The So Blue Marble by Dorothy B. Hughes

So BlueDorothy 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 Case of the Lucky Legs by Erle Stanley Gardner

LuckyThe Case of the Lucky Legs is the third Perry Mason mystery and the first which I found a bit of a struggle to get through, at least at first. My first few attempts to read it ended with me falling asleep or losing concentration and while it is possible that this was not entirely the book’s fault, it certainly did not bode well. But before I delve too deeply into my feelings about the book I should outline what it is about.

The previous novel had ended with Mason receiving a letter from an “Eva Lamont” requesting his legal services but the meeting is actually attended by Bradbury, a wealthy playboy. It turns out that he is looking for help in a matter concerning a lady friend who might have married him had it not been for a roguish movie promoter, Frank Patton, who held a beauty contest for women to win a picture contract with a movie studio. His lady friend, Marjorie Clune, won the title of ‘The Girl with the Lucky Legs’ but the studio wiggled out of their contract leaving her too embarrassed to return to her hometown.

Bradbury is hoping that Mason will track down Patton and get him to confess to his deception or unethical behavior to give grounds to sue the studio. As he remarks, Patton seems to have had some ‘shrewd legal advice’ and he wants to get some of his own. One complication is that there is another man in Marjorie’s life, spendthrift dentist Dr. Doray, who is also seeking some justice for her. Bradbury wants to make sure that whatever happens, he receives the credit for helping her rather than Dr. Doray.

The early part of the novel sees Mason following up on this request and I found them to be somewhat slow and lacking in intrigue. The setup as first expressed seems pretty clear-cut and I was not particularly drawn to any of the characters. The most intriguing aspect of the case, the film studio setting, is really only background to the story and offers little in the way of color or excitement.

These chapters are not only somewhat drab in terms of the content, they move surprisingly slowly in spite of Gardner’s athletic, punchy prose style. Several conversations are quite lengthy yet they neither advance our understanding of the plot or the characters involved, particularly those with Bradbury whose demanding attitude quickly becomes tiresome.

Fortunately the pace does pick up a little as we move into the second phase of the story in which Perry discovers a body. This sequence is notable enough that it is explicitly referenced in an author’s introduction to the book in which he notes that some readers may be surprised to read about Perry Mason making use of a set of skeleton keys in this sequence and it certainly does seem like a surprisingly reckless decision from anyone practicing law. This is far from the only reckless decision he will make in the course of the story but given the others all are well within spoiler territory I had best not say more. Many of these moments are amusing but they do come at the expense of the story’s credibility.

One aspect of this novel that I cannot fault it on is its discussion of what it means to represent someone. Perry may act recklessly at points in this story but he is always clear on who his client is and how he should best serve their interests. This is a theme that dominated each of the previous stories but I think it is particularly effective here, especially bearing in mind Bradbury’s repeated attempts at interference.

The other aspect of this adventure that appealed was the divergence in the interests of Mason and Paul Drake, the head of the Drake Detective Agency who he advises Bradbury to hire. While some of the early exchanges between the two in this story are a little dry, I appreciated that this story acknowledges that Drake is not simply an extension of Mason and may disagree with his actions. This idea is not fully realized within the story but it does make Drake seem a more independent and interesting creation.

I was a little disappointed that Della Street is largely sidelined in this story and is given little opportunity to do anything beyond make shorthand notes of conversations and answer the phone lines. This is a far cry from the more vocal character we saw in The Case of the Velvet Claws and it does seem like Gardner had lost some interest in her by this point.

Turning back to the case itself, I think the solution works though it is not particularly surprising. Gardner does not give us many suspects to choose from so the solution is fairly easy to predict. The circumstances in which Mason reveals the killer’s identity are fun if a little convoluted but, once again, the scene plays out surprisingly slowly and rather than building anticipation, I was wishing he would just get on with naming them.

While I found parts of this story to be very entertaining, I do think it is a weaker work than either of the two previous Mason adventures. The opening to the case offers little in the way of intrigue and some of the plot developments feel convoluted. Mason is still a fun hero, if a little rougher and less ethical than in some of his other outings, and I do think he gets some good moments here but if you are new to this series I would certainly not start here.

