Книга - The Golden Age of Murder

The Golden Age of Murder
Martin Edwards


Winner of the 2016 EDGAR, AGATHA, MACAVITY and H.R.F.KEATING crime writing awards, this real-life detective story investigates how Agatha Christie and colleagues in a mysterious literary club transformed crime fiction.Detective stories of the Twenties and Thirties have long been stereotyped as cosily conventional. Nothing could be further from the truth.The Golden Age of Murder tells for the first time the extraordinary story of British detective fiction between the two World Wars. A gripping real-life detective story, it investigates how Dorothy L. Sayers, Anthony Berkeley, Agatha Christie and their colleagues in the mysterious Detection Club transformed crime fiction. Their work cast new light on unsolved murders whilst hiding clues to their authors’ darkest secrets, and their complex and sometimes bizarre private lives.Crime novelist and current Detection Club President Martin Edwards rewrites the history of crime fiction with unique authority, transforming our understanding of detective stories, and the brilliant but tormented men and women who wrote them.















The Detection Club library bookplate, designed by Edward Ardizzone.


















Copyright (#u24cb058b-fed6-5fe8-8639-caabb21e7d84)


Published by Collins Crime Club

An imprint of HarperCollinsPublishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk (http://www.harpercollins.co.uk)

Copyright © Martin Edwards 2015

Jacket illustration © HarperCollinsPublishers Ltd. 2015

Martin Edwards asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780008105969

Ebook Edition © 2015 ISBN: 9780008105976

Version: 2015-04-20




Dedication (#u24cb058b-fed6-5fe8-8639-caabb21e7d84)


To the members of the Detection Club, past and present.


Contents

Cover (#u1db07181-3c38-5660-9b5d-175d5004b8f6)

Title Page (#uf56298b2-58aa-5d66-a30a-4227a76cc529)

Copyright

Dedication

Introduction

Members of the Detection Club elected 1930–49

Author Gallery

Part One: The Unusual Suspects

The Ritual in the Dark

A Bitter Sin

Conversations about a Hanged Woman

The Mystery of the Silent Pool

A Bolshevik Soul in a Fabian Muzzle

Wearing their Criminological Spurs

The Art of Self-Tormenting

Part Two: The Rules of the Game

Setting a Good Example to the Mafia

The Fungus-Story and the Meaning of Life

Wistful Plans for Killing off Wives

The Least Likely Person

The Best Advertisement in the World

Part Three: Looking to Escape

‘Human Life’s the Cheapest Thing There Is’

Echoes of War

Murder, Transvestism and Suicide during a Trapeze Act

A Severed Head in a Fish-Bag

‘Have You Heard of Sexual Perversions?’

Clearing Up the Mess

What it Means to Be Stuck for Money

Neglecting Demosthenes in Favour of Freud

Part Four: Taking on the Police

Playing Games with Scotland Yard

Why was the Shift Put in the Boiler-Hole?

Trent’s Very Last Case

A Coffin Entombed in a Crypt of Granite

Part Five: Justifying Murder

Knives Engraved with ‘Blood and Honour’

Touching with a Fingertip the Fringe of Great Events

Collecting Murderers

No Judge or Jury but My Own Conscience

Part Six: The End Game

Playing the Grandest Game in the World

The Work of a Pestilential Creature

Frank to the Point of Indecency

Shocked by the Brethren

Part Seven: Unravelling the Mysteries

Murder Goes On Forever

Appendices

Constitution and Rules of the Detection Club (#litres_trial_promo)

Bibliography

Index

Index of Titles

Acknowledgments

About the Author

About the Publisher




Introduction (#u24cb058b-fed6-5fe8-8639-caabb21e7d84)


The origins of my quest to solve the mysteries of the Detection Club date back to when I was eight years old. A rich American called John L. Snyder II, who retired to the picturesque Cheshire village of Great Budworth after making a fortune in Hollywood, hosted the annual summer fete at his country house, Sandicroft. He decided to show a film in a marquee in Sandicroft’s extensive grounds – and set about pulling strings with Metro-Goldwyn-Mayer. A remarkably persuasive man, Snyder secured permission to present the world premiere of MGM’s brand new movie, Murder Most Foul.

This stranger-than-fiction initiative guaranteed publicity in the local and national Press. Snyder’s ambition was demonstrated by his search for a celebrity to open the fete. He began by approaching Brigitte Bardot, but when Brigitte declared herself unavailable (did this surprise him? I wonder), he changed tack and recruited the star of the film – Margaret Rutherford. My family lived near Great Budworth, and my parents took me to the fete as a birthday treat. So many people wanted to go that it was impossible to drive there. A fleet of coaches bussed everyone to Sandicroft.

I can still picture that afternoon among the crowds under the July sun. And I remember the excitement as a noisy helicopter circled overhead, coming in to land on a cleared patch of lawn before disgorging Margaret Rutherford, alias Miss Jane Marple. After much queuing, we squeezed into a showing of the film. Already I loved reading and writing stories, but this was my first exposure to Agatha Christie, and I was thrilled by the confection of clues and red herrings, suspects and surprises. I went home in a daze, dreaming that one day I would concoct a story that fascinated others as this light-hearted murder puzzle had fascinated me. I soon discovered the film bore little resemblance to the novel on which it was based, but that didn’t matter. I was hooked.

How fitting that my love of traditional detective fiction was inspired by a country house party in a village reminiscent of St Mary Mead. That evening, I took from a bookshelf a paperback copy of The Murder at the Vicarage, and my fate was sealed. I devoured every book Christie wrote, and tried to learn anything I could about the woman whose story-telling entranced me. In the mid-Sixties, with no internet, no social media, and not much of a celebrity culture (apart from Bardot and Margaret Rutherford, of course), finding out more about Christie proved surprisingly difficult. Eventually I moved on to other crime writers, ranging from past masters like Dorothy L. Sayers and Anthony Berkeley to Julian Symons, then at the cutting edge of the present. From Symons’ masterly study of the genre, Bloody Murder, I learned about the Detection Club, an elite but mysterious group of crime writers over which Sayers, Christie and Symons presided for nearly forty years.

Years later, I became a published detective novelist, writing books set in the here and now. A delightful moment came when a letter arrived out of the blue from Simon Brett, President of the Detection Club, explaining that the members had elected me by secret ballot to join their number. Subsequently, I was invited to become the Detection Club’s first Archivist.

The only snag was that there were no archives. Although the Detection Club once possessed a Minute Book, it has not been seen since the Blitz. Even the extensive Club library, packed with rare treasures, had been sold off.

At the time of writing, there seems little hope of ever recovering all the missing papers, in the absence of one of those lucky breaks from which fictional detectives so often benefit. But inevitably the loss of the Club’s records of its early days sharpened my curiosity. To a lover of detective stories, what more teasing challenge than to solve the mysteries of the people who formed the original Detection Club? I quickly discovered far more puzzles, especially about Christie and other early members of the Club, than I expected. I began to question my own assumptions, as well as those of critics whose judgements were often based on guesswork and prejudice.

My investigation sent me travelling around Britain, as I tracked down and interviewed relatives of former Detection Club members and other witnesses to the curious case of the Golden Age of murder. Some of the people I talked to joined in with the detective work, and the more I discovered, the more I came to believe that the story of the Club and its members demanded to be told. I explored remote libraries and dusty second bookshops, and badgered people in Australia, the United States, Japan and elsewhere in the hunt for answers. Sometimes memories proved maddeningly vague or erroneously definite. Biographies of Club members were packed with as many inconsistencies as the testimony of witnesses with something to hide.

I met with much kindness and generosity, often from those I shall never meet in person. One or two who knew secrets about the Detection Club did not want to be traced, or to recall past traumas, and this I understood. A couple of times, I reined in my curiosity when the quest risked becoming intrusive or hurtful – as Poirot recognises at the end of Murder on the Orient Express, sometimes the truth is not the only thing that matters. Exciting breakthroughs spurred me on, as when two clues, one in the form of an email address, and another discovered on my own bookshelves, led me to identify someone with personal knowledge of the dark side of one of my prime suspects.

Luck often played a part, as when I stumbled across Dorothy L. Sayers’ personal copy of the transcript of the murder trial described in The Suspicions of Mr Whicher, with pages of detailed notes in her neat hand recording her own interpretation of the evidence. Authors’ inscriptions in rare novels supplied fresh leads, and even an apparent confession by Agatha Christie to ‘crimes unsuspected, not detected’. The chance acquisition of a signed book led to my learning of a secret diary written in a unique code.

Clues to extraordinary personal secrets were hidden in the writers’ work. I sifted through the evidence with an open mind, and as real-life detectives often find, I needed to use my imagination from time to time, to fill in the inevitable gaps. Studying the work of two writers over the course of a decade and a half of their lives helped to build a convincing picture of their doomed love affair, and to understand a strange relationship that changed their lives, but has eluded all previous literary critics and their biographers. Many of the finest Golden Age sleuths sometimes relied on intuition, and what was good enough for Father Brown and Miss Marple was good enough for me. In the end, I uncovered enough of the truth to round up the prime suspects for a suitable denouement in the final chapter.

How can one discuss detective stories without giving away the endings? Some reference books contain ‘spoiler alerts’, but these can result in a fragmented read. I’ve tried not to give too much away, although in the case of a few books, readers will be able to put the pieces together.

My respect for the earliest members of the Detection Club did not diminish as I spotted flaws in their detectives’ reasoning, or chanced upon curious and sometimes embarrassing incidents in their own lives. On the contrary, I came to respect their prowess in skating over thin ice, in fiction and in everyday life. They were writing during a dangerous period in our history, years when recovery from the shocking experience of one war became overshadowed by dread of another. At this distance of time, we can see that Detection Club members had much more to say about the world in which they lived than either they acknowledged or critics have appreciated. They entertained their readers royally, but there was more to their work than that.

Even the most gifted Golden Age detectives did not work in isolation, and my own investigation benefited enormously from the help and hard work of others. My profoundest thanks go to Christie, Sayers, Berkeley and all their colleagues, who have given me so much pleasure – not only in their writing, but in the puzzles they posed as I followed their trail. That trail reaches back to the long ago July afternoon when I was lucky enough to see Miss Marple make her improbable descent from the skies, and discover a new world which, from that day to this, I have found utterly spellbinding.




Notes


Even in a book of this length, it is impossible to explore in detail every issue touched on in the text. The notes provided at the end of each chapter, inevitably selective, seek to amplify some facets of the story of the Golden Age and its exponents, and to encourage further reading, research – and enjoyment.




Members of the Detection Club elected 1930–49 (#u24cb058b-fed6-5fe8-8639-caabb21e7d84)


1930

G. K. Chesterton 1874–1936

H. C. Bailey 1878–1961

E. C. Bentley 1875–1956

Anthony Berkeley 1893–1971

Agatha Christie 1890–1976

G. D. H. Cole 1889–1959

M. Cole 1893–1980

J. J. Connington 1880–1947

Freeman Wills Crofts 1879–1957

Clemence Dane 1887–1965

Robert Eustace 1871–1943

R. Austin Freeman 1862–1943

Lord Gorell 1884–1963

Edgar Jepson 1863–1938

Ianthe Jerrold 1898–1977

Milward Kennedy 1894–1968

Ronald A. Knox 1888–1957

A. E. W. Mason 1865–1948

A. A. Milne 1882–1956

Arthur Morrison 1863–1945

Baroness Orczy 1865–1947

Mrs Victor Rickard 1876–1963

John Rhode 1884–1965

Dorothy L. Sayers 1893–1957

Henry Wade 1887–1969

Victor L. Whitechurch 1868–1933

Helen Simpson (Associate Member) 1897–1940

Hugh Walpole (Associate Member) 1884–1941

1933

Anthony Gilbert 1899–1971

E. R. Punshon 1872–1956

Gladys Mitchell 1901–1983

1934

Margery Allingham 1904–66

1935

Norman Kendal 1880–1966

R. C. Woodthorpe 1886–1971

1936

John Dickson Carr 1906–77

1937

Nicholas Blake 1904–72

Newton Gayle (Muna Lee 1895–1965 and Maurice Guinness 1897–1991)

E. C. R. Lorac 1894–1958

Christopher Bush 1888–1973

1946

Cyril Hare 1900–58

Christianna Brand 1907–88

Richard Hull 1896–1973

Alice Campbell 1887–1976

1947

Val Gielgud 1900–81

Edmund Crispin 1921–78

1948

Dorothy Bowers 1902–48

1949

Michael Innes 1906–94

Michael Gilbert 1912–2006

Douglas G. Browne 1884–1963




Author Gallery (#u24cb058b-fed6-5fe8-8639-caabb21e7d84)
























Part One (#ulink_d4ee505f-e75a-51a8-9389-3fc392f262d7)










The first of the Detection Club novels, published by Hodder & Stoughton in 1931.





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The Ritual in the Dark (#ulink_d77cf82d-70b8-5bd0-996c-ee47e6292ffb)


On a summer evening in 1937, a group of men and women gathered in darkness to perform a macabre ritual. They had invited a special guest to witness their ceremony. She was visiting London from New Zealand and a thrill of excitement ran through her as the appointed time drew near. She loved drama, and at home she worked in the theatre. Now she felt as tense as when the curtain was about to rise. To be a guest at this dinner was a special honour. What would happen next she could not imagine.

Striking to look at, the New Zealander was almost six feet tall, with dark, close-set eyes. Elegant yet enigmatic, she exuded a quiet, natural charm that contrasted with her flamboyant dress sense and artistic taste for the exotic. Fond of wearing men’s clothes, smart slacks, a tie and a beret, this evening she had opted for feminine finery, her favourite fur wrap and extravagant costume jewellery. In common with her hosts, she had a passion for writing detective stories. Like them, she guarded her private life jealously.

Until tonight, she had only known these people from reading about them – and from reading their books. Many were household names, distinguished in politics, education, journalism, religion, and science, as well as literature. Most were British, a handful came from overseas. A young American was here, and so were the Australian granddaughter of a French marquis, and an elderly Hungarian countess who each year made a special journey for the occasion, travelling to England from her home in Monte Carlo.

