As we approach the end of this year it is a pleasure to once again be asked to put forward a few nominations for what I consider to be my reprints of the year. Happily the first of my picks was particularly easy this year as among the titles this year was a book that I reviewed several years ago and have been eager to see others be able to get their hands on: Freeman Wills Crofts’ The End of Andrew Harrison.
There’s a lot I really love about this story but I think my interest in it started with learning it was one of just a couple of attempts from Crofts at writing an impossible crime. What particularly interests me about Crofts’ approach is that rather than trying to sustain an impossibility across an entire novel it is instead set up and broken down all in the course of about forty pages.
The problem here is a sealed and bolted cabin on board a boat. The only other entrance to the cabin is a porthole, helpfully pictured on the front of this reprint edition. When the body of Andrew Harrison, a prominent and wealthy man who had only just reappeared after inexplicably vanishing for a few days, is discovered inside that cabin it appears completely impossible that anyone could have gained entry.
Crofts’ series detective, Inspector French, is tasked with working out exactly what had happened and he does so in his typical, methodical fashion. It is this, rather than the situation itself, that makes this part of the book so compelling. Rather than dealing with an impossibility on a more conceptual level, French will break it apart through attention to detail and repeated, rigorous testing of his ideas.
It proves fascinating to read and is, for me, one of the highest points of Crofts’ writing. Those forty pages tell you everything you need to know about the character, the way he thinks and approaches solving a crime. I couldn’t work this one out myself, making the moment where he pieces it together all the more satisfying.
As excellent as that chapter is, it is just one piece – albeit a highlight – of a wider case. The question of whodunit is every bit as important as that of how the matter was done. It is a pleasure following French’s investigation as he pieces together the story of Harrison’s sudden disappearance and the timeline of the murder itself. The pacing of the case is superb with Crofts regularly introducing new discoveries that keep the reader from getting too far ahead of the meticulous detective. It is, in short, one of the most tightly plotted of all of the Crofts stories I have read.
I nominate The End of Andrew Harrison in part because of its quality as a book but also because I want to emphasize how much I have appreciated this run of reprints. While some Crofts titles have been easy to come across as cheap vintage reprints, others proved much trickier. This was one of those, in part perhaps because of that status as one of his few impossible crimes. From memory I paid somewhere around the $50 price for a battered copy of this and when I read it, I was frustrated that the higher price tag and lack of easy availability would keep others from picking it up themselves.
I am delighted therefore to see this return to print and finally be available for others to read and enjoy. I hope that even if you don’t vote for this (which, to be clear, you should), that you give this one a try. If you do, let me know what you make of it. I’m eager to read what others think of it!
Originally published in 1957 Inspector French #31 Preceded by Many a Slip
A foolproof method for earning a fortune in a short space of time is discovered by some enterprising young men. They haven’t bargained on finding themselves involved in blackmail and then murder. It is up to Inspector French to unravel the threads with his usual flair.
Peter Edgeley has found the return to civilian life after the war challenging. Though he is clearly intelligent and capable, he struggles to take direction and yearns for a break from the drudgery of routine. After being dismissed for insubordination, Edgeley runs into an old friend from before the war who has experienced some similar challenges. That friend however thinks he has the solution and invites Edgeley to join him in his new, but illegal, venture.
Dick Loxton has recently inherited a rather snazzy yacht – it’s gorgeous but devilishly expensive to run. He could sell it and live off the proceeds for a while but he would rather find a way to make it pay and experience a bit of the adventurous life he has also been craving. With the help of a financial backer, he plans to run a small cruising company, taking groups of four or five to Switzerland and back. The real money however won’t be in the human passengers but some cargo he plans to hide on board and smuggle back to England, avoiding customs duty.
The early chapters of the book follow Peter and Dick as they scheme together, meet Dick’s backer, and put their plans into action. Crofts was always superb at carefully laying out the genesis and construction of a scheme and this novel is no exception. While his writing style is rather leisurely, the author’s delight at explaining the technical details of the execution of that plan is quite evident and at times rather infectious. We certainly understand why these two young men are prepared to throw the dice, not so much out of financial desperation but a desire to recapture something they’ve lost.
This matter of how the war changed the men who returned is a common theme in mystery fiction of this period but particularly in the inverted mystery field. Quite often the books that explore this topic can be quite grim reads but interestingly these are not men haunted by what they have done or empowered to commit violence but rather thrillseekers keen to experience excitement and danger once again. Crofts manages to make the pair quite appealing, casting them as rogues rather than villains and allowing us to retain some degree of sympathy with them throughout the whole book.
The other strength of this first part of the book is the credibility of the scheme. Crofts is meticulous about explaining why the scheme might work, outlines some issues that the plotters will need to address, and then sets about providing solutions to them. It’s a very solid, cleverly composed scheme that stands a decent chance of success so long as they don’t have any bad luck. Which, of course, they inevitably do.
After allowing us to follow the planning and execution of the scheme, along with its successful first voyage (incidentally, one of Crofts’ better efforts at travelogue writing), we then see how things begin to come unstuck. The explanation for those circumstances is similarly credible and Crofts does a good job of stringing out that moment, presenting the moment of discovery from the point of view of that witness. From that point onwards the story assumes a more familiar trajectory, setting up a familiar inverted mystery structure.
I have previously described Crofts as something of a master of that form and so it’s quite pleasing to see that in this, his final work published only a few weeks before his death, he returned to that form once more. Structurally and thematically this work is most like Mystery on Southampton Water, though there are still a few moments where he tries something new – most memorably the event that takes place at the end of the first section of the novel and the incorporation of a whodunnit element later in the book.