Windy City by Hugh Holton

WindyCityI was not familiar with Hugh Holton before picking up Windy City, the second in his series of novels to feature Detective Larry Cole of the Chicago police force. The book jumped out at me though for being told in an inverted style and I was curious to discover Holton’s take on the form.

The novel opens with a retired prostitute being followed by a man in disguise intent on raping and killing her. When he breaks into her home he is surprised by her cop fiancé and hastily acts to kill him and dispose of the body.

Within a few pages we know the killer’s identity: Neil DeWitt, one of the richest men in Chicago. We also learn that his wife Margo is fully aware of his proclivities and, when she makes a slip up in conversation with Police at a gala, we learn she has some of her own.

Unlike many inverted stories the detective does not need to search for the killer. Cole suspects the pair from the beginning of the novel but the challenge for the police and for the reader comes in proving the connection, particularly when the DeWitts hire a corrupt former governor of the state to represent them.

This proves to be an intriguing starting point because it enables Holton to focus on a small group of characters. We spend a lot of time in the novel following the DeWitts and seeing them plot and scheme to try and throw Cole off their trail and I do think we get to know them well as a result. The problem for me was that I found their characterizations very hard to accept as credible.

The two characters are given some back story and Holton does take the time to explore their motivations. Unfortunately the aspect of their story that is the least detailed is the early phase of their relationship as they begin to commit crimes and explore their sociopathic desires together. Given their status as a married pair of murderers makes them unusual, it is all the more disappointing to see this aspect of their relationship not treated with much depth or detail.

Instead Holton focuses on following their reactions to Cole’s investigation and attempts to throw him off the trail. This sort of a cat-and-mouse game has the potential to be interesting and there are a few points where I feel it is quite successful. One of those comes at the end of the second section of the novel where there is a big development in the case but unfortunately the next chapter takes the action to a lurid and melodramatic place undermining any good work the previous chapter had done.

Not only does Cole quickly identify the killers, he seems to quickly work out their plans and their likely next steps. The positive aspect of this is that it enables the book to sustain a surprisingly brisk pace but it may prove disappointing to those who want to see the police having to work hard to make those key connections.

Cole is not the most dynamic of protagonists although his family are appealing and sympathetic characters. He is shown to be persistent and hard-working however and I did appreciate that Holton uses his own Police background to flesh him and the other Police characters out.

That is not to say that this is an entirely realistic police procedural. That one of his team is nicknamed the Mistress of Disguise or High Priestess of Mayhem suggests at least a little eccentricity but the conflicts within departments and details of the cultivation of relationships with the coroner’s office feel more grounded in something approaching reality.

There are however some plot elements that struck me as too far-fetched to be taken as credible. This is not just a matter of the lucky breaks that Cole seems to get but also some of the risks that the couple willingly face when carrying out their tasks often leaving evidence pointing right at them. While being immensely wealthy could conceivably shield them from some accusations, their behavior is so inept and obviously suspicious at points it is hard to imagine how they wouldn’t have already come under deeper suspicion.

As much as I wanted to love this book I came away feeling frustrated and disappointed. I thought that the pair of killers had a lot of potential but the decision not to treat the story in a realistic way but rather as a thriller contributes to their story feeling somewhat ridiculous.

In spite of its faults however I would say that it was an engaging read. There were some good ideas here and while I think it gets the balance wrong, it is at least quite interesting.

Hope Never Dies by Andrew Shaffer

HopeNeverOne of the things I have learned since starting this blog is that humor is entirely subjective. What may strike one reviewer as being restrained may seem like little more than juvenile slapstick comedy to others. Perhaps the only thing more personal than that is politics so no doubt I am on doubly sound ground here…

The premise of the novel is that Joe Biden is struggling to adjust to life after the Vice Presidency. His Secret Service protection ended shortly before the start of this novel and he enviously watches news reports about the celebrity friends Barack Obama is now hanging out with. He is surprised then when one evening the former President shows up in his garden smoking on a cigarette to tell him that his favorite Amtrack conductor is dead having apparently committed suicide on the train tracks.