The ritual was preceded by a lavish banquet in an opulent dining room. As the wine flowed, the visitor fought to conquer her nerves. Her escort, a discreet young Englishman, attentive and admiring, did his best to put her at ease. The food was superb, and the company convivial, but she preferred to let others talk rather than chatter herself. Sipping at her coffee, she half-listened to the speeches. At last came the moment she was waiting for. Everyone rose, and the party retired to another room. At the far end stood a large chair, almost like a throne. On the right side was a little table, and on the left, a lectern and a flagon of wine, its mouth covered with cloth.

All of a sudden, the lights went out, plunging the room into darkness. As if at a given signal, everyone else swept out through the door, leaving the woman from New Zealand and her companion alone. She became conscious of a faint chill in the air. Both of them were afraid to break the silence. As the moments ticked away, they dared to exchange a few words, speaking in whispers, as if in church.

Without warning, a door swung open. The Orator had arrived.

Resplendent in scarlet and black robes, and wearing pince-nez, a statuesque woman entered the room. She marched towards the lectern, holding a single taper to light the way. As she mounted the rostrum, the New Zealander saw that, in the folds of her gown, the Orator had secreted a side-arm. The visitor caught her breath. In the gloom, she could not identify the weapon. Was it a pistol, or a six-shooter?

Stern and purposeful, the Orator lit a candle. She gave no hint that she knew anyone was watching. At her command, a sombre procession of men and women in evening dress filed into the room. In the flickering candle-light, the visitor glimpsed unsmiling faces. Four members of the group carried flaming torches. Others clutched lethal weapons: a rope, a blunt instrument, a sword, and a phial of poison. A giant of a man brought up the rear. On the cushion that he carried, beneath a black cloth, squatted a grinning human skull.

The New Zealander was spellbound. The Orator cleared her throat and began to speak. She administered a lengthy oath to a burly man in his sixties. This secretive and elitist gathering had elected him to preside over their affairs, and he pledged to honour the rules of the game they played:

‘To do and detect all crimes by fair and reasonable means; to conceal no vital clues from the reader; to honour the King’s English … and to observe the oath of secrecy in all matters communicated to me within the brotherhood of the Club.’

As the ritual approached its end, the Orator lifted her revolver. Giving a faint smile, she fired a single shot. In the enclosed space, the noise was deafening. Her colleagues let out blood-curdling cries and waved their weapons in the air.

The eyes of the skull lit up the blackness, shining with a fierce red glow.

Stunned, the New Zealander found herself unable to speak. Her companion, familiar with the eccentric humour of crime writers, laughed like a hyena.

The visitor from New Zealand was Ngaio Marsh, who became one of her country’s most admired detective novelists, as well as a legendary theatre director. Her escort, Edmund Cork, was her literary agent, and he also represented Agatha Christie. The Orator who led the procession was Dorothy L. Sayers, and the bearer of the skull was another popular detective novelist, John Rhode. The satiric ritual followed a script so elaborate that Sayers, its author, thoughtfully supplied an explanatory diagram. The occasion was the installation of Edmund Clerihew Bentley as second President of the Detection Club.

Ngaio Marsh remembered that night for the rest of her life. Long after she returned home, she dined out on stories about what she had seen, embellishing details as time passed, and memory played tricks. In one account, she identified the setting for the ritual as Grosvenor House; in her biography, written in old age, she said it was the Dorchester. She also made conflicting claims about whether or not she met Agatha Christie that night. Detective novelists, like their characters, often make suspect witnesses and unreliable narrators.














Dorothy L. Sayers and John Rhode with Eric the Skull, photographed by Clarice Carr (by permission of Douglas G. Greene).










The Detection Club annual dinner, presided over by G.K. Chesterton.


The Detection Club was an elite social network of writers whose work earned a reputation for literary excellence, and exerted a profound long-term influence on storytelling in fiction, film and television. Their impact continues to be felt, not only in Britain but throughout the world, in the twenty-first century. Yet a mere thirty-nine members were elected between the Club’s inception in 1930 and the end of the Second World War. The process of selecting suitable candidates for membership was rigorous, sometimes bizarrely so. The founders wanted to ensure that members had produced work of ‘admitted merit’ – a code for excluding the likes of ‘Sapper’ and Sydney Horler, whose thrillers starring Bulldog Drummond and Tiger Standish earned a huge readership, but were crude and jingoistic.

Those thirty-nine men and women were as extraordinary an assortment of characters as the cast of Murder on the Orient Express. They included some of the country’s most famous authors of popular fiction: not only the creators of Hercule Poirot and Lord Peter Wimsey, but also authors better known for writing about the Scarlet Pimpernel or Winnie-the-Pooh. Detection Club members came from all walks of life. Several had fought in the First World War and suffered life-changing harm, some played a prominent part in British political life. Members ranged from right-wing Tory to red-blooded Marxist, and everything in between. The aristocracy was represented, along with the middle and working classes, and the Anglican and Catholic clergy.

The Club’s first President, G. K. Chesterton, is currently regarded as a potential candidate for canonisation by the Pope – even though today he is remembered less for his spirituality than his detective fiction. The lives of his colleagues, for all their surface respectability, were much less saintly. Several were promiscuous, two had unacknowledged children. Long before homosexual acts between men were decriminalized, there were gay and lesbian members, as well as a husband and wife literary duo – one of whom nursed a passion for a young man who eventually became leader of the Labour Party. And one cherished a secret fantasy about murdering a man who stood between him and the woman he adored.

The movers and shakers in the Detection Club were young writers who at first pretended to write according to a set of light-hearted ‘rules’. This symptomized the ‘play fever’ that swept through Britain after the First World War, when games as different as contract bridge and mah-jongg captured the popular imagination, and crossword puzzles were all the rage. After the loss of millions of lives in combat, and then during the Spanish flu epidemic, games offered escape from the horrors of wartime – as well as from the bleak realities of peace. Economic misery seemed never-ending. The national debt ballooned, and politicians imposed an age of austerity. Industrial output fell, and so did consumer spending. The cost of living soared, and so did unemployment. The threat of slashed wages for miners led to Britain’s one and only General Strike, and the ruling classes had to cling to wealth and power by their fingertips. The sun had not quite set on the British Empire, but this was the twilight of the imperial era. While Bright Young Things partied the night away, millions of ordinary people couldn’t sleep for worrying about how to pay their bills.

Detective stories offered readers pleasure at a time when they feared for the future. As the Wall Street Crash brought the Roaring Twenties to a shuddering end, writers prided themselves on coming up with fresh ways of disguising whodunit or howdunit, but the most gifted novelists itched to do more, to explore human relationships and the complications of psychology. The work of Sigmund Freud, himself a detective fiction fan, became influential. The social mores of the Thirties prevented novelists from writing graphic sex scenes, but strong sexual undercurrents are evident in many of the best detective stories of the Thirties, above all in the extraordinary final novels of Anthony Berkeley and Hugh Walpole. Increasingly, Detection Club members relished breaking the so-called ‘rules’ of their game. They experimented with the form of the novel, deploying untrustworthy narrators as well as unexpected culprits. Their books reflected social attitudes and political change, more than they intended, and more than critics have realized.

Three remarkable people became the Club’s leading lights. In the vanguard was Sayers, brilliant and idiosyncratic as any maverick detective. By her side stood Berkeley, crime fiction’s Jekyll and Hyde – suave and scintillating one minute, sardonic and sinister the next. And then there was Agatha Christie, a quiet, pleasant woman who was easy to read unless you wanted to know what was going on in her mind.

Christie’s legendary ingenuity with plot was matched by Berkeley’s biting cynicism about conventional justice and his obsession with criminal psychology. Sayers, a woman as forceful as she was erudite, believed the detective story could become something more than mere light entertainment. ‘If there is any serious aim behind the avowedly frivolous organisation of the Detection Club,’ she said shortly after its formation, ‘it is to keep the detective story up to the highest standard that its nature permits, and to free it from the bad legacy of sensationalism, clap-trap and jargon with which it was unhappily burdened in the past.’

Appearances are deceptive. When we look at pictures of Christie and Sayers today, we usually see the women in their later years: respectable, well-upholstered, grandmotherly. The few published photographs of the publicity-hating Berkeley show a dapper fellow, wearing a trim moustache in his younger days, bald and pipe-smoking in later life. How tempting to fall into the trap of dismissing them as strait-laced middle-class English people. Yet in private, they led extraordinary lives and endured disastrous marriages. All three took secrets to the grave.

Their novels are often sneered at as ‘cosy’, and the claim that their characters were made from cardboard has become a lazy critical cliché. The very idea that detective fiction between the wars represented a ‘Golden Age’ seems like the misty-eyed nostalgia of an aged romantic hankering after a past that never existed. Many argue that the quality of crime fiction written today matches, or surpasses, that of any other period. But today’s writers often owe something to their predecessors, and the term ‘the Golden Age of detective fiction’ was popularized, not by some genteel old lady or retired brigadier, but by John Strachey, a young Marxist who later became Minister of War in the post-war Labour government.

Strachey recognised that the best detective novels of the Thirties were exhilarating, innovative and unforgettable. They explored miscarriages of justice, forensic pathology and serial killings long before these topics became fashionable (and before the term ‘serial killer’ was invented). Many of the finest books defied stereotypes. The received wisdom is that Golden Age fiction set out to reassure readers by showing order restored to society, and plenty of orthodox novels did just that. But many of the finest bucked the trend, and ended on a note of uncertainty or paradox. In some, people were executed for crimes they did not commit; in others, murderers escaped unpunished. The climax of one of Berkeley’s novels was so shocking that when Alfred Hitchcock came to film it, even the legendary master of suspense, the man who would direct Psycho, lost his nerve. He substituted a final scene that was a feeble cop-out in comparison to Berkeley’s dark and horrific vision.

Sayers, Berkeley and Christie came to detective fiction young – in their late twenties and early thirties. All three were full of energy and imagination, fizzing with fresh ideas. Each was an obsessive risk-taker. The First World War changed them, as it changed Britain. After the bloodshed of the trenches, writers craved escapism just as much as their readers. Though their stories often seem as artificial as they are ingenious, Sayers, Christie and Berkeley were intent on transforming the genre. Along the way, they fought against personal catastrophes, and suffered spells of deep despair. The lonely nature of their work – no publicity tours, no fan conventions, no glitzy awards ceremonies – contributed to their torments. Thanks to Detection Club meetings, writers found new friends who shared their literary enthusiasms. Not only did members eat, drink and talk together – they wrote and broadcast together, raising money by collaborating on crime stories in unique cross-media initiatives. For Sayers and Christie in particular, the Detection Club became a lifeline.

Christie’s controversial eleven-day disappearance in 1926 is by far the most high profile of the numerous disasters that befell Club members, affecting their writing as well their lives. Much as they wanted to promote their books, they were determined to keep their personal lives out of the public gaze. Many hid their private agonies in a way impossible in the age of paparazzi and Press intrusion, and of blogs, Facebook and Twitter. Beneath the façade of middle class respectability lay human stories as complex and enthralling as any fiction.

Christie, Sayers and Berkeley were fascinated by murder in real life. True crime stories influenced and inspired them. And they did much more than borrow plot elements from actual cases. There is a long tradition of mystery writers undertaking detective work for themselves – from Edgar Allan Poe and Arthur Conan Doyle, to P. D. James’s re-evaluation of the murder of Julia Wallace, and Patricia Cornwell’s investment of two million dollars in her efforts to establish that Walter Sickert really was Jack the Ripper. Other than Conan Doyle, however, none have investigated real-life mysteries with the zeal of the Detection Club in the Thirties.

Anyone researching the Club must navigate a labyrinth of blind alleys and wrong turnings. The challenge is to unravel three sets of mysteries – about the books, the real-life murder puzzles, and the dark secrets of the writers’ personal lives. All are woven together in a tangled web.

The simpler riddles are literary. Who wrote the first serial killer mysteries? What game did Club members play with a superintendent from Scotland Yard? Who pioneered the novel of psychological suspense? How did Anthony Berkeley anticipate Lord of the Flies?

Trickier questions arise about real-life crimes. Did a young woman’s horrific death trigger Berkeley’s infatuation with a married magistrate? Why was Christie haunted by the drowning of the man who adapted her work for the stage? What convinced Sayers of the innocence of a man convicted of battering his wife to death with a poker? And what did she make of the blood-stained garment that supplied a vital clue in the murder investigated by the legendary Inspector Whicher?

Detection Club members seldom confessed to writing about themselves, or the increasingly fragile social order to which they belonged. Yet they scattered hints throughout their writing, just as their fictional culprits made mistakes that gave away their clever schemes. We can deduce more from reading between the lines of the books than the authors realized.

Which novelist wrote a secret diary in an unbreakable code? How did two famous writers conduct a forbidden love affair through hidden messages in their stories? Why did Sayers and Berkeley suddenly abandon detective fiction at the height of their fame? Clues, outlandish as any ever picked up by Poirot, lurk in the unlikeliest settings – an inscribed first edition, a unique form of shorthand, a murderous fantasy transformed into fiction, even the abdication of a king.

Christie once hinted she was guilty of ‘crimes unsuspected, not detected.’ Sayers found herself confronting a blackmailer. And Berkeley fantasized about murdering the man who stood between him and happiness. Searching for the truth about this gifted trio is as enthralling as any hunt for fictional culprits.

After a series of economic earthquakes on a scale not seen for generations, uncanny parallels exist between our time and the years between the wars. This is the perfect moment for a cold case review of the Detection Club: to unmask the Golden Age writers and their work, against the backdrop of the extraordinary times in which they lived.




Notes to Chapter 1


In one account, she identified the setting for the ritual as Grosvenor House; in her biography, written in old age, she said it was the Dorchester.

The former version of events, referred to by Joanne Drayton, in Ngaio Marsh: Her Life in Crime, seems more reliable than Marsh’s later recollection in Black Beech and Honeydew. The ritual has been held at a variety of prestigious venues in central London over the years. By coincidence, it currently takes place at the Dorchester.

