Nothing More Than Murder by Jim Thompson

Nothing More Than Murder
Jim Thompson
Originally Published 1949

When Joe Wilmot is found by his wife Elizabeth in the arms of Carol, their housemaid, she makes him a proposition. She will skip town and leave them together on the condition that she be declared dead and given the insurance payout to allow her to start a new life somewhere else.

Of course, to get an insurance payout you need a body but Elizabeth has a plan for that too. Carol is tasked with finding an unattached woman of a similar physique and luring her to their home. Once there she would be killed in a fire, burning the body to the point where it could not be fully identified.

It is a solid, if ghoulish, plan and the novel begins with Joe taking the first steps in executing it, placing an ad in the local paper to try and find a suitable victim. The chapters that follow not only detail how they are putting their plan into action but also the events that led them to that point, exploring their psychological states at key moments.

One issue that Thompson faces is convincing us that these characters would conceive and develop this plan and I felt that this was the least successful aspect of the novel. Certainly the situation he has devised is interesting, dramatic and quite original but given the nature of what they are planning, I found it challenging to get my head around each of their motivations.

The easiest character to understand is Joe. He had started working for Elizabeth at her movie house but when they married he took over the concern, finding ways to trim costs and work the distributors system to ensure that he was showing the movies he wanted. He loves the business and is deeply invested in it, so it makes sense that he would be willing to consider a plan that allows him to keep hold of it and allow him a fresh start with Carol.

I found it harder to understand the motivations of the two women in his life. In one respect this is appropriate – Joe’s confusion about Elizabeth’s reasons for offering this deal is an important plot point – and I do think Thompson ultimately addresses some of these questions but I found that they lingered over the early part of the novel. My feeling is both women feel underwritten and are given much less definition than Joe.

While the plan wasn’t of Joe’s devising and he is not directly involved in its execution, Thompson’s decision to have him narrate the story rather than using a third person narrative style makes a lot of sense. For one thing, Thompson is able to use his narration to establish aspects of his character but it also allows us to experience his lack of understanding of the thoughts and mentalities of the two women in his life. This leads to some of the book’s richest pages towards its end as Joe reflects on how his marriage to Elizabeth ended up going so badly.

The plan Elizabeth has hatched is quite clever and I think it is credible to think that it might work. The mechanics and characters’ movements are clear and easy to follow while at first glance the murderers are leaving no loose ends. Of course, things will go wrong – that’s just a part of the noir style – but it’s reasonable to think that they might succeed.

The problem of course lies with the insurance company who send an investigator to the town to look into the death. Here, once again, the decision to tell the story from Joe’s perspective pays off as it means that we have little idea exactly what he has found or how close he is to finding out their secret beyond what the investigator tells Joe.

Thompson sets his pieces in place effectively, creating obvious points of tension between the various characters. The reader waits for those tensions to be triggered and to see just how things will collapse and, of course, if anyone will get away with it all.

I also found that I really enjoyed Thompson’s explanations of the movie distribution system and some of the practicalities of running a movie theatre. In these passages Thompson manages to convey some pretty complicated ideas quite effectively, throwing light on how the industry worked in that time.

The supporting characters are similarly quite interesting and I enjoyed following along as things start to go wrong with the plan. Several of these characters are particularly colorful. Some of these issues are quite strongly clued but some others may take readers by surprise.

Though it is not perfect, I found that I liked and enjoyed Nothing More Than Murder. The writing is sharp and the way this story is resolved feels really quite clever.

Devil in Dungarees by Albert Conroy

Devil in Dungarees
Marvin H. Albert (as Albert Conroy)
Originally Published 1960

Sometimes I pick up a book based on meticulous research or the recommendation of a friend. Today’s title, Devil in Dungarees, grabbed my attention simply because its title made me smile as the idea of hyper-sexualized dungarees seemed ridiculous. As it turns out this is because in the period in which this was written dungarees would have meant jeans as shown on the Crest Book cover which makes a whole lot more sense than what I initially pictured (Sarah-Jane Smith in the Doctor Who story The Hand of Fear).