The reason Obama is sharing this information with him is that a map to Joe’s house was found among his personal possessions leading law enforcement to be concerned that he may be in danger. Joe cannot see the man as a potential assassin but then he struggles to believe that anyone who worked on the trains would commit suicide by lying down in front of one knowing how it would affect the driver.

Hope Never Dies affectionately riffs on Biden’s public persona as an everyman and Obama’s as being somewhat aloof and professorial. Generally speaking it avoids being too political, reflecting on the nature of the men’s political legacies rather than savaging their successors. There’s a bit of stuff about Hillary’s run but it is mostly from the perspective of Joe feeling that had he been the candidate he would have wound up in the White House and beyond a throwaway gag about the Russia investigation the Republican side of things isn’t touched on at all.

For what it’s worth I found Hope Never Dies to be more chucklesome than hilarious. There is nothing new in the way either man is portrayed or anything subversive or out there. I suspect that Republican readers may roll their eyes at moments but they will not find much to object to while Democrats will likely be pleased that it has fun with both men without ridiculing them other than a few jokes about Biden and Obama aging in office.

The best way of judging whether this will work for you is just to start reading an excerpt. The opening two chapters are very short, set up the mystery and basically sum up the book’s approach to each man.

As important as the comedic elements are to this novel, I think it is easier to assess this book as a piece of mystery fiction.

Shaffer’s novel touches on several different sub-genres of mystery fiction resembling at times the modern cozy with its focus on interpersonal relationships, the adventure novel and even the gentle thriller. It blends these elements to tell an incident-driven story in which Joe is interviewing people and reacting to the things he is observing and the actions of others. There are even a couple of pretty solid action sequences.

It is not, however, a work of fair-play detective fiction. For one thing, there is not much of a focus on identifying suspects, working out alibis or assessing motives. For another, some important information is withheld from the reader until very late in the novel. Neither of these things affected my enjoyment of the novel as the action drives the story very effectively but those hoping for deduction may be a little disappointed.

The case does touch on some themes that do feel very much of the moment including rising levels of opiates use in America amongst groups that would not have traditionally been labelled as at-risk and the expense of medical care and the devastation unexpected bills can have on personal finances. These issues are not addressed from a party political standpoint (after all, the opiates epidemic was discussed by politicians of both parties in the 2016 campaign, particularly in the New Hampshire primary) but rather they serve as background in understanding the events that take place.

I felt that the solution to what had happened was fine and I did enjoy the action sequence that followed the reveal of the killer’s identity. The moment of revelation itself however felt anticlimactic and a little drab given how colorful the story had been up until that point.

What did work for me was the rendering of Joe as a sleuth, using his knowledge of his home state and contacts he had built up over decades working as a Senator to follow-up on leads. He approaches the case with heart, occasionally bordering on schmaltz, and also with a genuine interest in connecting with people. He does not possess many technical abilities beyond a few things he has noticed in episodes of Law and Order but the case does not require much of him other than that knowledge of people. This is a similar model to that found in Peter Lovesey’s Bertie Prince of Wales stories (although Joe is far more self-aware than Bertie) and I think it works well.

His angst about whether Barack still has time for him is perhaps stretched out a little too much throughout the novel but that relationship is interesting, as is the thematic discussion of when it is time to take a step back. That discussion reminded me a little of a book I recently read and reviewed, Murder for Lunch, as Reuben Frost also feels a little lost now that his professional career is over and he is looking for a sense of purpose. I do feel that this is one of the most successful aspects of the novel and it helps make it easy to relate to a former Vice President.

While I may not have laughed quite as much as I hoped, I did find Hope Never Dies to be a fun and entertaining read. It works as a pastiche of the buddy cop relationship and while it does feel a little odd to read fictionalized renderings of living figures, I think Shaffer captures their public personas fairly well. I am not entirely sure that it could work as a long-term series unless further elements were added to the mix but should a sequel appear I would probably check it out.