Sigmund Freud, himself a detective fiction fan

Freud ‘relished in particular Agatha Christie’s Murder on the Orient Express’: Paul Roazen, ‘Orwell, Freud and 1984’, Virginia Quarterly Review, Autumn 1978.

‘If there is any serious aim behind the avowedly frivolous organisation of the Detection Club,’ she said

In Christianna Brand’s Introduction to the 1979 edition of Sayers’ The Floating Admiral.

the term ‘the Golden Age of detective fiction’ was popularised … by John Strachey

The first use of the term seems to be in Strachey’s ‘The Golden Age of Detective Fiction’, The Saturday Review, 7 January 1939. Another Marxist critic, Ernest Mandel, echoed Strachey forty-five years later in Delightful Murder: ‘The inter-war period was the golden age of the detective story.’ Over the years, there has been extensive debate about the distinction between ‘detective stories’, ‘crime novels’, and ‘mysteries’, but precise and satisfactory definitions of the differences between them have remained elusive. For the sake of simplicity, the terms are treated broadly as synonyms in this book.





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A Bitter Sin (#ulink_57ea5b97-2c85-533c-aad9-a88aec1d14e6)


One dark November day in 1923, Dorothy Leigh Sayers sat in her London office, rehearsing a lie until it sounded like the unvarnished truth. She excelled at playing with words, and making things up, whether in advertising copy or detective fiction. Now her imagination faced its sternest challenge. The daughter of a vicar and a devout Christian, she possessed fierce moral principles and an acute sense of sin, but she felt afraid and alone, and saw no alternative to deceiving the people she worked with. She hated what she was doing, but desperation drove her to bury her scruples.

She had invented a mysterious illness to justify taking eight weeks off work, hoping none of the men she reported to would enquire too closely into the medical problems of a valued female member of staff. This was the first step in an elaborate charade, designed with the same attention to detail she lavished on her fictional mysteries. Family and friends must be fooled as well.

Sayers worked for S. H. Benson Ltd, an advertising agency based in Kingsway Hall, close to the newspapers of Fleet Street, and ten minutes from her flat in Great James Street. Her room sat at the top of a steep and slippery spiral staircase made of iron which looked stylish, but was a death-trap for anyone unlucky enough to lose her footing. One day, she would turn that staircase into a fictional murder scene. Benson’s boasted an eclectic roster of clients, and had been quick to adopt fashionable American methods of ‘psychological’ and ‘scientific’ advertising. In her first published piece of copy, which she admitted was ‘a tissue of exaggeration’, Sayers extolled the virtues of ‘Sailor Savouries’. Soon she was rhapsodizing about ‘Lytup’ handbags and Colman’s Starch.

Innovative and industrious, Sayers was perfectly suited to her job. She liked the way the copywriters were collectively known as the ‘Literary Department’, and the buzz and gossip of office life reminded her of student days in the common rooms of Oxford. Philip Benson and his management team regarded her highly, and some thought Dorothy’s talents might one day take her all the way to the boardroom. Her colleagues regarded her as eccentric but gifted, an outspoken bluestocking with a startlingly earthy sense of humour. None of them knew she was nursing a secret which she dared not allow to leak out.

Disaster had struck at a time when life brimmed with exciting possibilities. Publishing her first detective novel fulfilled a long-held ambition, and although sales were modest, Benson’s had raised her salary to six pounds ten shillings a week, and promised a bonus. Even her troubled love life had taken a turn for the better. Although a man she adored had deserted her, a new lover turned up to offer the sexual satisfaction she craved. She nicknamed him ‘the Beast’.

But then the worst happened. With ‘the Beast’, she overcame her loathing of contraceptives, but despite her precautions, something went wrong, and she fell pregnant. When she broke the news to ‘the Beast’, he flounced out in a temper, pausing only to blurt out that he already had a wife and daughter. Sayers had slept with him on the rebound, and she dared not tell her friends about her humiliation. Confiding in her elderly, respectable parents, who were the embodiment of Victorian values, was equally unthinkable. Her father, an elderly vicar, would be horrified, while her mother had no time for babies. She had no confidence that Philip Benson would sympathize. Probably he would sack her. Money was tight, and she dared not risk being thrown out of work.

Overwhelmed by shame and misery, she thought about parting with the child to an orphanage or a charity for waifs and strays. Adoption was impossible; it would not become legal for another three years. In despair, she contemplated abortion, but quite apart from the fact that it was a crime, and highly dangerous, her religious faith made such a ‘solution’ unthinkable.

She had first encountered ‘the Beast’, alias Bill White, when he rented a small flat above hers. Seeking work in the motor trade, he had left his wife Beatrice and young daughter Valerie in an attic flat in Southbourne, near Bournemouth. He stained the wooden floor of Sayers’ sitting-room for her, and took her for trips on his motor-cycle. After teaching her fashionable dance-steps – the bunny-hug, the shimmy and the black bottom – he accompanied her to a dance at Benson’s, wearing a borrowed dinner jacket. Two lonely people, with not much in common, each craving a little fun. She lent him cash, and even introduced him to her parents. The fun stopped the moment she told him about the baby.

With a chilling mixture of cheek and selfishness, Bill asked his wife to help him wriggle out of this calamity. Shocked as she was, Beatrice White agreed, and met up with Sayers. It was an excruciating encounter. They were both tormented by distress and embarrassment, but they were also sensible and decent women whose only mistake had been to fall for an unworthy man. A problem needed to be solved – so what should they do?

They talked things over constructively, without wasting time on recriminations. The outcome was a pragmatic deal. Sayers promised not to see Bill again, and to have the child fostered. Beatrice arranged for Sayers to stay in a guest house at Southbourne, and for her brother, a doctor, to attend the birth at a nearby nursing home. Meanwhile, Beatrice moved into Sayers’ flat in Great James Street, and forwarded her post, so that Sayers could correspond from her London address. This meant she could keep everyone in the dark about the truth of her absence. She cobbled together an excuse to explain to her mother why she would not be home for Christmas. The baby was due to be born at around the turn of the year.

She was a good liar. Once she summoned the courage to ask for time off, the hierarchy at Benson’s accepted what she said at face value. So did her parents. Resting in bed at Southbourne, Sayers scribbled away at Clouds of Witness, her second book about the aristocratic detective, Lord Peter Wimsey, and mapped out the future in her mind. On New Year’s Day, she wrote to her much-loved cousin Ivy Shrimpton, asking if Ivy and her mother, both experienced and trustworthy foster careers, would look after another infant. She didn’t mention she was the mother. Two days later her son, John Anthony, was born.

When Ivy agreed to look after him, Sayers told her the truth. Her parents must not be told, she insisted. The news would mortify them. Giving birth to an illegitimate child was not, she told Ivy, the kind of ‘ill-doing’ which her mother would tolerate. The Sayers were proud of their clever, lively daughter, and she could not bear to let them down. Perhaps she underestimated their love for her, but Ivy proved utterly reliable. The Sayers went to their graves without ever learning that they had a grandchild. Bill White had no further contact with his son John Anthony. Within four years, he had met someone else, and divorced Beatrice. After that, he never saw his daughter Valerie again either.

To the end of Sayers’ life, the existence of her child was known only to Ivy and a handful of trusted confidants. Beatrice kept quiet too. Not until Sayers died did she tell Valerie that she had a half-brother. Valerie and John Anthony never met, because by the time she plucked up the nerve to contact him, he was dead.

Did anyone else guess the truth? At first, Sayers congratulated herself on managing her absence from Benson’s with the utmost discretion, although on returning to work, people noticed she had put on weight. One colleague at least, it seems, saw though the mysterious ‘illness’. Suspecting what had happened, he tried to make mischief, terrifying Sayers with the threat of exposure.

Courage was a quality Dorothy Sayers never lacked. Her tormentor had no hard evidence to support his guesswork, and she faced him down. Somehow she found the strength to say, ‘Publish and be damned’, and made sure he kept his mouth shut. Her secret was secure. Later, she would take her revenge on him, but not until it became safer to do so.

Before and after Benson’s, Oxford played a pivotal role in Sayers’ life. She was born in the city on 13 June 1893. Her father, an ordained priest, had been a contemporary of Oscar Wilde at Magdalen College, but his life followed a much less exotic course than Oscar’s. When his daughter was four, he was offered the living at Bluntisham, in East Anglia’s fen country. Oxford and Fenland provided the settings for two of Sayers’ most admired novels, Gaudy Night and The Nine Tailors. After the Godolphin School in Salisbury, she won a scholarship to Somerville College, where she studied modern languages and medieval literature.

The feminist and pacifist Vera Brittain, an Oxford contemporary, described Sayers as ‘a bouncing and exuberant young female’. That bounce and exuberance never deserted Sayers, despite the blows that rained down on her over the years. Tall, thin, and with a neck that earned her the nickname ‘Swanny’, she stood out from the crowd, and made up for her lack of natural beauty with a flamboyant taste in clothes. She liked to wear a three-inch-wide scarlet riband round her head, and earrings in the form of miniature cages containing brightly-coloured parrots. Often she strode down the High, smoking a cigar while a cloak billowed around her.

Her busy social life included attending a lecture by G. K. Chesterton, whom she admired as a man, as well as for his detective stories. She also developed crushes on Dr Hugh Allen, director of the Bach Choir, and Roy Ridley, a handsome Balliol student who later became the college’s chaplain. Ridley was the physical original of a fictional Balliol man, Lord Peter Wimsey.

In August 1914, oblivious of the tense political climate in Europe, she set off for a long holiday in France, which was duly interrupted by the outbreak of war: for all her intellectual gifts, she could be hopelessly naïve. The following year Douglas Cole (like Chesterton, a future Detection Club colleague), a co-editor of Oxford Poetry, accepted one of her poems for publication. Before long, she produced a slim volume of verse. Having achieved a First in French, she applied for a job in the French Red Cross, but was turned down because she was too young. After a spell as a teacher, she worked for Blackwell’s, the publishers, in Oxford, where she fell in love with Eric Whelpton, a handsome soldier who have been invalided out of the Army.

After the war ended, Whelpton started teaching in France. Sayers chased him across the Channel, and took a job as his assistant. When he teased her about her enthusiasm for crime fiction, she told him some friends from Oxford were planning to make a fortune by writing detective stories. The group included Douglas Cole, his wife Margaret, and Michael Sadleir, later a successful publisher. They thought they could create a market, and had it in mind to set up a writing syndicate together. Sayers urged Whelpton to join them, but he was not interested. Worse, he did not reciprocate her devotion.

Whelpton became involved with a married woman, and a chastened Sayers returned to London to lick her wounds. Her morale received a much-needed boost when – in the same post-war mood that saw women given the vote (provided they were thirty years old), the first female MP returned to office, and the first woman called to the Bar – Oxford University allowed women to graduate formally. Sayers was among the first group of female students from Oxford to be invested with both a B.A. and, because five years had passed since she had taken her finals, an M.A.

Equal rights for women remained, however, a distant dream. Working men worried about women taking their jobs, and trade union pressure pushed women towards the career cul-de-sac of domestic service. Even highly educated women found their horizons narrowing. Their choice was often between a career coupled with a life of celibacy, or redundancy and marriage.

With so many young men killed in combat, marriage was often not an option. The problem of the ‘surplus woman’ was widely debated by the chattering classes. One successful Golden Age suspense novel (written by a single woman) even saw a deranged serial killer decide to solve that problem by ridding the world of unmarried females. For Sayers, the answer lay in building an independent and fulfilling career, preferably as a writer. After being turned down for a series of jobs, she returned to teaching as a stopgap. Meanwhile, she tried her hand at a detective story.

She began with the mystery of ‘a fat lady found dead in her bath with nothing on but her pince-nez’. After the victim – a sympathetically presented Jew – underwent a sex change, this became the opening of Whose Body? In Sayers’ original version, Lord Peter Wimsey deduces that a body in a bath is not that of Sir Reuben Levy, a financier, because it is not circumcised. The publishers thought this too coarse for the delicate sensibilities of readers, and required her to change the physical evidence so as to suggest that the corpse belonged to a manual worker, rather than a rich man.

Originally, Wimsey featured as a minor character in an unpublished story. This was probably intended for the Sexton Blake series, produced by a writing syndicate. Sayers also toyed with the idea of introducing Wimsey in a play (‘a detective fantasia’ called The Mousehole) that she did not finish. When she embarked on a novel, she decided this son of a duke would be her detective.

Her intentions were satiric rather than snobbish. A detective who was not a professional police officer, she reasoned, needed to be rich and to have plenty of leisure time to devote to solving mysteries. She conceived Wimsey as a caricature of the gifted amateur sleuth, and found it amusing to soak herself in the lifestyle of someone for whom money was no object. When Wimsey first comes into the story, ‘his long amiable face looked as if it had generated spontaneously from his top hat, as white maggots breed from Gorgonzola.’

Sayers endowed Wimsey with criminology, bibliophily, music and cricket as favourite recreations. He is a Balliol man, equipped with a magnifying glass disguised as a monocle, a habit of literary quotation and an engaging, if often frivolous, demeanour. His valet and former batman, the imperturbable Mervyn Bunter, became devoted to him when they fought together during the war. Conveniently, his sister, Lady Mary, is to marry Detective Chief Inspector Charles Parker of Scotland Yard. Like many amateur sleuths, Wimsey benefits from keeping close to the police. The dialogue is flippant, but Wimsey’s worldview is darkened by his wartime experiences. He suffered shell-shock and had a nervous breakdown. When Parker is bothered by the idea of a corpse being shaved and manicured, Wimsey retorts, ‘Worse things happen in war.’

A distinctive amateur sleuth, a lively style and unorthodox storyline compensated for the fact that it is easy to guess whodunit. Sayers was always more interested in describing the culprit’s methods of carrying out and concealing the crime. In a nod to E. C. Bentley’s ground-breaking whodunit Trent’s Last Case, she had the killer refer to ‘that well-thought-out work of Mr. Bentley’s’. Later, it became a regular in-joke for Detection Club members to reference each other in their books.