The novel is an example of a type of crime novel I have not written about before on this blog – the heist. While I have enjoyed many films that feature these sorts of crimes, I suspect this may be the first novel I have read detailing that sort of crime. Certainly no others readily come to mind.

The appeal of these sorts of heist stories is in following a crime from its conception to execution and exploring its aftermath. Typically things do not go well for the criminals (or there is some element of double-cross). Given my love of inverted crime stories in general, it should come as little surprise that this sort of story might appeal to me. The only real surprise is that it has taken me so long to try one.

Devil in Dungarees begins on the morning on which the crime is planned to take place. The target is a bank on the day before payday and the plan is not particularly complex. The armed gang aims to get in and out within a very tight window of seven minutes, being off the scene before the police are able to arrive.

They have enlisted the help of a policeman, Walt Bonner, who has passed them information about patrol movements and agreed to arrange a diversion to give the gang the widest window possible to get in and away before the police can arrive. For this he is expecting to get paid half of the total takings for the job.

Walt is being encouraged and persuaded to take part by Peggy, a young woman he has been seeing for a little over a month. She claims to be twenty though Walt suspects she is younger in spite of her experience with men, and keeps pushing the idea that they will be together permanently after the job is done and they have the money. Of course the moment he leaves we learn that Peggy and the others have no intention on keeping their promises to Walt and plan on running out on him.

This then is the setup for a day that will turn into a disaster and I think it makes for an effective starting point for the novel. By choosing to begin after the crime has been planned, Conroy is able to focus on injecting action into his story while choosing to reveal important and pertinent pieces of information as needed. This works nicely to drive the narrative towards that moment where everything begins to go wrong with their plan and these characters begin to react to their situation and each other.

The way their plan ends up breaking apart is relatively simple but I think it is very effectively done. Each development feels properly set up and clued, particularly as we already know something about the personalities of each of the gang and their eventual intentions towards each other. The result is a story in which developments feel logical and satisfying and the tension seems to steadily build throughout the bank job.

While Conroy’s focus is on developing his plot and structure, his characters feel striking, colorful and distinctive. This is particularly true of some of the supporting characters such as the members of the gang and Bonner’s partner on the force, Ben Travis who is probably the most likable character in the novel. No one really changes – they begin the novel as they end it – but there are some surprising and challenging moments along the way for several of them.

Unfortunately I was a little less enamored of the handling of the two most central characters, Walt and Peggy. Conroy’s focus in his story is on pushing the plot forwards at all times and so neither character has any moments of introspection or reflection. They simply spend the novel responding instinctively to circumstances. This is interesting enough and I enjoyed the ride but given some of the things that happen to them I felt that there were questions about their backstories and their emotional states that were left unanswered.

This frustrated me most with regards the character of Peggy. From the moment she is introduced it is clear that she is serving in the role of a femme fatale and it is easy to understand the effect she has on Walt. I was curious about how Peggy came to be the way she is and why she is willing to be used and to endure some of the things she puts up with here.

I think we also come to recognize that this is a character who is conditioned to survive, clinging to the man she believes offers her the best chance of doing that. That is inferred however through the choices made rather than from any direct discussion of her choices in the narration or dialogue. We learn little about her beyond that impulse even when she is being put through the wringer as she is at points here.

I cannot hold this against Conroy too strongly however because I do not think he singles Peggy out. He is simply uninterested in exploring those questions. Peggy and Walt are the way they are presented and his interest lies in how these character types will interact and cope with the situations they are presented with. In that respect I think this story is very effective.

The power of the novel lies in its simplicity both in terms of its construction and the themes Conroy is interested in exploring. Because all of the other details are stripped away to focus on the plot, we are encouraged to anticipate conflict we know is coming up. The surprise lies in seeing what elements factor into that moment as other characters shift in and out of focus. It is simple but effective storytelling and Conroy is able to pack a lot of action into the story as a result.