The Colour of Murder by Julian Symons

ColourofMurderJulian Symons is a writer whose name was known to me more in connection with his literary criticism than in terms of his own creative writing. This is in spite of this novel’s reputation with it not only winning the highest award from the Crime Writers’ Association in 1957 but also being included on their Top 100 list in 1990. Happily the book’s imminent rerelease gave me an opportunity to acquaint myself with his work.

The Colour of Murder opens with a story being related by John Wilkins to a psychiatrist. The circumstances of this are not immediately apparent but as the reader progresses in the narrative it will become clearer where the story appears to be headed.

John Wilkins works in the Complaints department of a Department Store where he has proved himself competent but has yet to achieve the recognition he wishes for. His relationship with his wife is cold and stale with neither of them really getting what they want from it. His life is turned upside down however when he meets a young woman who works in the library and flirts with her, impulsively deciding to tell her that he is single.

As he recounts what happened and his reasons for ending up in a seaside hotel the reader will have a strong sense that this is not a simple psychiatric consultation but an evaluation. By the end of the first part of the novel Wilkins will find himself accused of murder in circumstances that make him look guilty although this first section stops short of telling us exactly what occurred.

There are a few reasons for this abrupt cut in the story but one of them is that the second part of the story shifts style to become more of a legal drama. Wilkins’ mother and uncle consult a solicitor and hire a detective agency to investigate what happened to attempt to find evidence of his innocence. We as readers cannot be entirely sure whether he is innocent or not and so we are forced to make our own judgments based on our interpretations of what he has told his psychiatrist and the evidence given during the trial.

The transition between the two styles of narrative works very effectively and prompts the reader to make their own psychological evaluation. While this book certainly belongs to the psychological crime tradition rather than the puzzle mystery approach, the reader is capable of making several inferences that should help them get to the truth of what happened. The answer is confirmed to the reader in a short third section at the end of the novel which, while hardly shocking, is very competently delivered.

The chief strength of the novel lies in its very effective characterization. Kate in her excellent review suggests that this novel is a descendent of Malice Aforethought and I think this is most clearly seen in the characterization of John Wilkins. Both he and Dr. Bickleigh are moderately successful but appear to be stagnating professionally, sexually frustrated (though Wilkins is much less forward with women) and see their spouse as an obstacle to a new relationship. In each case they are dominated and arguably emasculated by their wives and indulge in an element of fantasy in their idle moments.

There are however some important differences and distinctions between the two characters that make it clear that this is something new. Where Bickleigh is cold and plans a murder in advance (and in a very cruel way), Wilkins is notable for his questionable mental stability. We may well wonder, much as his barrister does, whether he may have a cause to plea insanity and certainly the crime that is committed does not seem to have been premeditated.

As I read I couldn’t help but think that Wilkins is a man who grew up at precisely the wrong time for someone of his temperament. He belongs to the younger generation and yet his values are distinctly those of the pre-war generation. He is discontent with fifties domesticity and yet even if he were cut free of those obligations it is hard to imagine him successfully engaging with the type of woman he desires. He is too awkward and insular to ever be comfortable socially.

Wilkins’ wife is an intriguing character in that while she is shown to be domineering and unaffectionate, Symons takes the time to give us the information we need to understand her better, leaving the reader to connect the dots. She is certainly a materialistic figure, valuing a quality of life that she feels envious that others were able to enjoy, and yet there are moments where she does appear to actually want her marriage to be warmer and more affectionate. She quarrels with John’s mother and yet it is clear that she wants to be accepted. She is an interesting, complicated creation and while her psychology is not the focus of the novel, I appreciate that she is treated with more complexity than you might assume from her introduction.

Sheila, the young librarian who becomes the object of John’s affections, makes a similarly straightforward first impression but as she features less directly in the novel I think she does not quite possess the same depth of characterization. I did enjoy the process of figuring out how she felt about him and the glimpses of her life and circle of friends.

The court case itself is one of the highlights of the novel and features some very exciting moments. Symons is able to avoid repeating ideas or phrases and to keep the action moving quickly. We are left to wonder what the outcome of the case will be, particularly following several very dramatic revelations, and I think the ending of the second section and the third have a certain power.