Having fun with Wimsey offered relief from the depressing reality of life on a tight budget. The rent for her flat was seventy pounds a year, and she struggled to make ends meet. As she told her parents, in one of her innumerable frank and entertaining letters, writing about Wimsey ‘prevents me from wanting too badly the kind of life I do want, and see no chance of getting …’ If the novel did not sell, she intended to abandon her literary ambitions, and take up a permanent job as a teacher. But it was not what she wanted. When an American publisher offered to take Whose Body? she was overjoyed. Soon a British publisher accepted it as well.

While Sayers was working on her first novel, she began a relationship with someone very different from Whelpton, the writer John Cournos. Russian-born, Cournos came from a Jewish background, and his first language was Yiddish. His family emigrated to the United States when he was ten, but he moved to England and established a reputation as a novelist, poet and journalist. Cournos was disdainful about Sayers’ aristocratic detective, but she cheered up when Philip Guedella, a Jewish historian, asserted in the Daily News that ‘the detective story is the normal recreation of noble minds’.









Dorothy L. Sayers and the mysterious Robert Eustace – photographed to publicise The Documents in the Case (by permission of the Marion E. Wade Center, Wheaton College, Wheaton, IL).










Dorothy L. Sayers (by permission of the Dorothy L. Sayers Society).


Cournos believed in free love, but Sayers, a High Anglican, was wary about sex outside marriage. Times were changing, and Marie Stopes, author of Married Love, had recently set up the country’s first clinic dispensing contraceptive products and advice – a crucial step towards making birth control socially acceptable. Sayers, however, had not yet overcome her objection to contraception as she did later with the Beast, Bill White. She did not want her relationship with Cournos to have the ‘taint of the rubber shop’.

This mismatch of expectations killed off their affair. She presented a fictionalized version of her emotional battle with Cournos eight years later, when she published Strong Poison. Harriet Vane, a detective novelist and Oxford graduate, is accused of murdering her selfish former lover Philip Boyes. She tells Wimsey that Boyes demanded her devotion, but ‘I didn’t like having matrimony offered as a bad-conduct prize’.

Cournos retaliated with a more intimate and brutal account of their relationship in The Devil is an English Gentleman. Stella, based on Sayers, resists Richard’s overtures, thinking: ‘If I give myself to him, he’ll forsake me.’ Meanwhile Richard ‘waited for the generous gesture, for a token of abandonment on her part; it did not come’. Cournos, who eventually emigrated to the USA, continued to publish books until the early Sixties. His destiny was to be remembered for his doomed romance with Sayers rather than for his own literary efforts.

Sayers started working for Benson’s shortly before Whose Body? was accepted. The job taught her how to use publicity to promote her writing, and the value of branding (before it was known as branding). Not from cussedness, but because she knew the value of a distinctive brand, she insisted on being known as Dorothy L. Sayers, not simply Dorothy Sayers. When her publisher, Ernest Benn, missed out her middle initial on the spine of one book a few years later, she was incandescent. After all, she said, people did not talk about E. Bentley, or G. Chesterton or G. Shaw.

Bill White was earthier than Cournos, and part of his appeal was that he did not share his predecessor’s lofty disdain for crossword puzzles and vulgar limericks. Thanks to him, Sayers experienced at last the sexual pleasure she craved. But once again, a man let her down. It was becoming a pattern in her life.

Sayers had never intended her affair with Bill White to be more than ‘an episode’. On returning to Benson’s, she worked furiously during the day, and then on her new book in the evenings. But the pretence of business as usual took a toll on her health. Her hair fell out, a visible symptom of severe emotional strain, and when it grew again, she decided her ‘little rat’s-tail plaits’ were hideous, and had her hair cut short and started wearing a silver wig.

She kept in touch with Cournos, but was deeply wounded when, having said he was not the marrying kind, he married Helen Kestner Satterthwaite, an American who wrote detective stories under the pen name of Sybil Norton. Biting back despair, Sayers wrote him a letter of congratulation, confiding that she had ‘gone over the rocks’, and that the result was John Anthony. Cournos’s reaction was anger that she had given herself to someone else, after refusing him. ‘Why not me?’ he demanded.

Sayers’ reply amounted to a scream of pain. ‘I have been so bitterly punished by God already, need you really dance on the body?’ The correspondence continued, as she agonized over what had gone wrong between them. One line explains a great deal about the way she led the rest of her life: ‘I am so terrified of emotion, now.’

That terror of emotion never left her. Sayers was devoted to her child, but in her own mind, she had committed ‘a bitter sin’. These were dark days, and she told Cournos, ‘It frightens me to be so unhappy.’ Although she had hoped things would improve, each day seemed worse than the last, and her work was suffering. She dared not even resort to suicide, ‘because what would poor Anthony do then?’ In Cournos’s novel, Stella threatens to kill herself, and Sayers did more than talk about self-harm in her correspondence: suicide forms a significant plot element in each of the first five Wimsey novels.

Yet there were lighter interludes. Cournos sent her an article by Chesterton about writing detective fiction, and she responded with a four-page critique. Game-playing mattered more to detective novelists at this point than the study of psychology, and she argued that characters in the detective story did not need to be drawn in depth. Clouds of Witness was most notable for a trial scene in the House of Lords where Peter Wimsey’s elder brother is accused of murder, a plot element she hoped would attract American readers.

Her next novel, Unnatural Death, displayed more interest in character, although the lesbianism of the heiress Mary Whittaker is implied rather than explicit. Thrifty as good novelists are, Sayers used a snippet of information from Bill White about an air-lock in a motorcycle feed pipe to provide a clue to the mystery. In a far from cosy passage, she describes how the arms of a corpse had been nibbled by rats. Years later, she explained to George Orwell (who had spoken of Wimsey’s ‘morbid interest’ in corpses) that in a detective novel, ‘where the writer has exerted himself to be extra gruesome, look out for the clue’. The frisson induced by the image of hungry rats was a ruse to distract readers from the possibility that the arm had been pricked by a hypodermic.

Wimsey is assisted by Miss Climpson and her undercover employment agency for single women. Climpson’s irrepressible verve was Sayers’ riposte to the likes of Charlotte Haldane, wife of the Marxist geneticist J. B. S. Haldane, who argued in Motherhood and its Enemies that a woman’s personal fulfilment depends on her inborn maternal instinct. Haldane is remembered as a feminist, but Sayers’ fiction was more sympathetic to single women, and her attitude towards them more progressive. Unnatural Death focused, as Sayers’ stories often did, more on the means by which death was caused than on whodunit; the culprit is obvious. The murder method involved injecting an air bubble into a vein. An ingenious idea, even if its feasibility was open to question.

She earned money by writing short stories, drawing on her own know-how for material. ‘The Problem of Uncle Meleager’s Will’ included a crossword puzzle clue, a nod to the fashionable craze which was also one of her own favourite pastimes. Motorcycling was an unlikely passion. She bought a ‘Ner-a-Car’ motorcycle, complete with sidecar, and rode it ‘in light skirmishing trim … with two packed saddle-bags and a coat tied on with string.’ ‘The Fantastic Horror of the Cat in the Bag’ features a race with a motorbike rejoicing in the improbable but factually accurate name of the Scott Flying-Squirrel.

The weirder realms of advertising presented her with the germ of ‘The Abominable History of the Man with Copper Fingers’, which is perhaps the best Wimsey short story. Sayers’ inspiration came from an American firm of morticians whose advertisements demanded: ‘Why lay your loved ones in the cold earth? Let us electroplate them for you in gold and silver.’

In April 1926, Sayers summoned up the nerve to drop a bombshell on her parents. She wrote a letter telling them, after a lengthy preamble including thanks for the present of an Easter egg, that she was ‘getting married on Tuesday (weather permitting) to a man named Fleming, who is at the moment Motoring Correspondent to the News of the World’. Hoping to soften the shock, she added, ‘I think you will rather like him.’ To her relief, they did.

The new man in her life, Oswald Arthur Fleming, was a divorced journalist twelve years her senior. She had only known him for a few months. A Scot hailing from the Orkneys, he liked to be known as ‘Mac’, though he wrote under the name Atherton Fleming. John Anthony, who knew Sayers as ‘Cousin Dorothy’, remained in Ivy Shrimpton’s care after the death of Ivy’s mother, and did not join the couple in their London flat.

Mac Fleming was a hard-living, hard-drinking newspaperman, keen on motor racing, and chronically hard up. He had two children by his first wife, but provided them with no financial support. He had written a book called How to See the Battlefields, based on his time as a war correspondent for the Daily Chronicle. For a time, he worked in advertising, which may explain how he and Sayers met.

She took to married life with gusto. She accompanied him to race meetings at Brooklands, and bought a motorcycle to ride herself, clad in goggles, gauntlets, and leather helmet. Motor racing was the latest craze, and leading drivers like Malcolm Campbell, Henry Segrave and J. G. Parry-Thomas – all of whom held the world land speed record in quick succession – were household names.

Racing offered thrills in abundance, but danger was ever present. The long, flat beach at Pendine Sands in Carmarthenshire was vaunted as ‘the finest natural speedway imaginable’, but while trying to regain the record, Parry-Thomas crashed his car. He was severely burned, and his head was ripped away from his neck by the drive chain. Mac, a friend of the dead man, was given the wretched task of reporting the horrific crash.

A less personally distressing project saw the News of the World pay for both Mac and Sayers to travel to France. Their task was to solve the murder of the English-born nurse May Daniels. Nurse Daniels had disappeared from a quayside waiting room when about to return to England after crossing the Channel with a friend for a day trip. Months later, her decomposed body, bearing signs of strangulation, was found by the roadside near Boulogne, and her gold wristwatch was missing. Clues (or red herrings) found near the body included a discarded hypodermic syringe, and an umbrella, while Nurse Daniels’ friend said she had spoken about a meeting with ‘Egyptian princes’.

Rumours spread that the dead woman was pregnant by a prominent member of the British establishment, and that the real purpose of her trip was to have an abortion performed by a mysterious Egyptian called Suliman. Questions were asked in Parliament about a baffling lack of cooperation between the British and French authorities, and the Press scented a cover-up. Mac and Sayers faced competition from other journalists, including former Chief Inspector Gough, hired as a ‘special investigator’ by the Daily Mail, and Netley Lucas, a conman turned crime correspondent for the Sunday News. None matched the brilliance of Lord Peter Wimsey, although Netley Lucas’ lifestyle was equally colourful: he later applied his talents to twin careers as a literary agent and a publisher before being sentenced to eighteen months with hard labour for fraud and plagiarism.

The Daniels puzzle remained unsolved. Despite this setback to her embryonic career as an amateur detective, Sayers became entranced by real-life mysteries, and introduced aspects of the Nurse Daniels case into Unnatural Death. After the excitement of the trip to France, Sayers fantasized about moving abroad, but this would have meant an even greater separation from John Anthony, and was out of the question. She hated the way that the Defence of the Realm Act – unaffectionately known as ‘Dora’ – curtailed individual liberties. In her eyes, the curbs on alcohol consumption, and restricted licensing hours, coupled with high levels of income tax, meant England was ‘no country for free men’.

She threw herself into work at Benson’s with renewed vigour. Colman’s of Norwich was a key client, and Sayers wrote The Recipe Book of the Mustard Club to promote Colman’s Mustard. Typically, she littered the text with quotations, and devised a frivolously elaborate history of the club, claiming it was founded by Aesculapius, god of medicine, and that Nebuchadnezzar was an early member. At first, the club was purely imaginary, featuring characters such as Lord Bacon of Cookham, and the club secretary Miss Di Gester, but the campaign was such a huge success that a real club was created. At its height, it boasted half a million members.

Sayers’ creative flair was ideally suited to marketing. She is credited with coining the phrase ‘it pays to advertise’, and collaborated on the most memorable advertisement of the time, part of a long campaign on behalf of Guinness stout. An artist called John Gilroy joined Benson’s in 1925, and he and Sayers became friends as well as colleagues. After a visit to the circus, Gilroy dreamed up the idea of using birds and animals to advertise Guinness. He sketched a pelican with a glass of Guinness on his beak, and Sayers suggested replacing that bird with a toucan. She wrote the lines:

If he can say as you can

Guinness is good for you,

How good to be a Toucan:

Just think what Toucan do.

To this day, there is a healthy market for Guinness toucan collectibles. Gilroy, a young man from Whitley Bay who had started out as a cartoonist, combined his advertising work with portrait painting, and Sayers was one of the first people to sit for him, sporting her silver wig. Gilroy was alive to her earthy physicality, and unexpected sex appeal, and rhapsodized about her: ‘terrific size – lovely fat fingers – lovely snub nose – lovely curly lips – a baby’s face in a way’.

Sayers was ready to spread her creative wings. She began to translate the Chanson de Roland into rhymed couplets, as well as a medieval poem, Tristan in Brittany. In addition, she dipped in and out of a projected book about Wilkie Collins. She never finished it, but her study of Collins’ methods influenced her own literary style. Her main focus remained on writing detective fiction. Spurred by the desire to support herself and her family, she became intensely productive. In 1928 alone she published three books, including a Wimsey novel, The Unpleasantness at the Bellona Club. The novel was reviewed by Dashiell Hammett, shortly before the former Pinkerton’s gumshoe established himself as a writer of hard-boiled private eye novels. Hammett’s writing, tastes, politics, and life experiences were a world away from Sayers’, but he felt her novel only missed being ‘a pretty good detective story’ because of a lack of pace: ‘Its developments come just a little too late to knock the reader off his chair.’

She had written enough short stories to publish a collection, Lord Peter Views the Body, under the new imprint of Victor Gollancz. A left-wing firebrand, Gollancz had rejected his orthodox Jewish upbringing and become a highly successful businessman with an unrivalled flair for marketing. As managing director of Sayers’ publishers, he revolutionized the advertising of fiction, with two-column splashes in the broadsheets which made his books seem important and exciting.