While I was left wanting a little more depth in the characterization, I think that focus Conroy has on story pays off well. The result is a tight, engaging and sometimes quite dark read that drives towards its conclusion without ever really letting up.

Double Indemnity by James M. Cain

double
Double Indemnity
James M. Cain
Originally Published 1943

I cannot really explain how it is that I have not previously written about the works of James M. Cain. He is after all one of the towering figures of American crime fiction and, in particular, of the sort of inverted crime stories that I enjoy so much. I only realized this omission when I recently compiled my Five to Try list of inverted crime novels and determined that I would try to rectify it as soon as possible.

While I may not have reviewed any Cain works here before, Double Indemnity is not my first encounter with his work. I have previously read and enjoyed The Cocktail Waitress and The Postman Rings Twice and I am pretty sure that I have seen at least part of the film adaptation though I didn’t remember much more than the basic premise and certainly not well enough to discuss the changes made.

The story is told from the perspective of Walter Huff, an insurance salesman who calls at Mr. Nirdlinger’s home to try to persuade him to renew their automobile insurance. It turns out that he isn’t home but his wife Phyllis is and they speak for a while about the plan before she asks whether he sells accident insurance. This question surprises Walter as it is a type of insurance usually sold as an add-on during a transaction rather than one picked out by customers though he notes that it is unusual as being the only type of insurance that can be taken out on a third party’s life without their knowledge.

Walter’s suspicion that Phyllis intends to murder her husband are soon proved correct and, unable to resist his attraction to her, he agrees to help. He quickly points out some of the defects in her scheme and the pair come up with a clever plan to contrive a train accident to claim the money. They find however that the insurance company is suspicious of the death and that they are suddenly under investigation…

One of the first things that struck me about Double Indemnity was how short it is. It was a novella, published in parts in Liberty Magazine, and it can easily be finished in a couple of hours. But it’s not just a matter of the page count – this book reads quickly because Cain writes so tightly, drawing us in to a plot that moves quickly and features several significant twists and revelations.

Part of the reason that Cain’s story is able to move so quickly is that his protagonist, Walter, is not a complete innocent at the start of the story. He does not start the story as a killer but he has given thought to how an insurance fraud of this sort could be pulled off meaning when he is presented with the opportunity he does not need to be persuaded that it might work or spend too long devising a plan. This lets Cain get quickly to the action and focus on developing our understanding of his characters and the details of the plan they aim to pull off.

Walter has two motivations for getting involved in this plan. Firstly, he is excited by the idea of pulling off this fraud idea he had thought up long before ever calling on the Nirdlingers. Secondly, he is attracted to Phyllis and likes the idea that by carrying out this plan he will win the girl too as she would be free once her husband is dead. These motivations are not exactly unique to this story but I think they are strong enough to make his actions feel credible and I think they also help build our understanding of Walter’s character, his strengths and the flaws that may undo him.

Walter narrates the story so we get to learn what he thinks about the situation he finds himself in as well as the concerns that develop as it goes on. A consequence of this choice however is that Phyllis is a little bit harder to get to know, at least at first, as we only really learn the things about her that Walter is interested in.

This does not mean however that the characters are flat or shallow. By the end of the novella we will have a much clearer picture of who Phyllis, her stepdaughter Lola and Sachetti all are and how they each fit into the story. To Walter some of these developments will come as a surprise but the reader will quickly recognize that a character is presented as a femme fatale and so will hopefully be a little ahead of him.

Some of those revelations are not particularly surprising, though there were a few points that turned out to be much more complex and interesting than I guessed. What makes this memorable is how well Cain introduces each idea and element, integrating them to tell a crisp and powerful story that builds to a dramatic finish. That conclusion is potent and delivered with slick intensity.

As with the buildup to the murder, Cain’s ending does not dwell too much on exploring characters’ emotions or attempt to string things out by having his characters behave with indecision. His characters remain bold and decisive right up to the end, providing us with a powerful conclusion that I felt was an appropriate and memorable resolution to the story.