Unfortunately while I am predisposed to enjoy Crofts’ inverted novels, I feel this is one that falls down on the detection elements with the investigation feeling rushed and unsatisfactory to this reader. Part of that is the awkward conceit that French is trying discretely to assist his protege, Inspector Rollo, to ensure that he lives up to the task having assigned it to him over more experienced peers. This occasionally limits his actions but not in an interesting way while Rollo is so lightly characterized that he makes French look like quite a vibrant personality in contrast.
The bigger problem though is that French just gets really lucky. There are a number of points at the story where French, forced to interpret an aspect of the crime, instinctively guesses at the correct idea or explanation without ever really considering or testing the matter. This feels really lazy and sloppy but more importantly it reduces the opportunity for French to carefully piece together details – usually the strength of Crofts’ writing.
Things get so rushed towards the end that characters we have spent time with in the first half of the novel suddenly get forgotten, their actions and fates referenced but overlooked in favor of other figures from the case. After investing so heavily in them before, this feels disappointing and once again reduces the satisfaction of the ending a little.
That being said, the few clues Crofts provides French are solid and do a nice job of setting up reasons for him to doubt the story he is being fed. One feature I did appreciate was the need to find some way of corroborating what he knows to be true in order to be able to make his final arrest – while the journey to that ending may be a bit rough, I did believe that the case French builds against the story’s villain will stick. That, to this reader, meant that the story ends on a relative high note.
Anything to Declare? would be the final Crofts novel and I felt a little sad when I finally closed this one as, to the best of my knowledge, I have no more inverted stories by him left to read. I still consider him to be one of the strongest of the Golden Age exponents of that style and I love that each of the novels ends up trying to do something different than those that preceded it – even this one which is admittedly the least ambitious of the five novels (ROT-13: Gur ernqre jvyy or fhecevfrq ng gur erprvivat bs n frpbaq oynpxznvy abgr nsgre gur zheqre bs gur svefg oynpxznvyre, creuncf yrnivat gurz gb jbaqre whfg ubj fbzrbar ryfr znl unir yrnearq bs gurve cynaf).
The good news is that while I may have exhausted the well of Crofts inverted mysteries, I have plenty of more conventional detective stories left to read. No doubt I will do so soon as I seem to recall that he was a member of a certain society of mystery writers which readers of this blog have been seeing me write about a lot recently…
The Verdict: While French’s investigation is rushed and, I would argue, a little unsatisfying, it it by no means disastrous. Anything to Declare? is far from a late stain on its author’s career and I can imagine revisiting it in years to come.
Crofts, like Rhodes, understood industry better than most detective novelists, and his descriptions of how businessmen (and they almost always were men) operate is as convincing as any of the period.
Several years ago in anticipation of the first anniversary of starting doing this blog I began to compile some data about the books I had read and reviewed. I was quite surprised to learn that my most read author was not, as I expected, Agatha Christie or John Dickson Carr but an author that had been completely unknown to me when I began blogging – Freeman Wills Crofts.
The reason for the surprise was not just a matter of his profile but that my first few experiences of his writing were not overwhelming successes. My first few reviews, Antidote to Venom and The 12:30 From Croydon, praise aspects of the plotting but were less than complimentary about his series detective, Inspector French. In fact one of the reasons I recommended the latter was because it hardly featured him at all!
What I soon came to appreciate though was Crofts’ ingenuity and that he was one of a handful of writers who were laying the foundations for what would become the modern day police procedural. His plots are often inventive and feature enormous attention to detail both in the planning and detection. I rarely, if ever, come away from a Crofts novel with issues with the mechanics of the crime!
Arguably his flaws as a writer lie in his characters who can feel rather flat and functional, none more so than Inspector French. While other series detectives often suggest a life beyond their job, Inspector French seems to just love details and we rarely get a sense of his recreational time beyond an occasional mention of slippers, newspapers and his love of things mechanical (in the book I will be discussing below he says he has a small metalworking space which feels downright intimate by the author’s usual standards).
Perhaps it is a case of the character reflecting his creator. It was hard to find a good quote about Crofts in Martin Edwards’ The Golden Age of Murder, not because he isn’t mentioned but because he doesn’t seem to have prompted the sorts of strong feelings that a Gorell or Berkeley could do. Instead he comes off as decent, conscientious and hardworking with an appreciation for structure, mechanics and order – all of which is reflected in the works themselves.
While enormously popular in the twenties, Crofts fell out of the public eye in the decades that followed and was saddled with the label of being a ‘humdrum’ writer. I understand the complaint but I cannot agree with it because that term suggests staleness and repetition that I simply don’t see in the author’s work.
What excites me about Crofts and keeps me coming back to him again and again is that he doesn’t just adhere to a formula. Instead his style constantly evolves as he experiments and plays with new ideas. Take for example his handful of inverted mysteries, each of which is written in a completely different style and have distinctly different structures. Similarly you can find examples of traditional detective stories, thrillers, locked room mysteries and even a detective story for children.
Humdrum? Not he.
The Crime at Guildford by Freeman Wills Crofts
Originally published in 1935 Inspector French #13 Preceded by Mystery on Southampton Water Followed by The Loss of the Jane Vosper Also known as The Crime at Nornes
A weekend board meeting brings a jewellery firm’s accountant to the managing director’s impressive Guildford home. On the Sunday morning, he is found dead and is soon the subject of a murder inquiry by the local police. Meanwhile, Chief Inspector French is investigating the sensational burglary of half a million pounds’ worth of jewels from the safe of an office in London’s Kingsway. French must determine the connection between the theft and the murder as he embarks on a perilous chase to track down the criminals.
