I posited before that Norman Berrow’s career was neatly bisected by the Second World War — those novels he wrote before it being light, sometimes a little tedious, and generally easily dismissed, and those coming after possessed of better plotting, better characterisation, better everything.  Then I encountered two post-war Berrow books in a row — Words Have Wings (1946) and The Singing Room (1948), both featuring the characters Michael and Fleur Revel — which left me disinterested and to date remain unfinished.  Does Don’t Go Out After Dark (1950), the last of the usually excellent Lancelot Carolus Smith novels I have to read, correct this?  Thankfully, yes.

Aaaah, Norman Berrow.  Such highs, such lows, so much middle ground.  I can’t think of anyone else who leaves me on such a knife-edge: with a few adjustments here and there Berrow could well have written some genre classics, and it’s often an agonising fascination waiting to see which way the book falls.  So now we’re back at the very beginning with his first novel The Smokers of Hashish (1934), decidedly more adventure than detection, where he applies his chameleonic tendencies to some (ahem) intrigue in Tangier.  As you may expect from a book of this era with this title, the result is pulpy fun, though with two neat moments to distinguish it.

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You can tell it’s been a tough couple of weeks, because I’ve reverted to my reading Happy Place — Carter Dickson, Max Afford, and now Norman Berrow (there was a traumatic Ngaio Marsh experience in there, too, but the less said about that the better).  My entirely non-chronological sampling of this delightful Kiwi — probably the most purely joyous GAD author I read — continues apace, since this is the preceding title to Murder in the Melody (1940), the last Berrow I read…no, I have no idea why I’m doing it like this.  I’ll make sure his debut The Smokers of Hashish (1934) is the next Berrow I pick up.  Just bear with me, eh?  It’s been a tough couple of weeks.

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