While Double Indemnity is a short work, Cain’s clear plotting, direct prose and bold characterizations make it a striking, quick read. Cain’s restraint both in terms of his use of detail and in his description of the killing is impressive and I think he does well to boil down some complicated ideas about insurance processes so that the action of his story is easy to follow. Highly recommended.

Vintage Mystery Challenge: Book turned into TV/film/play (Why)

Pop. 1280 by Jim Thompson

1280
Pop. 1280
Jim Thompson
Originally Published 1964

Pop. 1280 is my first encounter with Jim Thompson, a prolific author of hardboiled crime fiction best known for writing The Killer Inside Me. I had previously learned about him as part of a lecture about violence and crime fiction in the Secrets of Great Mystery and Suspense Fiction series and was even more intrigued when I saw JJ had listed him as one of his Kings of Crime.

The novel’s protagonist is Nick Corey, a corrupt and lazy sheriff in a tiny county in rural Texas. His days are spent taking bribes, eating and drinking at the various establishments in the town and sleeping with the town’s single (and some not so single) women.

He has some problems though that threaten his chances of keeping this job and the comfortable living that comes with it. For one thing, he is being publicly disrespected by two pimps at the local brothel. With a tough reelection fight looming he wants to stamp this out before it can do more damage to his public persona. And then there’s his complicated love life…

Pop. 1280 follows Nick as he attempts to straighten out some of these problems, indulge his appetites and ensure his reelection to the only job he feels suited for. While he appears to be quite a simple, corny kind of guy who tries to avoid taking any firm positions, we soon learn that he gives far more thought to what he does than it appears as he commits murder and manipulates another character into claiming responsibility for it. Crucially we are not told what he intends and so his actions often seem irrational or counterproductive, only for the reason for them to become clear after the fact.

Not every aspect of the story falls within Nick’s control however and he spends significant chunks of the novel responding to problems instigated by other characters. This gives the story a meandering, unpredictable quality as we see him find opportunities in situations that seem quite undesirable, showing his quick mind and talent for manipulation.

Thompson’s story drives home a deeply pessimistic view of humanity in which no one wants to obey the law themselves but wants to see others subjected to it. Nick reflects that what this amounts to is that the influential folk want to be left alone and to see him pick on the town’s black and poor white population instead and what we see confirms it. Almost all of the supporting characters are shown to be in some way corrupt, greedy and selfish and several of his victims seem to quite deserve their fates, usually falling into them because of their own moral compromises and instincts.

There are some very strong satirical moments in the story and it should be said that as dark as the subject matter can be, it is often very amusing. Nick’s habit of responding to criticism with a folksy saying works throughout the novel while his amorous misadventures place him in some truly ridiculous situations. These sorts of comedic moments keep the overall feel of the piece quite light and give a good sense of balance to the novel as a whole.

The three central women in Nick’s life are also all quite intriguing and varied figures, each feeling quite fleshed out if far from sympathetically. I do not want to spoil the way each is developed and used in the story but I think they all have an interesting journey with that of Rose, his wife’s best friend whose husband is abusive, being the most striking. That storyline takes several unpredictable turns and incorporates several of the novel’s most shocking moments.

Thompson cultivates a feeling of shock and dismay on the part of the reader right the way through the novel, routinely exposing characters’ vices and cruelties. Readers should expect to find considerable, casual use of a racial epithet by pretty well every character in the book which, while not pleasant, is authentic to the time and setting.

Nick is not a nice man, nor can he really be elevated to the status of anti-hero. He is a villain who does some truly cruel things but because the people he targets are often more loathsome than him readers may well enjoy seeing him pull off his plans. While he seems to obfuscate and lie at points in his narrative, he can also be quite straightforward in admitting to exactly who and what he is. For that reason when he explains himself at the end of the novel it doesn’t come as a shock but rather it is the logical conclusion to what we have observed throughout the story.