The Crime at Guildford turned out to be a great choice for this project as I think it perfectly illustrates almost every aspect of the author’s writing, both positive and negative. This starts with the choice of setting.
Like many of Crofts’ works, the case is involved with the world of business. In this case, a jewelry firm that has found itself in a precarious financial situation. The book begins with a private meeting between several of the most significant shareholders to coordinate an approach to take on the company’s financial troubles at the next meeting. There are several possibilities suggested. These include declaring bankruptcy and restructuring and issuing new shares but there is also an option to sell a large number of precious stones that the company has acquired over the years. Unable to reach an agreement, the group agree to spend a weekend together at one of their homes and they decide to invite along the company’s accountant to give them more information.
The weekend goes ahead but when the accountant is found dead in a guest bedroom in suspicious circumstances the local police are called in. Meanwhile Inspector French is called to the company when the safe is opened the next day and all the jewels of value are found to be missing. Believing the two cases to be linked, French tries to work out the nature of that connection…
Crofts is convincing in describing the practical workings of a business and does a good job of outlining the situation the company faces. While the shareholders themselves may seem a little stiff and formal, particularly in those early discussions, the concerns they voice are all easy to understand and we quickly gain a good understanding of the broader situation faced by the company and why the murder and the theft of the jewels could spell ruin.
There is also a lot of well-observed detail in the descriptions of the mechanism and business practices related to the company’s safe. The way that information is shared with the reader can sometimes feel a little dry but it is necessary to understand the nature of the problem that Inspector French will have to solve: how could a thief gain access to the safe when it required the use of two keys, both of which must have been with their respective holders attending the gathering. It also helps us to eliminate some possible explanations and focus our attention, perhaps a little artificially, on our smaller group of suspects.
French’s investigation is both slow and careful, as is his handling of those suspects. He isn’t prone to making wild accusations or impulsive decisions – instead he follows the evidence carefully, develops theories, tests them and refines them. It’s not necessarily the most explosive way to tell a story but interest is built by having the case slowly take shape and when movement toward the explanation is finally achieved, it feels truly earned.
The reason it feels earned is that the situation, while initially appearing quite simple, is anything but. Ideas that may make sense of one crime are usually incompatible with the other. The challenge of reconciling these two problems and building a model that will satisfy them both is a huge one and while the reader should prepare for a lot of false starts, the journey as a whole will be a satisfying one.
Those explanations are strikingly clever. Take for instance the question of how the safe was breached. The solution to that problem is highly creative and it certainly would work. I would actually go so far as to suggest that this is a rare instance of a technical solution that still feels as clever today as it must have done when it was written over eighty-five years ago.
Other aspects of the solution similarly impress but what really appeals to me is how logical it all is and how neatly everything seems to fit together. When the final piece to the puzzle is presented and things finally make sense, I felt both a huge sense of satisfaction at the tidiness of that solution and delight that it was predicated on a simple but clever idea that just hadn’t occured to me but is, in retrospect, obvious. That, for me, is the ideal in terms of plotting.
The Verdict: The Crime at Guildford is not the flashiest of reads (perhaps reflected in its rather bland title) but it is ultimately a very satisfying one and very illustrative of Crofts’ style as a writer.
Reprints are really important and I have a story that I think illustrates my point well.
Two years ago I read Freeman Wills Crofts’ The End of Andrew Harrison which I found to be thoroughly enjoyable. It is one of two impossible crime novels he wrote and, having enjoyed it so much, I was keen to track down a copy of the other – Sudden Death.
I began by trying to get hold of a copy through interlibrary loan but no institution would lend their copy. That left buying a copy but unfortunately where I live there is no possibility of stumbling onto a copy in the wild. Atlanta may be a big city but my efforts to scour second-hand and antiquarian bookstores rarely produce any mysteries from the silver age, let alone the golden age of crime. Reluctantly I realized I would need to try and source a copy online.
Immediately I realized that I was priced out of the market. The cheapest copies at that time seemed to be priced in the region of $400 to $500 which was simply out of reach for me. For a while I just hung in, checking various sites every few days and hoping that one would just turn up. With no sign of any Crofts reprints on the horizon and no affordable copies appearing I had given up hope until suddenly a copy turned up on Amazon marketplace for just $200. Now, that’s a lot of money but having watched these sites for eighteen months I knew that was less than half the previous best price I had seen. Keen to avoid getting beaten to it, I purchased the copy.
For the first few days after it arrived I was thrilled but then came the news I really should have anticipated. The Collins Crime Club would be reprinting six Croft titles for less than a tenth of what I had paid.
I should have been upset. Okay, I kind of was though more at myself for not considering the possiblity that someone had cashed in to sell before the news broke, but I was also happy because it meant that when I did get to read it I was more likely going to be able to discuss it with other people that have read the book or might feasibly go on to read it. That is after all why I do this whole book blogging thing.
At this point I should probably clarify that I am not nominating Sudden Death. That doesn’t reflect on its quality as a book – rather I find myself incredibly anxious any time I touch it that it’s going to fall apart or get stained or destroyed. Inevitably I have had to get myself a second “reading copy” and it arrived too late for me to consider for this nomination. Instead I decided to nominate another of the reprints that I actually have read: Mystery on Southampton Water (reprinted as Inspector French and the Mystery on Southampton Water).
Mystery on Southampton Water is not my favorite of Crofts’ inverted mystery stories but I think it is one of his most interesting. A big part of the reason for that is the unusual structure he adopts which seeks to blend the inverted mystery and traditional detective story formats.