Overall my first taste of Julian Symons’ work was very positive. He is able to make a potentially rather unpleasant lead character compelling and convincing while injecting his story with a surprising amount of wit. I would certainly suggest this to fans of the more psychological approach to crime fiction advanced in novels by Iles and Rendell.

No doubt I will get around to reading The Belting Inheritance, the other Symons novel being republished by the British Library, soon and I can imagine dipping into some of his other works. If you have read any of Symons’ work, do you have any favorites you would recommend?

Review copy provided by the publisher. The British Library Crime Classics edition will be published in Britain and America on February 5, 2019.

The Face on the Cutting Room Floor by Cameron McCabe

CuttingRoomIt is hard to know quite how to categorize The Face on the Cutting-Room Floor because it is a book that actively seeks to subvert not only the reader’s expectations but their understanding of what they have read. It can be read as a somewhat hardboiled detective novel, a legal thriller, a cat and mouse game between detective and criminal or psychological crime novel yet there are ambiguities in the telling and particularly the ending that are designed to make the reader question what they have read.

Commentaries on the novel describe it as a work of ‘postmodern fakery’. Certainly I think it is a startlingly modern work, styled as a found document rather than a novel, and at times I found myself checking to make sure that the publication year was not a typo. There is a frankness about sexual relationships and power relationships that seems quite striking for the period. I came to this book with little idea about it, or its reputation as my copy is not the striking Picador Classic shown above and came without any fanfare. I didn’t even have the good sense to check Kate’s review.

If I had I would likely have struggled to recognize her description of the novel as being very, very boring – at least at first. The opening of the book is certainly written in a somewhat disjointed style with short, staccato sentences that give it a punchy, hard-boiled feel but I thought the initial setup of the story was quite promising.

The book is narrated by Cameron McCabe, also credited as the author of the book though in actuality it was a German refuge, Ernest Borneman. We learn that he is a film editor who is surprised when the producer of the film he is working on comes to him and tells him to completely cut the lesser known of the two leading actresses out of the movie. Given it is a love triangle movie and McCabe judges her performances to have been excellent he cannot understand what is motivating that decision.

The next morning the actress in question is found dead in an office with cuts to her wrists. Answers to whether it was suicide or murder ought to be found in the uniquely rigged camera security system the special effects coordinator had installed in that room as a film camera starts when the door is opened but the film is missing. Soon multiple people have confessed to murdering her and the film, when it does turn up, will raise more questions than answers for Inspector Smith.

I like a lot of the ideas and story beats found in these early chapters and while I found the prose a little hard to follow at times, I appreciated the clever way the book is able to present the reader with multiple, convincing explanations of what happened each based on some logical point and in a few cases on some knowledge of the workings of the film industry. I particularly appreciated the way McCabe breaks down why the producer’s request makes no sense in a passage which struck me as very cleverly reasoned.

The problem is that the book then begins to repeat itself, a pattern that will follow all the way to the book’s conclusion. In the course of the novel we will get ten different accounts of the crime in varying degrees of detail but these are not Rashomon-style alternative perspectives but rather reiterations of the facts of the case followed by explanations designed to suggest a particular character’s guilt. Some of these are helpful but by the time we reach the first of the two most lengthy accounts, the courtroom sequence, I felt it had become tedious with little new information being imparted at all.

Why repeat the same basic facts over and over again? The author’s intentions become clear in the very lengthy epilogue that makes up the final quarter of the novel which is written in the form of a critical analysis of the manuscript from a character within the story. This makes it clear that the author wishes to subvert the reader’s expectations of what a detective story, deconstructing it to demonstrate how facts can have multiple interpretations and a story might have multiple solutions.

While quite original for the time, this approach presents several problems. The first is that because the author is seeking to withhold information about characters’ roles within the story, the reader never really gets a clear sense of who they are. Even McCabe, who narrates the novel, remains something of a mystery to the reader right up to the end.

On another, simpler level I found the epilogue grating because it feels a little smug and self-satisfied. The author creates fictional responses from real critics to the account that makes up the first three-quarters of the book and analyses and responds to these. While some of the ideas discussed are certainly intriguing, it feels indulgent and far too drawn out. There is an interesting development in the final few pages but, by then, the reader may well have abandoned the work.