It is surprising that although the book touches on some truly dark themes Thompson is pretty restrained in his use of violence. The threat of it and our knowledge that it is happening is always there but there are relatively few moments in which we see it explicitly described. This contrasted with the image I had of Thompson’s style and I will be interested to see whether that is true of his other novels.

It should be said that while this is a crime story that this is not a mystery. There is nothing here for the reader to detect or deduce other than what exactly Nick has planned and his motive, both of which are spelled out early in the book.

Rather Pop. 1280 is both a character study of a killer and an exploration of the human propensity towards selfishness, greed and hatred. Stephen Marche described it as ‘a romp through a world of nearly infinite deceit’ and while I don’t have enough knowledge of the author’s work to be able to agree with his assessment that it is the author’s true masterpiece, I would certainly say it is a compelling, cynical read that manages to shock, appall and amuse in fairly equal measures.

The So Blue Marble by Dorothy B. Hughes

So Blue
The So Blue Marble
Dorothy B. Hughes
Originally Published 1940
Griselda Satterlee #1
Followed by The Bamboo Blonde

Dorothy B. Hughes’ The So Blue Marble is one of six vintage titles that were chosen by Otto Penzler to launch his new American Mystery Classics range. Like the British Library’s range, these books each feature an introduction giving some context to the work and information about the author.

Coming months will see titles from familiar names such as John Dickson Carr, Ellery Queen as well as less widely known authors like H. F. Heard and Frances and Richard Lockridge. I think the range looks to showcase the enormous variety to be found in American Golden Age crime fiction.

While I knew that Dorothy B. Hughes is a relatively well-known name in American mystery fiction, this was my first encounter with her work. The So Blue Marble was her first mystery novel although, as the introduction notes, it might be better described as a thriller or work of sensation fiction.

The story concerns Griselda Satterlee, a former actress who has given up show business to become a fashion designer, who is taking a couple of months vacation in New York. Not being fond of hotels, she is staying in her ex-husband’s apartment while he is away on assignment as a news reporter. When she walks home one night she is stopped by two handsome, well-dressed twins who force their way into the apartment. They tell her that they have come in search of the So Blue Marble which they insist she or her ex-husband must possess.

What is the So Blue Marble? Well, in truth it is little more than a MacGuffin albeit with a mystical back story and a rather odd name. The desire to possess it provides motivation for some of the characters but the nature of the object is of little consequence. What is really important is what it means to the Montefierrow twins and what they are willing to do to acquire it.

Danny and David Montefierrow make for a fascinating pair of characters. Initially we see them in terms of their charm and physical perfection but Griselda quickly notices the blankness in their eyes which she finds quite unsettling. We see that they can be quite ruthless and prepared to harm innocent third parties while I think the triangle that forms between them and a woman reads as sadistic and disturbing while it is also hard to understand just who is dominant within the relationship.

We are introduced to a number of other characters who play roles within Griselda’s life that she will seek to protect. She has two sisters, Ann and Missy, each quite fascinating and possessing very distinct personalities. I enjoyed getting to know each of them and was pleased that they played meaningful roles within the plot.

Her ex-husband’s neighbor, an archaeology and art professor at the university, is an intriguing presence and possible romantic interest. He, of course, is concerned that he not do anything that might jeopardize his friendship with Con. One early scene in which she convinces him to stay in the apartment overnight after the incident referred to earlier is really quite charming.

Con, on the other hand, was a character that never quite worked for me. Part of it, I think, is that I was hungry for more details about their relationship, why they were initially attracted to one another and why it failed. He spends a significant portion of the novel as little more than a reference or an idea and as a result I never really felt I knew him and what makes him tick.

As for Griselda, I found her to be easy to empathize with and I appreciated that while she occasionally accepts help from male characters that she is not portrayed as a damsel in distress. I appreciated the way this story affects her relationship with Con and her desire to keep him from harm. While I think a story beat at the end is not quite earned, I did enjoy spending time in her company.

One of the things I appreciated most about this book was that it feels like an absolutely unpredictable, crazy ride. It is not just the surprising plot developments, although there are a few moments I never saw coming, but rather it is the character beats that make this feel quite different and unusual. It is a joy discovering these characters and seeing how they will all interact with each other to drive the story.