The book introduces us to a pair of men whose business is in trouble. A rival has invented a process that allows them to undercut their competitors, cornering the market. Desperate the men hatch a plot to engage in a little corporate espionage and steal some trade secrets.
The first section of the book covers the background to this scheme and the pair working out the details of what they need to do. This also helps us get to know our two criminals and get a sense of their personalities and behaviors prior to the scheme backfiring badly causing a death.
The next section we follow Inspector French as he arrives on the scene and tries to piece together a picture of what took place. French is, as always, a diligent detective and while this particular investigation certainly can be quite detail-driven, I found it pretty engaging. The book’s third section is much quicker paced, focusing on the actions of our criminals as they are placed under stronger pressure while the last one returns to French and sees him taking on a different but possibly related case.
One of the reasons this book works and is able to channel a little ambiguity is that Crofts omits to describe the details of exactly how the young men’s plans end up going so disastrously wrong. This is the mechanism that allows the book to shift into a more traditional whodunit structure towards the end, marrying these two styles together quite effectively, and it allows the reader to have the psychological focus of the inverted style while still enjoying the traditional puzzle mystery form.
Similarly I appreciate how much sense the plot makes. It is one of his most credible crime stories, based on an understanding of human nature and the idea that sometimes things just don’t go to a well-laid plan. It’s a good idea, executed well and I think it speaks to Crofts’ willingness to experiment as a writer. As I have remarked often, Crofts’ inverted stories each feel quite distinct in style meaning there is never a sense that the writer is repeating himself.
Even if this particular Crofts title is not for you however, I would suggest that a vote for it is really a vote for any (or all) of the six titles reissued this year. Several of those six books have been relatively rare in recent years and so in republishing them, the Collins Crime Club has not only done a wonderful job of honoring the legacy of one of the Golden Age’s most important crime writers, it has also performed a service for fans of vintage crime fiction. Thanks to their efforts, there are now six more titles that have been made accessible to readers once again. And that, I feel, is something worthy of celebration.
For more information on this year’s Reprint of the Year awards check out Kate’s blog, CrossExaminingCrime. The post announcing the award and seeking nominations can be found here.
Originally Published in 1946 Inspector French #26 Preceded by Enemy Unseen Followed by Silence for the Murderer
There are only enough radar valves for the Home Forces or for North Africa, not for both. The only means of distribution is a special train and the only person who can prevent information being revealed to the enemy is Inspector French.
Published in 1946, Death of a Train is set at the height of the Second World War and sees Inspector French taking on a case which has profound implications for the whole British war effort.
Crofts begins by detailing discussions in the War Cabinet in which the Prime Minister, the Right Honourable Severus L. Heppenstall, is asked to decide on how to allocate Britain’s dwindling stocks of radio valves. There are nowhere near enough to serve the needs of the British army both at home and on the African front so the decision is made to try to sneak them out of the country by train to Plymouth then by boat.
The early chapters follow the preparations as they are made and we learn exactly what measures are being taken to disguise the shipment. The point that the reader will take on board is that only a couple of figures had knowledge of the shipment and its movements so when an attack occurs on the line it creates a panic that there must be someone leaking from high office.
These early chapters feature a lot of technical discussion of the train and the logistics of assembling and loading it. This clearly was of enormous interest to the writer who takes pains to try and explain these elements to the layman who may be reading the book to allow them to follow what is happening. These efforts are, in my opinion, only partly successful. Certainly I think the reader can follow the action without any specialist knowledge but progress can feel a little slow and, quite frankly, I felt a little bored.
That feeling changed however for me when we get to that moment where the train is attacked. Crofts gives us a dramatic and quite visceral description of what happens to the train that brings that moment to life and communicates a sense of the enormous power and force of the train. I rarely think of action-writing as one of the author’s strengths so this was a nice surprise and, after chapters of slow build-up, it does move us into the more interesting territory of an investigation.
After a brief inquest, Inspector French is dispatched to investigate what is going on. However, because of the sensitivity of the investigation, he cannot be seen to be directly involved in the case as to directly investigate would tip off those responsible that they were suspected. The solution is that a second case will be investigated at the same time, albeit one that is wholly fictitious, that will justify him asking questions in the area.
Crofts’ depiction of wartime Britain is excellent in many respects. He certainly captures the challenges of maintaining secrecy, even between government departments and cabinet colleagues, and I think he does a very good job of conveying the gravity of the situation, even if he is a little hazy at points about exactly why the radio valves are so important.
Other aspects of the period play an important part in the story at points such as civilians’ sense of duty and volunteerism, the attitudes of the soldiers working to load and unload goods as well as the blackout which both limits French’s choices and opens up possibilities for him at different points in the story. In general, I think Crofts makes good use of his wartime setting.
While the initial terms of French’s inquiry suggest that we are in whodunnit territory, it soon becomes clear that this is going to be a thriller rather than a fair play mystery. In fact it would be hard to think of any aspect of the plot that the reader has any chance of working out prior to French. This struck me as quite reminiscent of some of the earliest French stories like The Box Office Murders and I must say it is not my favorite style for Crofts to be working in. That being said, he does incorporate some interesting espionage elements and ideas that I do think were worth exploring.
One of the ideas that Crofts uses most successfully is the need to hide that the detectives are on the trail at all. Throughout the book there is a sense that someone might be watching and so he can never let on to how the investigation is progressing except to those in the highest authority. This, of course, is also the reason that a decision is made to commission a false crime to give separate grounds for French to come to the area and investigate.