For all of these complaints however, I do think that the book is frequently innovative and interesting. I particularly enjoyed the intense rivalry that emerges between McCabe and Detective Smith which I think is very cleverly developed throughout the novel and I think has a striking resolution. Similarly, I think the psychological elements of the novel are well handled, even though the characters are fairly uniformly unlikable.

The problem is that for all its inventiveness and clever ideas and observations on the detective genre, the book is just not much fun to read. It is dry, particularly in its final quarter, and while the twist in its final pages is excellent it takes far too long to get there.

Vintage Mysteries Challenge: Death by Poison (How)

The Case of the Sulky Girl by Erle Stanley Gardner

SulkyGirlI enjoyed my first taste of Perry Mason with The Case of the Velvet Claws and I was intrigued that the end of that book leads directly into this second volume. At the end of that novel we are told that a ‘sulky girl’ is waiting to meet with Perry and this picks up moments later.

The girl is Frances Celene, a wealthy heiress who has come to consult Perry about the terms of her father’s will. The terms of the will are quite unusual and feature a number of provisions. The most important one as far as we are concerned is that her father specifies that if she marries before she turns twenty-five she will receive a small lump sum and the remainder of her trust fund will be turned over to charitable causes. She is hoping that Perry might be able to challenge the terms of that will to enable her to marry early and still keep the money.

Her father had placed Frances’ Uncle Edward, a stubborn but rigorously honest man, in charge of administering the trust fund he had created for his daughter and had afforded him an unusual degree of discretion. When he looks at the will, Mason notes that in the event of Uncle Edward’s death the entire sum of money goes directly to Frances. Quicker than you can say motive for murder, Edward is found dead in his study and Mason has a client who on the face of it looks pretty guilty.

In the early chapters of the story Gardner’s careful construction of circumstances is quite evident. For instance, the terms of the will are designed specifically to seem to implicate several characters and to create the sense that all of the evidence will be pointing towards Frances’ guilt. This can make those opening chapters feel a little awkward and artificial, yet I appreciated the clever way this evidence is constructed because it helps build the reader’s anticipation as they try to figure out how Mason will puncture the DA’s story.

There is a point in the lead up to the trial where Perry Mason explains that he is staking his case all on one big knockout punch of evidence. The idea is that it is better to allow some of the prosecution’s case against his client to go unchallenged because when he demonstrates that one key aspect of that case is wrong, the drama of that moment will make that revelation seem all the more devastating. Gardner has a very similar experience in mind for the reader and I think it largely works.

The solution is not mind-bendingly clever or audacious, nor is it necessarily one that the reader can prove in advance but they ought to be able to conceive what Perry intends to do before he pulls it off. The reader should also be able though to identify the actual guilty party and provide a reason based on the evidence they are given earlier in the novel.

I felt it was a satisfying, interesting case and while I appreciated that the previous novel never had Perry Mason set foot in a courtroom, I did enjoy the court scenes here which play out with much more pace and energy than I am used to in legal thrillers. His thinking is clear and pretty easy for the reader to follow and I appreciated the rivalry that is built up here between him and the Assistant DA.

The characters are fine and I can say that I found Frances Celene far less tiresome than I did the exasperating “Eva Griffin” in the previous novel. The personalities are not as strong as some of those that featured in Velvet Claws but they suited the story well. Having enjoyed her in the first novel, I was a little disappointed that Della Street makes only a very fleeting appearance and has little to contribute beyond placing calls. I did like the moment where she reveals just how much faith she has in his abilities though. Similarly Paul Drake does not get much to do here.

While I think Perry Mason’s second case is a little less flashy than his first, I did find this to be a more entertaining and well-balanced read. The courtroom scenes are strong and though the resolution may not shock, the process getting there is interesting and clever. The ending of this novel sets up The Case of the Lucky Legs and as I seem to be getting the rhythm of these, I am sure I will be revisiting the courtroom with Perry Mason at some point soon.