The So Blue Marble is a wonderfully entertaining, even amusing story which feels far too polished and rich to be anyone’s first novel. I had a good time discovering the secrets behind the marble and its history as well as seeing how the conflict between the twins and Griselda would play in it. For those who enjoy thriller-type stories, this would be Highly Recommended.

The Vengeful Virgin by Gil Brewer

Vengeful
The Vengeful Virgin
Gil Brewer
Originally Published 1958

The Vengeful Virgin is a pulp novel from the 1950s that on the face of it seems a little out of my reading comfort zone. The reason it jumped out at me though is that it is another example of my favorite subgenre, the inverted crime story and I came to it feeling somewhat optimistic based on my experiences with the other hard-boiled inverted stories I have reviewed recently.

The novel concerns a pair of lovers with an almost primal physical attraction to one another and their plot to kill the girl’s rich stepfather who is an invalid. The girl, eighteen year-old Shirley Angela, has been caring for him for three years and resents his demands. She knows that she is in line to receive a big inheritance from him but knows that with medical intervention he could live for ten years or longer.

When protagonist Jack Ruxton, a television installation engineer, first crosses paths with her she has already devised a crude plan to get rid of him. The two are instantly drawn to each other and she brings him in on the plan. He quickly expresses concern that her idea to have a television topple onto him would immediately be traced back to them and suggests his own plan…

Jack is far from a charming guy and is in some ways a little reminiscent of the male murderer in Roger Bax’s Disposing of Henry, another inverted story. This similarity extends right to the character’s casual description of Shirley as  someone who “…made you feel as if you wanted to rape her” and is attracted to her in part because of her youth. Their relationship is all kinds of problematic if the author’s intention is to titillate his reader as Jason John Horn notes in an essay he wrote about chauvinism and ableism in this novel. Be aware that essay does spoil some key plot developments!

I am on the fence about whether Brewer intends to appeal to that side of his readers here or not. If that was the aim I think he misses the mark in any case as those scenes, while frequent, do little to appeal to the reader’s senses. They do effectively establish the main character as a seedy, brutish man who uses the women in his life to fulfil his own desires whether physical or financial.

Shirley is cast as a mix of vixen and femme fatale. She certainly tempts Jack into committing a crime though he did not need much persuasion and she repeatedly expresses her desire for him. The characterization is not particularly complex and perhaps the one revelation that may have added a little punch is spoiled within the book, reducing the impact of a key moment within the novel’s conclusion.

Though Brewer’s characters feel a little flat, the plotting is a little more interesting. I was impressed with the idea that Jack comes up with for its relative simplicity and the scene in which the plan is carried out contains some wonderful moments of tension. Throughout the build up to that moment we are made aware of the danger they face and anticipate some of the things that might go wrong. These problems are foreshadowed very effectively and while I think it would be a stretch to say there are mystery elements here, the reader can try to work out how those elements will combine to cause their downfall.

While the reader will likely predict elements of the novel’s conclusion, I do think it contains some of the novel’s strongest imagery and dramatic moments. That sequence sums up the novel’s themes well and it feels like a logical and powerful resolution to the story.

Unfortunately the journey to that point underwhelms, particularly in the saggy middle of the tale where we wait for the pair to actually get on with committing their crime. Neither Jack nor Shirley are interesting or likeable enough to make their relationship compelling and there are no unexpected revelations or moments featuring them that may have made them more complex or interesting and might have helped to drive the story.

Though The Vengeful Virgin has some strong moments, not least its punchy ending, I think it never rises above its often flat, unpleasant characterizations and the slow pacing of the scenes in which the pair develop their plan. It is not badly written and it does have a few good ideas but the sometimes seedy tone (which, to be fair, is totally hinted at in its title) had little appeal for me.