This, for me, was the book’s most compelling idea but it is one that I think is not fully exploited. The sequence in which we see the elements of the phantom investigation being set up are quite fascinating and creative but once French is on the scene he doesn’t really acknowledge his reason for being there and he is never really forced to find a way to creatively maneuver ask questions about his real purpose as the setup seemed to hint he would.
This book also explores the idea of French as the wartime hero and his willingness to push the boundaries of what he is allowed to do in order to achieve his goals. Many of the earliest French novels show the detective purposefully misleading interviewees or engaging in covert actions using his skeleton keys and that side of his character is certainly on display here. What is different is the extent he is willing to take things to.
There are several instances in this story where French makes decisions for what he deems to be the greater good of the country and some of those risk significant harm to innocents and, in one memorable instance, to himself. This results-driven French is always interesting to read and Crofts handles him quite well, making it clear that he is compromising his own moral comfort for the war effort. In one instance what he is willing to allow to happen to preserve the secrecy of his investigation is quite shocking and certainly pushes this idea far further than I have ever seen in a French story before.
This brings us to the ending and here, frankly, we have a bit of a mixed bag. Crofts’ depiction of his villain is rather bland, offering them little depth or definition and never allowing us to really get to know them. Still, the final few pages are actually quite thrilling and return to the book’s most successful themes, rounding things off quite well.
It makes for a solid end to a mid-level Crofts adventure that features plenty of wartime adventure and espionage but at the expense of any sort of a puzzle element. The heavily detailed early chapters may delight train enthusiasts but I found them hard going. Still, the wartime setting is interesting and the espionage elements are used well.
The Verdict: A solid wartime adventure story but as a puzzle mystery it disappoints.
Vintage Mysteries Challenge: Set during WWI or WWII – wartime setting is obvious (When)
Originally Published 1940 Inspector French #20 Preceded by Fatal Venture Followed by James Tarrant, Adventurer
The new Sir Geoffrey Buller is earning his living in Chicago when he unexpectedly inherits his title, an English baronetcy, and Forde Manor in Surrey, complete with its vast collection of priceless works of art. His widowed housekeeper, who knows a thing or two, is surprised to discover that Sir Geoffrey is having his pictures cleaned. But then disaster strikes! A devastating fire, a missing artist and a lot of insurance money – from a mosaic of detail, Inspector French must reconstruct the pattern of a most cunning and complex crime…
I have generally had good luck with Freeman Wills Crofts’ mysteries. While I have sometimes grumbled about Inspector French being a little dull as a character, I have never found the plotting to be dull. You can hear the “until now” coming, can’t you?
Golden Ashes begins by introducing us to Betty Stanton, a woman who has had the misfortune to face financial calamity twice as the result of the profligate men in her life. The first time was when her father died leaving little but debts. She found temporary happiness when she was married but discovered that history had repeated itself when her husband died. After much searching a friend puts her on to a position as a housekeeper at Forde Manor.
The homeowner is Sir Geoffrey Buller who unexpectedly inherited his title when several people ahead of him died. He has recently arrived in England after living in Chicago and hopes to integrate himself in English high society. He is quickly disappointed, having little taste for the home, and within six months he is looking to sell the estate and move to the continent. The house is emptied except for its galleries of valuable paintings which Sir Geoffrey had recently had cleaned on advice from an artist friend.
While Betty is disappointed, she is pleased when he arranges for her to stay on the grounds to show around potential buyers. One evening she discovers that the building is on fire and tries to rescue the paintings though only a fraction of the collection is saved. Before long an insurance company representative is on the scene to investigate and then Inspector French arrives to ask Betty some questions about the disappearance of an art director friend of hers that had looked at the restoration work only a short time before the fire. Recognizing their common interests, French and the insurance rep pool their efforts to try and make sense of what happened at Forde Manor.
It is possible that a solution to what has happened may have already occurred to you. It certainly did to me. This is not the first time I have immediately guessed at a solution but it is unusual to find so little effort on the part of the author to make me at least doubt myself or consider an alternative. While a few details are introduced after the investigation begins, most just help flesh out the mechanics of how the crime was committed and all stand out pretty much instantly as important on being introduced. You just are left waiting for French to figure out the question to which that element will be the solution.
While this may sound as if it at least promises some technical, thoughtful investigation on French’s part the reader will likely feel underwhelmed on that point too. There is little of the technical detail, careful testing of hypotheses or considered speculation that I have found in most other French stories. Here he just makes several journeys to France and back to check on details and conduct interviews. It makes for decidedly dull reading and feels quite rushed.
This is all the more unfortunate because there are some aspects of the story I thought showed some promise and that may well have held my interest if they had been introduced differently. The art angle, for instance, is at least quite clever even if the reader’s attention is drawn to it far too early in the text.
While French’s methods were not particularly interesting, the sleuth himself was in fairly good form. One of the brightest spots in the book is the warm relationship he forms with the insurance investigator who he previously knew, though I had wished that their investigations had placed them into some sort of conflict with one another either personally or in terms of their aims. The most we get is a little complaining that French could achieve more if he was willing to bend the rules a little.
The biggest problem with the book for me is that it feels too neat and tidy. The best French stories seem to feature the detective working chaos into order but from the beginning the interpretations feel fairly clear – it is just a matter of working through them to be able to prove the conclusion. That may be an accurate representation of police procedure but it is far from gripping reading.
Throw in that Crofts spoils a major aspect of his earlier (and far superior) The 12:30 From Croydon for no good reason and you have what strikes me as easily the most disappointing reading experiences I have had from this author. It is not that it is badly written – but rather that it is really dull. He was capable of much, much better than this.
