
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Another week, another Cornerstone; this time, it’s “the American Sherlock Holmes” Craig Kennedy, creation of Arthur B. Reeve and a wildly popular character in his day.
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As discussed previously, Tuesdays in February will feature four collections of short stories on the Haycraft-Queen Cornerstones list, selected on account of my ever-growing interest in what the genre looked like before the advent of the Golden Age in (no arguments here…) 1920. Confusingly, my 1950 green Penguin paperback of gentleman thief Raffles stories by E.W. Hornung shown above contains 14 tales, only the first eight of which concern us today, comprising as they do the first collection to feature the character, The Amateur Cracksman (1899).
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On page 110 of 355 of Elizabeth C. Bunce’s Premeditated Myrtle (2020) we learn that 12 year-old Myrtle Hardcastle starts reading novels in the middle because “beginnings were often boring”. Thankfully the unproved murder on which the entire book to that point has hung is finally suspected a few pages later and the book comes to life at last, but there’s an uncomfortably meta air to the criticism at the time.
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“Can you call it homicide if the victim is a hippo?” asks the back cover of this first entry in Stuart Gibbs’ FunJungle series and, from a purely Latin perspective, no you can’t. However, the brilliance of Gibbs’ endeavour here is how much he adheres to the fundamental form of the murder mystery despite this core difference.
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While far from his best work, The Blind Barber (1934) by John Dickson Carr does contain the brilliant problem of a corpse appearing on a passenger liner mid-voyage with no passenger or crew member apparently having died to provide it. Ella Risbridger’s juvenile mystery debut The Secret Detectives (2021) works from the same principle, with 11 year-old Isobel Petty seeing someone thrown overboard one stormy night…and yet the next morning no-one is missing.
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The only frustration I feel towards the Adventures on Trains series by M.G. Leonard and Sam Sedgman is that I didn’t discover it sooner. Because, see, then I’d be four books deep into this wonderful, charming, clever series — with a fifth on the way soon — rather than the mere two I am.
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It’s Hallowe’en — or, er, it will be in a few weeks — and so I’m jumping on the branding train and looking at some short stories that feature ghosts, ghouls, witches, and other season-appropriate horrors which end up having rational resolutions.
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The final six trips aboard the Maurevania during the Golden Age of radio, with Dr. John Fabian leading us through the apparently impossible.
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The Invisible Event 