When he left Ernest Benn to set up on his own, Gollancz built a list of talented detective novelists, promoting newcomers like Milward Kennedy and Gladys Mitchell. But Sayers was much more bankable, and he begged her to join him. She admired Gollancz’s intelligence and drive, and trusted his judgement – it was Gollancz who recommended her to a new literary agent, David Higham. Author and publisher had starkly contrasting political and religious views, but they enjoyed each other’s company, and their mutual respect and loyalty was lifelong.

Since her next novel was under contract to Benn, Gollancz started with the short stories, and came up with a simple but striking yellow and black dust jacket. Gollancz, who was as desperate as his authors for his titles to be noticed (oddly, this is not a trait which all writers associate with their publishers), honed this technique to perfection in the next few years. The bold, yellow jackets, with typography in varying sizes and typefaces, were as recognizable as advertising posters – and Gollancz duly hired Edward McKnight Kauffer, an American modernist whose posters for the London Underground were much admired, to produce eye-catching abstract artwork for works of detective fiction.

Gollancz claimed to have invented the term ‘omnibus volume’; long before the era of the fat airport thriller, he was convinced that readers liked bulky books, which yielded good profits. He had an idea for a huge anthology of mystery stories, and persuaded Sayers to edit it. With his encouragement, she researched the history of the detective story in the course of compiling a weighty gathering of genre fiction. She was probably influenced by Wright and Wrong – that is, by comparable projects undertaken in the United States by Willard Huntington Wright (better known as detective novelist S. S. Van Dine) and in Britain by E. M. Wrong. Her lengthy essay introducing the first series of Great Short Stories of Detection, Mystery and Horror showed the breadth of her reading and her critical insight.

As Sayers’ reputation blossomed, the intense happiness of the early days of marriage faded. Pressure of work, and personal circumstances, took their toll. During the war, Mac had been gassed, two of his brothers had died and another was badly injured. His previous wife reckoned that this sequence of personal disasters transformed his personality, and not in a good way. Now Mac was afflicted by a series of health problems, and owed money to the taxman. When he had to give up his job and go freelance, his morale – and temper – suffered. Once again Sayers found herself let down by a man. Her reaction was to feast on comfort food and to drink more than was good for her.

Despairing of her ‘rapidly fattening frame’, she had her hair cut in an Eton crop, a severe, boyish style that had recently supplanted the ‘bob’. Her choice of clothes became even more outlandish, and on one occasion she turned up to a public function in a man’s rugby shirt. Her plain appearance and fondness for masculine dress led some people to assume she was a lesbian. But with detective novelists, as with detective novels, it is a mistake to judge a book by its cover.

After her father died in September 1928, Sayers and Mac bought a house in Witham, Essex. Today, her statue stands across the road from her home in Newland Street. Sayers’ mother died ten months after her father, and the double bereavement was a crushing blow. A contract with an American publisher enabled her to resign from Benson’s, but she took on responsibility for caring for an elderly aunt, as well as supporting John Anthony. Money remained tight. Mac Fleming’s health worsened, and as her increasing fame provoked his jealousy, he became depressive and difficult. He had promised to adopt John Anthony, but kept putting off any action. So the boy stayed with Ivy, and when Ivy suggested moving nearer to Witham, Sayers discouraged her. She had her hands full with Mac.

When Anthony Berkeley invited her to dine with fellow detective novelists, he offered her much more than simply the opportunity to socialize with people who played the same literary game. For Sayers, the Detection Club came to mean an opportunity to escape for a few hours, just as the stories the Club members wrote were enjoyed by people in search of escapism.

Sayers was becoming interested in real-life murders, absorbing herself in the fears and passions of victims, suspects and culprits alike. She and her colleagues in the Detection Club understood that these cases posed puzzles of their own – and itched to solve them. These puzzles differed from the contrived complexities of the typical detective story. They concerned guilt and innocence, the mysteries of human motivation, and the frighteningly unpredictable workings of justice. And the crime that made the greatest impression on the Detection Club was the brutal stabbing that led to the equally shocking execution of Edith Thompson.




Notes to Chapter 2


My account of Sayers’ life and work owes much to information supplied by the Dorothy L. Sayers Society, Sayers’ reviews of detective fiction, and the biographies and collections of letters mentioned in the Select Bibliography, in particular Barbara Reynolds’ Dorothy L. Sayers: Her Life and Soul, together with material held in the Sayers Archive at the Marion E. Wade Center, Wheaton College, Illinois.

One successful Golden Age suspense novel (written by a single woman) even saw a deranged serial killer decide to solve that problem by ridding the world of unmarried females.

To identify the book in question would be too much of a spoiler, but the author was Ethel Lina White (1876–1944), a specialist in ‘women in jeopardy’ novels, and best known for The Wheel Spins (1936), filmed by Hitchcock as The Lady Vanishes. Raymond Chandler co-wrote the screenplay for The Unseen, also based on a White novel, Midnight House (1942).

the Sexton Blake series

Blake was another private eye with rooms in Baker Street; he was originally created by Harry Blyth in 1893. The many later, often pseudonymous, writers of Blake stories (Margery Allingham may have been among them) included the science fiction and fantasy novelist Michael Moorcock (born 1939) whose first Blake story, Caribbean Crisis (1962), a locked room mystery with a corpse in a bathysphere, is now a sought-after rarity. Blake was brought to the television screen in the Sixties, with Laurence Payne (1919–2009) in the title role; Payne later wrote crime novels, starting with The Nose on My Face (1961), a whodunit filmed as Girl in the Headlines.

Philip Guedella, a Jewish historian

Guedella (1889–1954) was a barrister and popular writer who stood five times as a Liberal candidate for Parliament without success. His epigrams include ‘Even reviewers read a Preface’, while his remark about detective stories is quoted in Antony Shaffer’s play Sleuth.

The Daniels puzzle remained unsolved.

Three years later, a workman called Prudhomme was interrogated by police after his wife accused him of stealing a gold watch, which was discovered at his home. But the watch proved not to be May Daniels’, and justice went no further than seeing the French police charge Prudhomme with the theft of a bicycle, and his wife with stealing vegetables.

a projected book about Wilkie Collins

The surviving fragment was published posthumously: E. R. Gregory, ed., Wilkie Collins. A Critical and Bibliographical Study (Toledo: Friends of the University of Toledo Libraries, 1977).

Clouds of Witness was most notable for a trial scene in the House of Lords

Charles Parker mentions to Wimsey the real-life precedent of Earl Ferrers, the last peer to be hanged, in 1760 (for the murder of his land steward). The novel achieved a strange form of notoriety in 1962, as one of the library books mischievously vandalised by the playwright Joe Orton and his lover and eventual murderer, Kenneth Halliwell; the pair were sent to prison for malicious damage to the property of Islington Public Library.

George Orwell (who had spoken of Wimsey’s ‘morbid interest’ in corpses)

In ‘Raffles and Miss Blandish’, Horizon, October 1944. Drawing a contrast with the stories about Holmes, Ernest Bramah’s blind detective Max Carrados, and Dr John Thorndyke, Orwell argues that: ‘Since 1918 … a detective story not containing a murder has been a great rarity, and the most disgusting details of dismemberment and exhumation are commonly exploited.’ A modern perspective is supplied in Jake Kerridge, ‘Does Crime Writing Have a Misogynistic Heart?’, Daily Telegraph, 17 July 2014. Thanks to the success of the Carrados stories, Ernest Brammah Smith (1864–1942), who wrote as Ernest Bramah, was an obvious candidate for membership of the Detection Club, but although he corresponded amiably with Sayers, probably his natural reclusiveness led him to decline the chance to join.

under the new imprint of Victor Gollancz

Details about Gollancz’s life and career are drawn from Ruth Dudley Edwards’ Victor Gollancz: a Biography (London: Gollancz, 1987).

influenced by Wright and Wrong

The seminal essays were Willard Huntington Wright’s ‘Detective Story’ in Scribners, November 1926, and E. M. Wrong’s ‘Introduction’ to Crime and Detection (London: Oxford University Press, 1926).




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Conversations about a Hanged Woman (#ulink_d832e358-c753-55dc-b358-665bf472c6bc)


On a cold, damp January morning in 1923, a terrified woman was dragged to the gallows at Holloway Prison. Even after a judge put on the black cap at the end of a calamitous trial and sentenced her to death, Edith Thompson never believed she would really hang. Her morale only collapsed when the date was fixed for her execution. On that final morning, when no last-minute reprieve arrived, she started to sob and scream. She was injected with a cocktail of drugs to calm her, and given a large measure of brandy and a cigarette. The hangman strapped her wrists, and his assistant tied her skirt and ankles, but it took four men to manhandle her outside into the drizzle, and then into the shelter of a brick shed. The scaffold stood waiting for her.

Edith was put in a wooden bosun’s chair, so the noose could be tied around her neck. She was barely conscious as a white hood was placed over her head. After the trapdoor opened and she fell, her underclothes were drenched with blood. Lurid rumours claimed that her ‘insides’ fell out. The bleeding was so severe that the authorities insisted that any woman to be hanged subsequently must wear canvas pants. One possibility is that Edith suffered a haemorrhage, another that she was pregnant.

Edith Thompson’s name was on everyone’s lips. She had become notorious as the ‘Messalina of Ilford’, a scandalous modern successor to the predatory and sexually insatiable wife of the Emperor Claudius. Yet Edith’s beginnings could not have been more ordinary, and the events leading to her death were more like a blend of crime passionnel and black farce than a story of calculated and cold-blooded cruelty.

Born on Christmas Day, six months after Sayers, Edith Graydon was a pretty, vivacious Londoner. Her father was a clerk with a profitable sideline as a dancing teacher. One of his pupils, a neighbour in Leytonstone, was Alfred Hitchcock. Despite his physical bulk, the young Hitchcock was surprisingly nimble. He knew the Graydon family, and formed a lasting friendship with Edith’s younger sister Avis.

Dancing and acting were Edith’s favourite pastimes. Her imagination was fired by a touch of drama and romance, but she wasn’t afraid of hard work, and became head buyer for a milliner’s. Edith met Percy Thompson, a shipping clerk, when she was fifteen. After a six-year courtship they married and settled down in Ilford. Their life was comfortable, but lacked glamour and excitement, and Edith craved both. There was nothing dowdy or old-before-her-time about her. She bobbed her hair, wore calf-length sleeveless dresses and spoke French.

When she was twenty-six, she took a fancy to Frederick Bywaters, an eighteen-year-old ship’s laundry steward who had previously courted Avis. Handsome and widely travelled, Bywaters was not staid and set in his ways, like Percy. The three of them, and Avis, went on holiday to the Isle of Wight, and Percy suggested that Bywaters stay with them in Ilford in between voyages. Before long Edith was skipping work for breakfast in bed with the lodger, but Percy discovered that they were having an affair. He refused Bywaters’ demand to allow Edith a divorce, and threw the lad out of the house.

Undeterred, Edith and Bywaters kept seeing each other. When he went back to sea, she sent him dozens of intimate letters. She claimed that she had tried to poison Percy, grinding up broken glass from light bulbs and feeding the shards to him, mixed up with mashed potato. Begging Bywaters to ‘do something desperate’, she sent him press cuttings with accounts of poisonings, and said she had become pregnant by him, but had carried out an abortion herself. All this was probably fantasy rather than fact. Unfortunately for Edith, Bywaters could not bring himself to throw away the letters, and became obsessed by the idea of having her for himself.

Late at night on 4 October 1922, he waited in the darkness for Edith and Percy as they came home from a trip to the Criterion Theatre, and pounced on Percy, stabbing him repeatedly. Panic-stricken, Edith called out, ‘Oh don’t! Oh don’t!’, but her cries made no difference. Bywaters had done something desperate, just as her letters had asked. He fled, and Percy died at the scene. When the police questioned Edith, she became hysterical and insisted that a stranger had attacked her husband. But she was a poor liar. Her affair was soon uncovered, and so were the incriminating letters.

Edith Thompson and Frederick Bywaters were both charged with murder. At the trial, Bywaters said he had only meant to injure Percy, and that Edith was not involved. Against her lawyers’ advice, she gave evidence in her own defence, and her naïve answers when questioned destroyed her credibility. The judge’s summing-up oozed stern Victorian moralism, and the couple were sentenced to death. Their appeals failed, but public opinion, perverse as ever, swung from hatred for Edith to horror at her fate. A woman had not been hanged in Britain for sixteen years, and Bywaters never faltered in his insistence that she was innocent. A petition signed by a million people failed to persuade the Home Secretary to grant a reprieve. Edith and Bywaters were executed in separate prisons, Holloway and Pentonville, on the stroke of nine on 9 January.

Edith Thompson’s final moments tormented her hangman, John Ellis, a former hairdresser and newsagent from Rochdale. Britain’s chief executioner, Ellis hanged Doctor Crippen and Herbert Rowse Armstrong before descending into misery and alcoholism. Eight years after snapping Edith’s neck, he cut his own throat.

The Thompson–Bywaters case marked, in George Orwell’s phrase, the end of an ‘Elizabethan Age’ of English murder. The more talented detective novelists realized that, whilst their fictional mysteries were bound to be very different from real-life cases, they could and should learn from what had happened to people who did kill others in the real world.

Anthony Berkeley was appalled by Edith Thompson’s fate. So was Alfred Hitchcock, who toyed with the idea of filming her life story. Unlike Berkeley, he decided to steer clear, perhaps because of his continuing friendship with Edith’s sister, although some aspects of Stage Fright echo the case.

For Berkeley, the outcome of the trial showed that the British legal system was more fallible than the general public fondly believed. He devoted several of his novels to subversive attacks on conventional justice, yet he was no-one’s idea of a bleeding heart. His sympathy for Edith was driven at least in part by his scorn for the prevailing sexual mores. He had no time for people who condemned adultery.

In Berkeley, wit, charm and flair warred with demons. He loved to confound people’s expectations. The contradictions of his personality infuriated many of his contemporaries. He was the most vociferous advocate of the need for the detective novel to focus on the motivation for murder rather than mere puzzles. Yet the complexities of his own psychological make-up would baffle the most expert profiler.