Vintage Mysteries Challenge: Professional is main sleuth (Who)
A chance invitation from friends saves Ruth Averill’s life on the night her uncle’s old house in Starvel Hollow is consumed by fire, killing him and incinerating the fortune he kept in cash. Dismissed at the inquest as a tragic accident, the case is closed – until Scotland Yard is alerted to the circulation of bank-notes supposedly destroyed in the inferno. Inspector Joseph French suspects that dark deeds were done in the Hollow that night and begins to uncover a brutal crime involving arson, murder and body snatching . . .
These past few months I have concentrated on trying to acquaint myself with new authors. In many ways this has been a positive as I have found several new authors to enjoy but I did feel that I had an Inspector French-shaped hole in my reading life. Clearly this couldn’t go on so when I acquired a copy of The Starvel Hollow Tragedy it went straight to the top of my TBR pile.
Ruth Averill lives at Starvel with her invalid uncle. While she appreciates that he provided her with a home after the death of her parents, she finds the atmosphere stifling so when she is told that she has been invited to spend some time in York and that her uncle has provided some spending money she is grateful to get away. She even plans to use this short period of freedom to investigate finding a job so that she can support herself, move out and start living her own life.
Shortly after she arrives in York she hears that her Uncle has been involved in some sort of accident. Returning back to Starvel she finds that the building has burned to the ground and that the charred remains of three people were found inside. While she is told that she is the heir to her Uncle’s estate, the discovery is soon made that almost all his wealth was kept in cash inside a safe within the house and after opening it they discover that the money is burned and all that remains is a small sum in gold sovereigns.
Though the deaths at Starvel appear at first to be the result of some tragic accident, the local Police notice enough inconsistencies with the evidence to send for outside help. French is dispatched to look into the matter and working in the guise of an insurance investigator, he starts out by examining the question of whether the fire was natural or a case of arson. Before long he has begun to wonder if he might be looking at a case of murder.
As the third of the French novels, this is the earliest one I have read to date which presented a point of interest in itself. As well as looking at this as a mystery, I was curious whether Crofts’ approach would feel similar here to his later works or whether there would be signs of a writer still finding his feet.
In all the important respects, the character of French seems to be already pretty well defined. This is not necessarily a shock as Crofts did remark that he intended the character to be pretty ordinary and straightforward but I think his methodical approach to addressing a crime and following up on leads is present and correct here.
One difference that I did detect here is that French feels driven not so much by the intellectual challenge of the puzzle but out of a desire for promotion. He is looking to prove himself and excel, making him that bit more driven in his efforts to seek out answers. He doesn’t skirt the law quite so dangerously as he does in some other early stories to achieve that end but he is certainly results-driven.
The other major difference that struck me was that French does not work out all of the details of this case for himself. Instead some of the information is provided by another party including explaining a critical connection between several pieces of information that I think neither he nor the reader could have made otherwise.
His method however of thoroughly questioning everyone, checking every detail and comparing information is certainly present however. This can sometimes be a little frustrating such as when we follow French around comparing bank serial numbers as Crofts provides us with far too much detail of each interaction. While I understand that this allows Crofts to sometimes conceal a clue within one of those many interactions, it also makes the investigative phase feel a little slow and repetitive.
The other aspect of the novel that struck me as frustrating was that because French sticks so firmly to his method he never considers some alternative readings of the scene and clues until it is forced upon him. Crofts can often be a little guilty of this in his novels but the reason it particularly frustrates here is that some of the possibilities he fails to consider should have occurred to him while he was first assessing the evidence.
While I may grumble over these aspects of the novel, I think it is important to note that it does a lot of things correctly too. Take for instance the methodical way French picks apart the evidence relating to Ruth’s feelings about her trip to York which is really quite impressively handled or the exploration of Ruth’s psychology which felt pretty convincing and done well.
The Starvel Hollow Tragedy is not a book that contains many shocks or surprise revelations. Certainly I felt that the killer’s motivations and identity were clear from a point early in the book though I still enjoyed learning more about the suspects’ characters and motivations.
In spite of those deficiencies I still found this book to be an engaging and entertaining one and would say that I had a good time with it. Though hardly bad, Crofts could and would do much better than this in many of his other works. Still, for those who are looking for a lighter, entertaining Inspector French story you can certainly do a whole lot worse.
Originally Published 1937 Inspector French #16 Preceded by Man Overboard Followed by Antidote to Venom
The Carrington family, victims of a strange poisoning, take an Olympic cruise from Glasgow to help them recover. At Creuta one member goes ashore and does not return. Their body is next day found floating in the Straits of Gibraltar. Joining the ship at Marseilles, can Inspector French solve the mystery before they reach Athens?
I have been on something of a good run with Freeman Wills Crofts’ work but all good things must come to an end. As much as I had hoped to enjoy Found Floating, I have to say it is the first story of his that I would classify as a flop in spite of it containing a few interesting points.
The novel begins by outlining the tense relationships within the Carrington household and helping us to understand their origins. The head of the household is William Carrington who had been the head of a successful works before unexpectedly retiring on grounds of ill-health.
It might have been expected that William would appoint his nephew Jim to replace him as he had been employed at the firm as his deputy for some years but he surprises everyone by cabling to Australia to summon his eldest brother’s son, Mant. This causes considerable resentment and creates a palpable sense of tension at family gatherings.
The first third of the book details the strange events of William’s birthday party during which an attempted poisoning occurs. The second sees the family deciding to take a lengthy cruise during which a murder takes place with the final hundred pages being devoted to Inspector French’s investigation.