I Married A Dead Man by Cornell Woolrich

MarriedADeadMan
I Married A Dead Man
William Irish (aka. Cornell Woolrich)
Originally Published 1948

I Married A Dead Man is the story of a murder and the impact it has on a couple who ought to be enjoying a happily ever after. It definitely belongs to the noir school as our protagonists find themselves in a hopeless situation, each unable to shake their feeling that the other must be responsible. After establishing this portrait of the couple Woolrich jumps back over a year to show us how this situation came to be.

The story begins with Helen who is unmarried and eight months pregnant. Rather than receiving support from the father, instead she is given five dollars and a one-way train ticket back to her hometown.

On the train she is befriended by a woman who is also pregnant and travelling with her husband to meet his parents for the first time. We hear that they have never so much as seen a photograph of her so when the train derails and the couple are killed they assume that she must be their daughter-in-law and so pay for her medical care and give her and her newborn son a home.

This setup creates tension as she lives under the fear that her secret will somehow be discovered. This could not only lead to her losing her home and security for her child but the family she comes to cherish. Finally, a year later, she finds a note that seems to suggest that her secret has been discovered though she is not sure who is responsible, setting a series of events in motion leading to the situation and characters’ state of mind described in the prologue.

At this point I should probably reiterate that this is the story of a murder and its aftermath rather than a mystery story. The scenario certainly generates questions that the reader may try to work out the answers to but there are no clear answers given to the biggest question that hangs over all of the characters and that will destroy all of their chances of happiness.

What Woolrich does really well is explore Helen’s state of mind and the unlikely but compelling situation she finds herself in. While the thing she does is clearly morally wrong, we are likely to sympathise with her and absolve her of wrongdoing. She has not orchestrated this deception and we see that she does truly care for the couple who had lost their son.

The grieving parents are likeable but presented somewhat abstractly, referred to by their roles as mother and father rather than by name and given limited and fairly general personality traits. While that approach would not suit every work it is appropriate here because the couple represent a set of values and a family lifestyle that Helen comes to cherish. They give her a sense of belonging that she clearly has not experienced before.

Bill is given more depth not to mention a name. We know from the start of the novella that Helen will end up married to him and that she will think him responsible for the murder and yet when we first meet him that unhappiness seems unlike him. He possesses a strong sense of charm and while his intelligence poses a threat to Helen, the two are clearly attracted to each other from shortly after they meet.

This relationship sits at the heart of the novella because for the conceit of the story to work we must view them as a tragic couple and believe that had they met under different circumstances they might have been happy. The length of Woolrich’s story means that we do not have much time to see the couple’s friendship and relationship slowly develop and so instead we see a few key moments in that process but I was convinced by the type of interactions they shared that they could have been happy.

I ought to have seen the circumstances of the crisis coming, though somehow it caught me by surprise. I think even if you know what will get in the way of their happiness those scenes are cinematically written and highly effective. I felt the protagonist’s sense of panic, anger and frustration at the possibility of losing everything and understood her actions.

It should probably be said that while the scenario is set up to have each character believe the other guilty of the crime, we do follow Helen’s actions more closely than Bill’s. That does not necessarily mean though that we know Bill to be guilty and in a way the actual solution to the crime doesn’t matter – it all comes down to how the couple’s suspicions and feelings alter the rest of their relationship. It is powerful stuff, underlined by the striking decision to return to the material from the start of the book at the end.

Is it perfect? Well, it must be said that the scenario outlined does seem wholly unlikely to ever happen. I think Woolrich does take steps later in the novella to give a rationale to how the mistake could have come about and gives her a strong reason to maintain the fiction but it does require some pretty odd plot contortions to set everything in motion. This is a scenario that really could not work in the present day as it relies on a lack of documentation that would be close to unthinkable today.

Overall I found this to be a fast and highly engaging read. It certainly veers towards melodrama in some aspects of its scenario and storytelling but I felt that the ending was really effective, packing an emotional punch.

This book was originally published as the work of William Irish, a pseudonym for Cornell Woolrich. Reprints have typically used the author’s real name so I am following suit.