Unlike almost everyone else, he never felt overawed by Sayers’ intellect and strength of character. He was cheeky enough to put her into one of his most celebrated novels, and tease her about Lord Peter Wimsey. In the long run, his temper tantrums drove Sayers to despair. Yet Agatha Christie wrote about him – not just for publication, but in her private notebook – with unqualified admiration.

Berkeley loved hiding behind the masks he presented to the outside world. One of his literary disguises was so successful that it prompted lengthy – and often wild – speculation in the national press, as well as in two novels by other writers. In later years, the concealment took physical form. Ailing and asthmatic, he would ‘disconcert anybody carrying on a conversation with him by suddenly placing a mask over his face, pumping away at little rubber ball and then taking deep breaths’. Julian Symons, a post-war President of the Detection Club, was one of the disconcerted, believing that Berkeley’s ‘ruddy-faced geniality’ concealed a disturbingly shy and secretive character. He was an obsessive by nature, whose eccentricities (which included a fruitless campaign against King Edward VIII’s marriage to Wallis Simpson) persisted to the end of his life. His will instructed his trustees to make sure that he really was dead. He was terrified of being buried alive.

For all his strange behaviour, Berkeley’s contribution to detective fiction was dazzling. ‘Detection and crime at its wittiest’, Agatha Christie said. ‘All his stories are amusing, intriguing, and he is a master of the final twist.’ His influence can also be detected in the plotting of Christie novels such as Murder on the Orient Express.

His real name was Anthony Berkeley Cox. Born in the same year as Sayers and Edith Thompson, he was the son of a doctor who invented a form of X-ray machine enabling the detection of shrapnel in wounded patients. Sybil Iles, his mother, claimed descent from the seventeenth-century Earl of Monmouth, and from a smuggler called Francis Iles. The family inheritance included two properties in Watford: Monmouth House and The Platts. Sybil was a strong-minded intellectual who studied at Oxford before women’s colleges were formally admitted to the university. A head teacher prior to her marriage, she had published a novel called The School of Life. Berkeley found her powerful and intimidating, and the complexities of their relationship probably explain his schizophrenic attitude towards women – adoring and hurtful by turns.

Berkeley had a younger sister, Cynthia, and a brother, Stephen. An Edwardian photograph shows all three of them posed together in the style of the period. Berkeley seems pensive, with a hint of a suppressed smile, as if enjoying a private joke. He attended Sherborne School before reading Classics at University College, Oxford, and was a contemporary of Sayers, although their paths seem not to have crossed. Yet in a family of high achievers, Berkeley felt overshadowed by his gifted siblings. He took a miserable third-class degree, whereas Stephen won a scholarship to King’s College, Cambridge, and Cynthia achieved a doctorate in music. Stephen became a prominent mathematician, while Cynthia enjoyed success as a musician as well as notoriety because she lived with a man to whom she wasn’t married.

Unlike Sayers, whose letters are now held in hundreds of folders at an American university archive, and Christie, who wrote an (admittedly selective) autobiography, Berkeley cultivated an air of mystery. It appealed to his sense of humour to fob off anyone who sought biographical information, whilst hiding clues to his personal life in plain sight by putting them into his detective stories. His darkest secret was concealed in a book with a title borrowed from the judge’s remarks in Thompson–Bywaters case, but its catastrophic failure marked the end of his career as a novelist.

It is naïve to assume that crime stories routinely reveal secrets about their creators’ personalities. Detective novelists specialize in misdirection. But Berkeley’s mother had fictionalized aspects of her own life in her novel, and he took the same approach to astonishing extremes. For Berkeley, fiction gave a licence to say the unsayable. His skill was such that none of his contemporaries had a clue about how much his novels owed to his private passions.

Alan Littlewood, the hapless protagonist of As for the Woman, is a self-portrait, and Alan’s family bears a close resemblance to Berkeley’s. Alan is an Oxford graduate, the oldest of three children, and feels inadequate in comparison to his sister, a musician, and his brother, a Cambridge scholar. Like Berkeley, he has literary ambitions; and as a teenager he publishes a romantic sonnet. Alan inadvertently overhears Mrs Littlewood, probably echoing Berkeley’s own mother, dismiss his poetry as ‘empty, pretentious nonsense’. Like Berkeley, he suffers from poor health, and an inferiority complex which is exacerbated by a sense that his powerful and intelligent mother finds him a disappointment. And like Berkeley, he finds women both fascinating and frightening. Alan lusts after a married woman, who encourages his devotion, but proves unworthy of it. Was this strange and disastrous relationship based on an early episode in Berkeley’s love life – or is there another interpretation?

Berkeley’s sense of humour was acute but idiosyncratic. Julian Symons recalled that when, inexplicably, a rusty nail appeared in Berkeley’s soup at a literary luncheon, he could not tell whether it had been put there by a careless cook, by a fellow guest Berkeley had insulted, or by Berkeley himself: ‘With Anthony Berkeley Cox, such a joke was possible.’ Even when relatively young, Berkeley relished playing the grumpy old man, and liked to give the impression that he was a misanthrope. Perhaps he used this as a cover to hide his compulsive womanizing. The glamorous Christianna Brand, who joined the Detection Club after the Second World War, and certainly caught Berkeley’s eye, said he once confided that there was ‘not one soul in the world he did not cordially dislike’. Thin-skinned and quick to take offence, he was a rich man who earned a reputation for stinginess. Legend has it that the reason why books signed by Berkeley are rare is because he charged for giving his autograph.

Yet he showed kindness and generosity to little-known writers, inspired loyalty in those who worked for him, and was renowned as a genial host. Christianna Brand judged him ‘an excellent companion, clever, erudite and very well read’, and Symons said he was ‘particularly sympathetic to the young’. When he published a fiercely opinionated book about England’s social and political ills, some of his arguments were not merely perceptive and enlightened, but decades ahead of their time. He argued in favour of equal pay for women, a minimum wage, fairer rents and worker participation on company boards. He also forecast the creation of a League of European Nations.

When the First World War broke out, Berkeley joined up, reaching the rank of lieutenant. He was gassed while serving in France, and also wounded by shrapnel before being invalided out of the army. Bouts of ill-health contributed to the uncertainty of his temperament throughout the rest of his life. In the reckless whirl of wartime, he married Margaret Farrar while on leave in 1917. He was twenty-one, she was just nineteen. They were too young, but what was the point of thinking long-term? Soldiers did not know whether they would ever come back from their next tour of duty. Nor did their lovers.

In peacetime, the marriage ran into difficulties, and eventually they divorced. Margaret (known as Peggy to those close to her) remarried, but Berkeley stayed on surprisingly good terms with her. When he died, decades after their divorce, she received a legacy under his will. The image he liked to cultivate of a tight-fisted misanthrope was not the whole story.

Not long after Berkeley and Margaret split up, he put his own views into the mouth of his (unmarried) detective, Roger Sheringham: ‘I never think a first marriage ought to count, do you? One’s so busy learning how to be married at all that one can hardly help acquiring a kind of resentment against one’s partner in error. And once resentment has crept in, the thing’s finished.’ This is the best evidence we have about why the marriage collapsed.

Like so many other men returning to Britain after serving on the Front, Berkeley found it hard to adjust. He dabbled in activities ranging from farming, property management, and what he described as ‘social work’ (although he was scarcely a conventional do-gooder), to ‘work in a Government office’ (given his contempt for bureaucrats, that job was presumably short-lived). Keen on shooting, he became a good enough marksman to compete at Bisley, but amateur theatricals appealed to him even more, because they afforded a chance to assume a different personality. When his two-act comic opera, The Family Witch was performed in Watford, he played the Major-Domo, and Margaret designed the women’s costumes.

Berkeley contributed scores of humorous sketches to Punch and other periodicals. These included a Conan Doyle spoof written in the style of Wodehouse. He also wrote a series of sketches featuring a small girl, some of which were collected as Brenda Entertains, and a comic fantasy with elements of ‘biological science fiction’, The Professor on Paws, in which part of a dead scientist’s brain is transplanted into a kitten. He had a facility for catching on to what was currently popular, and detective fiction caught his fancy at a time when, as M. R. James said (drawing a contrast with the ghost story), ‘The detective story cannot be too much up-to-date: the motor, the telephone, the aeroplane, the newest slang, are all in place there.’

His first detective novel, The Layton Court Mystery, was published anonymously. The cover said the book was written by ‘?’. Berkeley wrote it ‘for pure amusement, just to see if I could,’ but it sold twenty times better than his earlier books. A country house mystery, it introduced the breezy nosy parker Roger Sheringham and his sidekick Alec Grierson. Berkeley made Sheringham rude and vain, ‘an offensive person, founded on an offensive person I once knew, because in my original innocence I thought it would be amusing to have an offensive detective’. This may explain why Sheringham is portrayed as anti-Semitic. Berkeley developed a taste for taking revenge through fiction that became an addiction.

Yet Sheringham bears an uncanny resemblance to his creator. The son of a doctor, from whom he has inherited a love of puzzles, he is educated at public school and Oxford before military service. He writes successful novels and also for the newspapers. Berkeley was talking about himself and people he knew when he said in a biographical note about Roger: ‘Privately, he had quite a poor opinion of his own books, combined with a horror of ever becoming like some of the people with whom his new work brought him into contact: authors who take their own work with such deadly seriousness, talk about it all the time and consider themselves geniuses.’

Roger comes up with a plausible explanation of who shot the blackmailer Victor Stanworth – only to find that he is wrong. This becomes a familiar pattern for Sheringham, the most fallible of ‘great’ detectives. When he does discover the truth, he helps the culprit to escape punishment, and this thwarting of conventional justice became his trademark. As Berkeley said, Sheringham’s self-confidence was limitless and he was ‘never afraid of taking grave decisions, and often quite illegal ones, when he thinks that pure justice can be served better in this way than by twelve possibly stupid jurymen’. The striking twist in this novel concerns the murderer’s identity. Months later, Agatha Christie used a similar ploy in The Murder of Roger Ackroyd, but took it a stage further.

An odd connection arose between Berkeley and Christie when, in March 1926, he serialized The Wintringham Mystery in the Daily Mirror. The newspaper offered a total of £500 in prizes to readers who provided the best answers to questions about the story: how did Stella disappear, and who caused her disappearance and why? When the prize winners were announced, one of the runners-up was Colonel Archie Christie, who was awarded five pounds. Presumably Agatha either helped her husband to solve the puzzle or entered the competition under his name. She had already won prize money for solving a previous newspaper mystery competition, but given her growing celebrity, may have been reluctant to enter as herself. Even better, the incident gave her the idea for a novel she wrote a few years later. The plot depends upon one character winning a competition prize under someone else’s name.

Sheringham’s second outing came in The Wychford Poisoning Case. At first, it was again published anonymously. Long after writing the book, Berkeley urged a correspondent to throw his copy into the incinerator, saying, ‘I blush hotly whenever I look now at its intolerably facetious pages.’ Yet the story offers clues to his own bizarre psychological make-up.

Spanking and sado-masochistic scenes crop up several times in Berkeley’s work. When the mother of Alec Grierson’s girlfriend Sheila Purefoy says that Sheila and most of her friends deserve a good spanking, Roger heartily agrees that a public spanker ought to be appointed. In a chapter accurately titled ‘Mostly Irrelevant’, Alec spanks Sheila in the presence of her father, who genially remarks, ‘Don’t mind me.’ A few chapters later, it is Roger’s turn to inflict discipline on Sheila, with a rolled-up magazine. Berkeley’s interest in spanking was matched by his loathing of bureaucrats, and a few years later he argued in O England! that ‘The President of the Metropolitan Water Board ought to be spanked publicly on Tower Green’ because of the Board’s failure to deal with water shortages.

Roger Sheringham is at his worst when he rants about women: ‘Most women are potential devils … They live entirely by their emotions … they are fundamentally incapable of reason and their one idea in life is to appear attractive to men.’ Yet Sheringham adds, ‘A man without his woman is only half an entity and … a woman … can … turn his life, however drab, into something really rather staggeringly wonderful.’ When Alec Grierson asks why Roger remains a bachelor, the answer is that ‘the right woman in my case … happens unfortunately to be married to someone else.’

Sheringham has few qualms about adultery. Attitudes were changing rapidly in the post-war era, and novels were becoming franker in their treatment of sex. Berkeley took advantage of this, and Sheringham was almost certainly expressing his creator’s opinions. The central mystery of Berkeley’s life is which particular married woman he thought, at that time, was the right woman for him.

Berkeley subtitled the novel ‘An Essay in Criminology’, and he based the plot on a classic Victorian poisoning puzzle. At the age of nineteen, Florence Chandler, a southern belle from Alabama with gold ringlets and large violet eyes, had a shipboard romance with an Englishman called James Maybrick. He was twenty-three years older, a portly man with a fondness for eating arsenic as an aphrodisiac. More appealingly, Maybrick had made a small fortune as a cotton broker, and Florence agreed to marry him. After settling into Battlecrease House, Maybrick’s home in the suburbs of Liverpool, she gave birth to a son and a daughter, but discovered that her husband had several mistresses, including one who had borne him five children. He also had a vile temper and an unshakeable belief that adultery was acceptable for husbands but not wives. When she had the temerity to take a lover of her own, he was so infuriated that he ripped her dress and blacked her eye.

Gloomy, gothic Battlecrease House made a suitably sinister setting for a macabre domestic mystery populated by a cast of inquisitive servants and members of a family hostile to the young American interloper. Florence bought flypapers from a chemist, and soaked them in bowls to extract arsenic from them – to use as a facial cream, she said. Her husband succumbed to a severe gastric illness, and when the children’s nanny intercepted compromising letters between Florence and her lover, she alerted Maybrick’s brother. The next day, a nurse saw Florence tampering with a bottle of meat juice in her husband’s bedroom; within twenty-four hours, he was dead. Florence was convicted of his murder, even thought there was doubt about whether arsenic poisoning was the cause of death. She fell victim to a fit of popular moral outrage fuelled by the Press, and a hostile summing-up from a judge, who was committed to an asylum two years later, after his sanity finally gave way.