While I said that I regard the book as a whole to be a flop, the first hundred pages are actually pretty promising. The circumstances of the poisoning are intriguing and I think those who appreciate Crofts’ style of methodical, deductive investigations will appreciate the way the circumstances of the crime are pieced together even if we are offered no solutions at this point in the tale.
Things begin to fall apart in the second section of the novel as the family board the cruise ship and embark on their journey around the Mediterranean. I can best describe this part of the novel as being like being invited around to a friend’s house for dinner to be regaled with a lengthy side-show of photos from their most recent holiday (not to mention the enthusiastic explanation of how the ship is powered which takes up a whole chapter).
As much as I usually enjoy Crofts’ writing, I do not regard him as being a particularly sensual writer. He is great with the technical details of a crime but he is not suited to describing the sights and sounds of foreign travel and so instead we get sequences of destinations, details about the dining arrangements and the sleeping arrangements in the cabins. It is all of the tedium of travel without any of the exoticism or fantasy.
All might be forgiven if the circumstances of the murder were interesting. Unfortunately even the sequence in which the body is found feels anticlimactic, happening out of the reader’s view and being reported after the fact. We are then kept waiting while the family and ship’s captain discuss the practicalities of claiming the body, making funeral arrangements and who will travel back to Gibraltar to pay their respects.
This leads us into the final third of the book, French’s investigation. While I found the lead up to the murder frustrating, there were at least some points of interest in the death itself. French has to piece together who had the opportunity to kill the victim and how it could have been done when each of the suspects seem to have solid alibis.
Unfortunately I think this is the most problematic section of the novel.
The first issue I have with it is the needless recap we get of the plot up until this point. Much of the hundred pages is made up of characters telling us things we have already been told while contributing little new to our understanding of what happened. This is frustrating but at least it does make a point of clarifying a few details and closing off some possible solutions.
The bigger problem is that French does not solve the case himself. In fact I would argue he does very little to actually bring about the novel’s conclusion at all, even if the reader may infer that he had the information necessary to work out the killer’s identity.
Instead Crofts gifts us the killer’s identity, their back story including their motivation and a detailed explanation of how it was done. It is an elaborate plot that justifies Martin Edwards’ description of it as ‘quite complicated’ and like him I did not find the passage in which all is revealed to be at all gripping although I was at least surprised by the murderer’s identity.
The problem for me is that while the killer’s explanation tidies everything up very nicely, I do not see how French would possibly have been able to deduce every element of that solution from the information he has. Too much information is gifted to the sleuth and unlike the other French stories I have read, there is little sense of him making logical deductions from the evidence. In short, even if you are a fan of French’s investigations I think you may well be underwhelmed by his efforts in this case.
If you do decide to tackle this in spite of my reservations, one thing that may keep you going is Crofts’ eccentric decision to name the novel’s romantic lead Dr. Runciman Jellicoe, a name which surely must rank amongst the most ridiculous I have ever encountered in a non-comic work. It is not written as though it is intended to be comedic yet it completely undermines any tender moments between the young couple.
Sadly any entertainment it gave me seems to have been purely accidental on the part of the author. Though Crofts has some good ideas, the book feels unbalanced and less than the sum of its parts. He has certainly written much better books than this, many of which are actually in print, so I would only recommend it to Crofts completists.
The End of Andrew Harrison Freeman Wills Crofts Originally Published 1938 Inspector French #18 Preceded by Antidote to Venom Followed by Fatal Venture
Freeman Wills Crofts is perhaps not the first name that will spring to mind if you are asked to list Locked Room mystery novelists and with some good reason. Out of the dozens of novels he wrote, just two are locked room mysteries and neither of these are currently available in print.
It seems strange though that he did not write more widely in the subgenre because based on this and my previous experiences reading his work it seems like a natural fit for his methodical, reasoned approach to detective fiction. Certainly the locked room devised here is of a high quality and I thoroughly enjoyed following how it was solved.
The prominent financier Andrew Harrison disappears after arriving back in England following a business trip to Paris. This prompts speculation in the papers that his company was in financial trouble and he has absconded. After waiting in the hope that he would send a message, the family contact Scotland Yard who task French to the case.
Everyone is surprised when Harrison suddenly sends word a few days later that he is fine and that a message he sent had failed to arrive. A short while later however Harrison throws a small party on his houseboat and when he cannot be roused in the morning he is discovered dead in his locked cabin of an apparent suicide. French is back on the case and suspects foul play!
The locked room element of the story is very cleverly conceived and explained with superb clarity. The murder takes place in Harrison’s cabin which is deadbolted from the inside. Testing demonstrates that there is no way to pull the deadbolt closed from outside the room. The only other physical entrance to the room would be the porthole but this presents its own difficulties as it has been tightly closed. The porthole which only opens inwardly is designed to prevent it being swung shut and has to be pushed securely into place with force as there is no handle on the outside of the glass.
The physical boundaries to this room are clearly established and I will admit that I was thoroughly stumped as to how Crofts would explain this murder. I was curious how Inspector French would handle a locked room mystery but I should not have been surprised that it would be with methodical, careful experimentation and testing of different theories. In just forty pages the detective is able to work through this puzzle with impressive reasoning to reach a very neat explanation that proves both that it was murder and also how the crime was worked.
Once French knows how the crime was done he proceeds to focus his efforts on understanding who could have carried out the crime. Certainly there are plenty of suspects on hand as Harrison, while not monstrous, is a cold, hard man who has fractious relationships with all of his family. On top of those suspects we must also consider business rivals and disgruntled investors.