Locked in the condemned cell in Walton Gaol, Florence had the excruciating experience of listening to workmen hammering in the prison yard as they assembled the gallows on which she was to hang. In a bizarre twist of fortune, the death sentence was belatedly replaced with life imprisonment for ‘administering and attempting to administer arsenic to her husband with intent to murder’. Since this was a crime for which she never stood trial, she suffered from the most outrageous compromise in British legal history, serving fifteen years before her release. She fled back to the United States under an assumed name, where she lived to a ripe old age in a squalid cabin in Connecticut. She only had her cats for company, but no doubt she felt safer with them than in the sinister household at Battlecrease House. Decades after her death, a diary was published purporting to amount to a confession by her late husband that he was Jack the Ripper.

The Maybrick mystery, and its multiple interpretations, fascinated Berkeley and also a new friend of his. This was Elizabeth Delafield, a stylish and often poignant novelist widely regarded as a twentieth-century Jane Austen. He dedicated the novel to her, saying it grew out of ‘those long criminological discussions of ours’. He hoped that Delafield would ‘recognise the attempt I have made to substitute for the materialism of the usual crime-puzzle of fiction those psychological values which are … the basis of the universal interest in the far more absorbing criminological dramas of real life. In other words, I have tried to write what might be described as a psychological detective story.’

The psychological puzzle of the relationship between Berkeley and E. M. Delafield is the great untold story of the Golden Age. Born Edmée Elizabeth Monica de la Pasture (her pen name was a jokey version of de la Pasture), Delafield was the daughter of a count whose family fled to England to escape the French revolution and of a novelist. At nineteen, she made a beautiful debutante, but was too tall for most of her dancing partners. She joined a French religious order based in Belgium, but a life of chastity as a Bride of Heaven was not for her. After leaving the convent, she worked in the Voluntary Aid Detachment during the war, published her first novel, and married Major Paul Dashwood, an engineer and third son of a baronet.

The couple had two children, and after three years in Malaya, they moved to Kentisbeare in Devon, where Dashwood acted as land agent for a large estate. Delafield became a pillar of the community, and a doyenne of the Women’s Institute. She was appointed as Cullompton’s first female Justice of the Peace, causing one elderly magistrate to resign from the bench in protest at this invasion of male territory. Like Berkeley, she wrote under a pseudonym, but they had much more in common than that. Each hid deep-rooted feelings of inferiority beneath a veneer of sophistication. They shared a taste for irony, an acute sense of humour, and a risky delight in turning their private lives into fiction.

Delafield and Berkeley talked long into the night about the hanging of Edith Thompson, and Florence Maybrick’s narrow escape from the rope. They regarded both women as victims of a hypocritical morality that punished them for having sex outside marriage. Delafield empathized with their craving for excitement, although unlike Edith and Florence she did not make the mistake of writing letters revealing her intimate secrets. Today, she is never considered as a crime writer, but she was the first author to base a novel on the Thompson–Bywaters case, years before Sayers, Berkeley and the rest. Messalina of the Suburbs appeared just a year after the double execution.

Berkeley’s interest in married women was not confined to Delafield. He nursed a hopeless passion for a budding actress called Hilary Reynolds, but unfortunately she was the wife of his brother, Stephen Cox. She had starred in the West End under the name Hilary Brough, but she and Stephen emigrated briefly to Canada, returning when she became pregnant. By the time their daughter was born, the marriage was on the rocks, and Hilary decided to return to the stage. A brief reunion with Stephen resulted in another pregnancy, and Hilary abandoned her career in the theatre. She and Stephen stayed together until the end of the Thirties for the sake of their son and daughter.

Brenda’s elder sister in Brenda Entertains is a fictional counterpart of Hilary, an early example of Berkeley’s penchant for populating his books with women who appealed to him. Stephen discovered Berkeley’s interest in his wife, and for years he and Hilary broke off contact with Berkeley. Berkeley’s interest in Hilary did not go unnoticed by Delafield, whose No One Now Will Know features the seduction of a sister-in-law.

Berkeley was undaunted. He began to dream of another dangerous liaison, this time with Helen Peters, a gentle and attractive woman. Once again, there was a stumbling block which would have deterred any other writer, no matter how lustful. Not only was Helen married, her husband was Berkeley’s literary agent.

The storyline of The Wintringham Mystery resurfaced in revised form as a novel entitled Cicely Disappears. Berkeley borrowed the names of his Watford properties for a new pseudonym, A. Monmouth Platts, and gave repeated nods and winks to Delafield. One character is named Cullompton, another Kentisbeare, while the heroine marries someone who takes a job as a land agent, like Paul Dashwood. The changes to the story and author’s name may have been designed to evade an agreement that he should not publish the original without the newspaper’s consent. The novel is flimsy, but for Berkeley, its publication represented a shrewd bit of business.

A scene in Mr Priestley’s Problem takes place at a cocktail party where two people discover a shared fascination in criminology, as Berkeley and Delafield had done. The story is a Wodehousian romp in which a group of pranksters trick a naïve man into thinking that he has shot and killed a supposed blackmailer. Berkeley was a member of the Gnats, an amateur dramatic group based in Watford, and wrote the libretto and music for several musicals, including two which reached the London stage – a comic opera, and a stage version of Mr Priestley’s Problem.

Priestley is handcuffed to an attractive woman during the story. Did Alfred Hitchcock read the book or see the play? The situation bears an uncanny resemblance to the scene in Hitchcock’s version of The 39 Steps in which Robert Donat is handcuffed to Madeleine Carroll. There was a touch of sado-masochism in Hitchcock, as there was in Berkeley. For both men, the scenario was a sexual turn-on.

The Vane Mystery saw Berkeley playing with the conventions of the genre. Sherlock Holmes’ superiority over Inspector Lestrade led to innumerable stories contrasting incompetent professional policemen with gifted amateurs, but in this book, Sheringham is humiliated by Inspector Moresby of Scotland Yard, who prefers evidence to psychology, believing that ‘No good detective ought to have too much imagination.’ As if unable to help himself, Berkeley not only gave his own name to Sheringham’s amiable cousin, but audaciously named two key characters with guilty secrets after the two people who stood in the way of a relationship with Helen Peters. They were his wife Margaret, and Helen’s husband. Given such effrontery, to dedicate the book to his parents-in-law was hardly an olive branch.

Unabashed by his humiliation, Sheringham triumphs over Moresby, now promoted to Chief Inspector, in The Silk Stocking Murders. The title illustrates Berkeley’s knack of gaining attention for his detective novels. The first two had been published anonymously, to create a frisson of mystery, and now he calculated that silk stockings, suggestive of sex and suspense, would capture people’s attention. As so often in his literary career, he was ahead of his time, creating a serial killer before the term ‘serial killer’ was invented. Again, he borrowed from a real life crime – the strangling six years earlier of Lilian Othen, a prostitute who worked in the West End under the name Lily Ray. One evening, she picked up a young petty crook called Anthony Castor in Regent Street. He had been drinking heavily, and after going for a late-night walk on the Embankment, they took a tram ride back to her flat in Brixton. During a quarrel, he seized her by the throat, and squeezed until she was dead. He then took off one of her silk stockings and tied it around her neck to make it seem that she had killed herself. But in the early hours of the morning, a policeman saw him trying to break into a shop, and he admitted at once that he had killed a girl. ‘I didn’t think it was so easy to kill anyone,’ he said. He was found guilty of manslaughter and sentenced to eight years’ penal servitude.

Berkeley’s killer adopts Castor’s modus operandi. An aspiring actress, a chorus girl, and a diplomat’s daughter are found dead in quick succession, hanged with silk stockings. Roger deduces that they have been murdered by a sex maniac who seeks out victims whose deaths he can twist into apparent suicides. Berkeley dedicated the book to ‘A. B. Cox, who kindly wrote it for me in his spare time.’ He even inscribed a copy ‘To A. B. Cox from the Author’ and kept it himself. A sign of a split personality, perhaps, or one more example of his weird sense of humour.

In July 1928, he wrote a letter – in French, for some reason – to his agent, A. D. Peters about a play he was writing, and sent ‘Mes salutations à la belle Hélène.’ This is the first known record of his interest in Helen Peters (who was not French but Scottish, the daughter of MacGregor of Glengyle, a distant descendant of Rob Roy). Perhaps Helen was flattered. For all his faults, women found Berkeley attractive. He was rather like those handsome cads who so often crop up in Golden Age novels, and cannot be trusted with other men’s wives. Years later, Clarice Dickson Carr, wife of American detective author John, recalled that Berkeley was ‘very good looking in an English film star way’. And he did not lack stamina. As the Twenties drew to a close, in addition to writing prolifically and pursuing his amorous adventures, he was busily laying the foundations of the Detection Club.




Notes to Chapter 3


Edith Thompson never believed she would really hang

Among the many accounts of the Thompson–Bywaters case (which, as is invariably the way with discussion of past cases, contain much conflicting information) I have found René Weis’s Criminal Justice especially useful.

in George Orwell’s phrase, the end of an ‘Elizabethan Age’ of English murder

See Orwell, ‘Decline of the English Murder’, Tribune, 15 February 1946.

Anthony Berkeley was appalled by Edith Thompson’s fate.

For convenience, I refer to authors such as Berkeley, Henry Wade, John Rhode, Milward Kennedy, J. J. Connington, and Anthony Gillbert by their principal pseudonyms; they were for the most part known to their fellow Detection Club members by their pen names rather than by their real names. Sometimes their novels appeared under alternative titles, typically when an American publisher made a change. Titles mentioned in this book are generally those first used in the UK, although there are exceptions, notably Christie’s And Then There Were None.

In Berkeley, wit, charm and flair warred with demons.

Information about Berkeley’s life is notoriously hard to come by, and I am indebted to Malcolm J. Turnbull (author of Elusion Aforethought), George Locke (author, under the name Ayresome Johns, of a slim but informative volume about Berkeley’s writings), Arthur Robinson, Tony Medawar, and members of Berkeley’s family for supplying material that has proved invaluable in writing this book. Medawar and Robinson (jointly) and Locke have written informative introductions to two collections of Berkeley’s shorter work, The Avenging Chance and other Mysteries from Roger Sheringham’s Casebook, and the privately published The Roger Sheringham Stories respectively. William F. Stickland’s chapter ‘Anthony Berkeley Cox’ in Earl F. Bargainnier’s Twelve Englishmen of Mystery, and the sources he quotes, also offer useful insight.

Julian Symons … believing that Berkeley’s ‘ruddy-faced geniality’ concealed a disturbingly shy and secretive character.

Symons’ posthumous memories of Berkeley, quoted in Elusion Aforethought, appeared in an obituary for The Sunday Times on 14 March 1971, and in the Times Literary Supplement of 10 March 1978.

‘Detection and crime at its wittiest’, Agatha Christie said.

In ‘Detective Writers in England’; see CADS 58, December 2008, and below.

The glamorous Christianna Brand … said he once confided that there was ‘not one soul in the world he did not cordially dislike’.

Christianna Brand (1907–1988), a distinguished post-war practitioner of books in the Golden Age tradition, had mixed feelings about Berkeley, which she expressed in private correspondence with a younger Detection Club colleague, Robert Barnard (1936–2013), and in several versions of an essay which appeared as the Introduction to The Floating Admiral, on the book’s republication in the US in 1979; see also Tony Medawar, ed., ‘Detection Club Memories: Christianna Brand’, CADS 52, August 2007.

as M. R. James said …‘The detective story cannot be too much up-to-date …’

In an Introduction he wrote in 1924 to Ghosts and Marvels, edited by V. H. Collins.

An odd connection arose between Berkeley and Christie

See Tony Medawar, ‘On This Day: 9 April 1926’, CADS 64, November 2012.

The newspaper offered a total of £500 in prizes to readers who provided the best answers to questions about the story

During the Golden Age, prize competitions linked to detective stories were highly popular. They can be cost-effective marketing devices – if carefully handled. In 1905, Edgar Wallace offered £1,000 in prize money for readers who solved the puzzle in his debut thriller, The Four Just Men, and found himself courting bankruptcy as a result. Almost sixty years later, Len Deighton’s second spy novel, Horse Under Water, included a crossword with clues which could be solved through reading the novel. The clues were printed on the endpapers of first editions, and readers were given ten days to complete the puzzle; the first ten to send in correct solutions were awarded book tokens.




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The Mystery of the Silent Pool (#ulink_2134473f-79b6-56ae-a228-863a566f45cd)


On the morning of Saturday 4 December 1926, a gypsy boy called George Best came across a Morris Cowley motor car at Newlands Corner, near Guildford in Surrey. The lights were on, but nobody was inside, although a fur coat and small suitcase had been left. The police soon traced the car to Agatha Christie, who lived with her husband in the stockbroker belt at Sunningdale in Berkshire. At the age of thirty-six, Christie had already established a reputation as a detective novelist, and the couple had named their house Styles, after the scene of the crime in her debut novel, The Mysterious Affair at Styles.

When the police called at Styles, they spoke to Charlotte (‘Carlo’) Fisher, who acted as Christie’s secretary and helped to look after her daughter Rosalind. Carlo said the author had left home, driving off without telling anyone where she was going. According to Carlo, Christie had been unwell recently, and her family were worried about her. Christie’s husband Archie was staying with friends, along with his secretary Nancy Neele. He’d recently confessed to Agatha that he’d fallen in love with Nancy.

The police took Archie and Carlo to the spot where the car had been found. The news had already leaked out, and the car was surrounded by a crowd. The area rapidly became a magnet for sensation-seekers, and the Press salivated over the puzzle, indulging in feverish guesswork about the mysterious affair of the beautiful young writer, and her dashing war hero husband. Words of wisdom from Superintendent Kenward, the Deputy Chief Constable of Surrey Police, featured prominently in their reports.