The question of whodunit is far from an afterthought and I would suggest it is just as cleverly devised as the locked room itself. French believes that there must be some link between Harrison’s strange disappearance and the financier’s subsequent murder yet the timeline makes the nature of that connection are hard to understand.
Here Crofts’ plotting is quite sublime and, much like I found with The Sea Mystery, the case steadily evolves throughout the novel to become something quite different from what seemed likely at the outset. If you are not a fan of the author’s style then this is not likely to convert you to the cause but those who appreciate his incremental, detail-driven approach will find a lot to enjoy here.
Sometimes I have been frustrated by the pacing of a French investigation, feeling that the logical path he follows means that the alert reader may be far ahead of the detective but here I feel Crofts sets his pace perfectly. There are regular discoveries of information as French tests new theories and once Crofts provides the reader with all they need to solve the case he moves quickly to the conclusion. Against expectations based on those previous experiences, this is one of the most tightly plotted Crofts novels I have read to date.
That is not to say that every aspect of this works perfectly. One problem I have with the novel is that a character who is introduced to us as a character we are meant to relate to at the start of the story is essentially dropped at about the halfway point, apparently being forgotten.
In one sense this is understandable as the character has little else to contribute but does serve a role as the outsider who is needed to start things in motion by reporting the disappearance to the Yard. The frustration for me is that the character is one of the more interesting and likable in the book and having been encouraged to care about him, we are left wondering what would have become of him. It did strike me that, if this were a Carr novel, he would almost certainly be ending the novel married off and while I can grumble about that happy-couple finish, it does at least provide some closure.
The other significant complaint would be that French is given rather a large piece of help from a character as we enter the concluding portion of the novel that helps him identify the killer. Some may feel that this in some way suggests that the detective doesn’t really solve the case himself. I would argue that he works out all of the most important features of what happened and he is responsible for figuring out what had happened, even if he needs a little help in identifying the culprit.
Overall I found The End of Andrew Harrison to be a thoroughly engaging read, both as a detective story and also, more specifically, as an example of a locked room. Crofts engineers his problem well, coming up with a striking and credible solution, and working a strong mystery around it. I came away feeling impressed by Crofts’ approach to the subgenre and wishing that he had returned to it more frequently. Sadly he wrote just one other locked room novel, Sudden Death, and given the prices of that one and the lack of library copies available I doubt I will be getting around to it any time soon. Maybe some day, though..
Vintage Mysteries Challenge: On a mode of transportation (Where)
This book was released in the United States as The Futile Alibi.
After working through each of the inverted Inspector French stories, about two months ago I had my first taste of a more traditionally structured Crofts story with The Box Office Murders. While I liked aspects of that story, I had found French to play a frustratingly passive role in that adventure so I was happy to see that here he is right in the thick of things.
A man and his son are out fishing on the water when their lines snag a large object. Eventually they manage to pull it up to the surface and find that it is a crate. When it is opened a body is discovered inside with its face so badly disfigured it is impossible to identify it. Inspector French is sent from the Yard to try to discover the dead man’s identity and uncover what has happened.
I thought the opening was really intriguing and I appreciated Crofts’ point that were it not for the accident of the fishing line this would have been a truly ingenious and likely undetectable murder. I was struck by just how well Crofts manages to reserve information to build that sense of curiosity in the reader about just what is going on or where this story is headed.
The early part of the novel are procedure and mechanics-driven as Inspector French sets about working out the likely point and method by which the crate entered the water based on the timing of the tides. This sort of thing that has the potential to feel quite dry so I was very pleasantly surprised by just how lively this portion of the investigation is. Crofts does a very good job of providing the reader with enough information to understand what is happening without bogging them down in the exact calculations and details.
Once we get past the first phase of the investigation Crofts introduces us to a small cast of characters but it is initially far from clear who is a suspect or why they would have sought to murder the victim. I was pleased that these characters have pretty distinctive personalities and that a limited cast size does not result in a limited whodunit.
The genius of this story is that it does not confront us with a problem in chapter one that the reader will solve at the end of the book but that it is a slow evolution of problems, each emerging from the last. This not only creates a sensation of methodical, logical progress but it also means that it is hard for the reader to predict just where the tale is headed.
Once we have established the mechanics of how the body made its way down river the question turns to trying to establish the identity of the victim and the possible motives for that person’s death. While the investigation is still very methodical and focused on opportunity, I was pleased that importance was placed on trying to establish the killer’s motivation. I also appreciated the way that our understanding of characters’ relationships evolves over the course of the book, making the reader reassess what they may have assumed they knew.
The actual solution to the story is quite clever and while I think the logical, methodical path French follows means that it is unlikely the solution will wow anyone, I did appreciate Crofts’ use of misdirection earlier in the novel. I also appreciated that the methods French does use are quite varied ranging from some physical experiments to some crafty interrogation techniques. As with The Box Office Murders, he seems willing enough to employ some extra-legal methods to acquire information (French’s felonious exploits in search of truth ended up being the focus on conversation in the comments on that post).
So, what doesn’t work? Honestly it is hard to think of much. Had I read The Cask already which supposedly utilizes a number of the same plot points I imagine I might feel frustrated that the author was repeating themselves so soon. I might add that I think one character’s pigheadedness is taken to extremes but I found that to be understandable enough given their personality.
While this is not my favorite Crofts title that I have read so far, I do think it is very successful and a really strong detective story. I appreciated how varied the investigation becomes and think it does show the strengths of French as a character and of Crofts’ skill at making a complex puzzle seem clear and easy to understand.
Mysteries Ahoy! 