‘The most baffling mystery ever set me for solution’ was Kenward’s quotable description of the case. An early theory was that Agatha had crashed her car and wandered into nearby woodland in a disorientated state and become lost. The area was searched, with help from members of the public, but there was no sign of Agatha. When questioned by the police and newspapers, Archie was defensive. He dreaded the truth about his relationship with Nancy coming to light. The police guarded his house, and monitored his phone calls.

‘They suspect me of doing away with Agatha,’ he told a business colleague. To deflect suspicion, he revealed to the Daily News that his wife had been thinking of ‘engineering her disappearance’. The newspaper offered a £100 reward for information leading to her discovery, helpfully printing a set of photographs showing how she might have altered her appearance with a disguise.

Close to Newlands Corner, in a hollow shaded by box trees, lay the Silent Pool. Fed by underground springs, the water was clear and still. A woodcutter’s daughter had been surprised there by wicked King John, so legend said, while she was bathing naked. She drowned while trying to flee from him. Her ghost was seen by local people from time to time, floating on the surface of the pool.

Had Christie chosen this serene yet spooky place to end her life? There was only one way to find out. The Silent Pool was dredged with the aid of a pump and large grappling irons to slash the weeds. Tractors and a light aircraft scoured the countryside, and dogs searched the land. They found no sign of a corpse.

With each passing day, the theories became wilder. A clairvoyant called in by the Daily Sketch suggested that Agatha’s body might be found in a log-house. Cynics suggested that the ‘disappearance’ was a stunt to publicize her latest novel, The Murder of Roger Ackroyd. Or had she disguised herself in male clothing and gone into hiding, like Dr Crippen’s mistress Ethel Le Neve sixteen years earlier? The Daily Express consulted a former Chief Inspector of the CID, Walter Dew, renowned as ‘the man who caught Crippen’, who reinvented himself as an occasional media pundit on matters criminal and mysterious after retiring from Scotland Yard. Dew doubted whether Christie was the victim of foul play, or had vanished for publicity or financial reasons. ‘All women are subject to hysteria at times,’ he pronounced, opining that perhaps the fact that she ‘thought about crooks and murder all day’ had affected her. Reporters thirsting for sensation found leading crime writers equally keen to share their wisdom.

On Friday 10 December, Dorothy L. Sayers (whose father had jumped to ‘a scandalous explanation’ of the puzzle) wrote about the case for the Daily News. She assessed the possible scenarios: loss of memory, foul play, suicide, and voluntary disappearance, but her article was apparently written without personal knowledge of Christie’s character. Her speculations highlighted the questions about the case, but yielded no answers.

Was Agatha conducting a form of ‘mental reprisal’ against someone who had hurt her? Edgar Wallace advanced this theory in the Daily Mail, guessing that she was taking revenge on Archie for his adultery. A year or so later, Wallace wrote a story inspired by the case, ‘The Sunningdale Murder’. The Daily Mail also featured Max Pemberton, author of several bestselling Victorian thrillers, fearing the worst. He thought Agatha was dead.

Sherlock Holmes’ creator, Sir Arthur Conan Doyle, was a former Deputy Lieutenant of Surrey, although he had resigned after developing a passionate belief in spiritualism. He had investigated real-life crimes, such as the Edalji and Oscar Slater cases, with much success. The Surrey police supplied him with one of Agatha’s gloves, which he took to a medium and psychometrist named Horace Leaf. Leaf’s considered opinion was that ‘trouble’ was connected to the glove. If this insight was of limited value, Leaf did say that Agatha was still alive. Conan Doyle informed Archie of this breakthrough, and announced that the case was ‘an excellent example of the uses of psychometry as an aid to the detective’.

The police appealed for public help in searching the Surrey Downs, and ‘the Great Sunday Hunt’ took place on 12 December. About two thousand civilians took part, wrapped up warm against the cold. It was like a massive outdoor pre-Christmas party. Ice creams and hot drinks were sold from vans to refresh the spectators. Sayers could not resist joining in the excitement, and persuaded John Gilroy, her artist friend from Benson’s, to drive her to the Silent Pool. The outcome for her was even more of an anticlimax than her foray to France to investigate the Nurse Daniels mystery. During a brief look around, Sayers failed to spot any tell-tale clues that the police had missed, and was left to pronounce, with all the authority she could muster, ‘No, she isn’t here.’ Yet if she failed to contribute to the detective effort, at least her day out amounted to useful research. Aspects of her visit featured in Unnatural Death, in which two women go missing from a car left abandoned on the south coast.

As darkness fell, the hunt was called off. A flare was lit to help searchers who had lost their bearings find their way home. Weary and deflated, Kenward told journalists that he did not believe Agatha Christie’s disappearance was a gimmick designed to sell her books.

What he did not know was that the answer lay more than two hundred miles north. A banjo player and a fellow bandsman performing at the Hydropathic Hotel in Harrogate, the North Yorkshire spa town, were keeping a close eye on a woman guest. They concluded she was the missing novelist, and their detective work proved superior to anyone else’s. Within forty-eight hours, the whole world learned that Agatha Christie had been discovered, safe and well.

After travelling by train to Harrogate, Christie had taken a first-floor room at five guineas a week and bought herself some new clothes, including a glamorous pink georgette evening dress. She followed the reports about her disappearance in the Press, and played bridge – and billiards – in the public rooms. At night she danced in the Winter Garden Ballroom to the music of the Happy Hydro Boys. Otherwise she relaxed by having massages, solving crossword puzzles and borrowing books from the W.H. Smith’s lending library. Her favourite reading comprised thrillers rejoicing in titles such as The Double Thumb and The Phantom Train. She had assumed the identity of a Mrs Teresa Neele, recently returned to Britain from Cape Town. Her chosen surname was that of her husband’s mistress.

Today Agatha Christie remains, almost half a century after her death, a household name. More than that, she has become a global brand. Big business. Two billion (or is it four billion? – estimates vary, and at such a stratospheric level, it scarcely seems to matter) copies of her books have been sold, and she has been translated more often than any other author. About two hundred film and television versions of her work have been screened, and the stories have been adapted into video games, graphic novels and Japanese anime. She was the most performed female British playwright of the twentieth century, and The Mousetrap is the longest-running stage play of all time, with more than 25,000 performances in London alone. The sixtieth anniversary of its first performance was celebrated by sixty specially licensed performances worldwide. Her home overlooking the River Dart is in the care of the National Trust and a popular tourist destination, while her native Torquay boasts an Agatha Christie Mile, along which visitors can retrace her steps.

A statue featuring a bust of Christie stands in Covent Garden, the Pera Palace Hotel in Istanbul has an Agatha Christie room, and her face smiles from a billboard welcoming tourists to Gran Canaria. On the 120th anniversary of her birth, cooks around the world baked a Delicious Death cake from a recipe by Jane Asher. The book with the thickest spine in the world has been created from the complete Miss Marple stories. In Harrogate, a plaque in the Old Swan Hotel (formerly the Hydropathic Hydro) commemorates her disappearance, the reason for which continues to provoke debate. Agatha Christie is, in short, an icon whose name is synonymous with detective fiction and mystery.

The enduring nature and astonishing scale of her fame would have amazed, and possibly appalled her. Not only was she genuinely modest, she was fanatical about preserving her privacy. She had always been shy, but the media frenzy that surrounded her disappearance left her with a lifelong detestation of the Press.

At first sight, Christie seems as genteel as her books are supposed to be. With Christie, however, nothing was quite as it seemed. In person, she combined a straightforward outlook on life with hidden depths, just as her simple and accessible writing style contrasted with her devious plots. Her father was American, and from childhood she spent long periods abroad, gaining a breadth of understanding and experience of the world that helps to explain why her work has enjoyed unceasing popularity when so much more sophisticated fiction has vanished from sight.

Agatha Mary Clarissa Miller was born on 15 September 1890, the third child of Frederick and Clara Miller. Frederick had inherited enough money from the family business not to need to work, and not long after Agatha’s elder sister Margaret (known as Madge) was born, the family settled in Torquay. Frederick was good-natured but lazy, and his failure to keep a close eye on the family fortune proved financially calamitous. To economize, he let the Torquay house, and took his family to France for over six months. Agatha enjoyed such an idyllic summer in Pau that she never went back there, unwilling to diminish the magical memories of that first foreign adventure. Her novels are stereotypically associated with settings in country houses and seemingly Home Counties villages for which detective novelist Colin Watson coined the generic term ‘Mayhem Parva’. In fact, a high proportion of her stories are set overseas. This reflects her love of travel, but above all her core belief that, in its fundamentals, human nature is much the same everywhere.

Madge was regarded as ‘the clever one’ in the family, and attended boarding school, but one of Clara’s unorthodox ideas was to school Agatha at home. Frederick Miller’s health deteriorated along with the family finances, and he died in 1901. Money was short, but Madge had married James Watt, who came from a wealthy Mancunian family, and Agatha often stayed with them at Abney Hall in Cheshire. She loved Abney, and fictitious versions of it appeared in After the Funeral and ‘The Adventure of the Christmas Pudding’. After a brief and unsatisfactory spell at a Torquay school, attending two days a week, she completed her education at three pensions in France.

She lived in her imagination, and loved writing stories and poems. Her instinct was to watch and listen to others rather than take centre stage herself. A keen eavesdropper, she gathered plot ideas from stray phrases in overheard conversations between strangers. She was as curious about other people as she was reluctant to reveal her own thoughts. Her innate modesty meant she felt under no compulsion to talk too much, and so she never gave herself away.

She wrote a novel set in Cairo, where she and her mother had taken a three-month holiday, but a literary agent, Hughes Massie, turned Snow upon the Desert down. Undaunted, she continued to write, as well as taking singing lessons, while receiving plenty of overtures from young men attracted by her serene manner and quiet good looks. Tall, slim and pale-haired, she rejected several marriage proposals before becoming engaged to Reggie Lucy, a major in the Gunners. Yet she broke with Reggie after meeting a dashing young airman.

Lieutenant Archie Christie was the son of a judge in the Indian Civil Service, and Christie later said she fell for him because she found him unpredictable and fascinating. When war broke out, she realized he was likely to be killed. Three days before Christmas, he suddenly obtained leave from duty and they decided to marry. The wedding took place on Christmas Eve 1914, and Archie returned to France on Boxing Day. Life at this time was heady, exhilarating, and impulsive. It was also frighteningly insecure. Agatha’s brother Monty, a feckless charmer, was badly wounded while serving with the King’s African Rifles, and although he survived, he suffered psychological damage. To Clara’s distress, he liked to take up his revolver and shoot at people passing the family home in Torquay – a hobby Christie gave to a character, decades later, in her play The Unexpected Guest.

Archie was decorated for bravery and promoted to the rank of colonel before being invalided out of the Royal Flying Corps. At one point the couple did not see each other for almost two years. Agatha became a V.A.D. (Volunteer Aid Detachment) nurse, later transferring to the dispensary. A rather sinister pharmacist who told her he enjoyed the power afforded by dealing with poisons stuck in her mind, and nearly fifty years later, provided her with a key character in The Pale Horse. She blew up a Cona coffee maker whilst attempting the Marsh test to detect the presence of arsenic, but acquired an extensive knowledge of poisons, which she soon put to use – in fiction.

Madge shared Agatha’s enthusiasm for detectives such as Sherlock Holmes and his French rivals Arsène Lupin and Joseph Rouletabille, and challenged her to write a whodunit. Having encountered a few Belgian war refugees, Christie decided that her detective would be Belgian too. She created someone who was vain but brilliant: Hercule Poirot. His foreign nationality was a clever stroke, and so was his conceit: British people were often suspicious of foreigners, and distrustful of cleverness. Christie poked fun at her fellow countrymen’s insularity, while making it plausible that suspects who concocted ingenious murder schemes made the catastrophic mistake of underestimating this seemingly ridiculous figure, with his broken English, extravagant moustache and insistence on using ‘the little grey cells’ of the brain. Christie’s prime literary influence was Conan Doyle, and she equipped Poirot with an amiable if rather obtuse Watson in Captain Arthur Hastings.

Christie finished The Mysterious Affair at Styles in 1918, and the following year she gave birth to Rosalind. After a series of rejections from publishers, John Lane offered a less-than-generous contract which gave him an option over her next five books. She made the revisions he asked for, and her ingenious country house mystery finally appeared in the US in 1920 and in Britain the following year. Next came The Secret Adversary, a light and breezy thriller which introduced a young couple who went on to marry and to feature in four subsequent books, the last published more than half a century after the first. Tommy and Tuppence Beresford represent wish fulfilment on Christie’s part. She imagined herself as the lovely, sharp-witted Tuppence, while the courageous and eternally reliable Tommy was an idealized portrait of the man she thought she had married.

In January 1922, Christie and Archie took the extraordinary step of leaving their young daughter for almost a year so that they could take part in a ‘Mission to the Dominions’. This was an international publicity exercise meant to pave the way for the forthcoming British Empire Exhibition. The grand tour was the brainchild of Major Belcher, a friend of Archie’s with a genius for self-promotion, the highlight of whose war service was a spell as Controller of the Supplies of Potatoes. Belcher offered Archie, who had worked in the City since the war, the job of financial adviser to the mission, and Agatha’s travel expenses were covered, with a month’s holiday in Honolulu thrown in. Archie’s employers were unwilling to keep his job open for him, but he was bored with civilian life, and Agatha loved to travel. She said in her autobiography: ‘We had never been people who played safe.’

Although Madge and her mother agreed to look after Rosalind, Madge felt Agatha should have stayed in England, but Clara Miller was supportive, arguing that a wife’s priority was to be with her husband. Agatha fell in love with South Africa, and the experience provided material not only for her next book, but also for creating the make-believe life of Mrs Teresa Neele. On board ship, she often played bridge, and sometimes quoits, once defeating the captain. In Waikiki, the couple were among the first British people to master the art of stand-up surfing. An added pleasure for Agatha was the chance to show off her figure in an emerald green wool bathing dress.

The tour was long and often gruelling, but although Belcher proved a cantankerous and selfish companion, who sent Agatha out to buy socks or on other errands, and then forget to reimburse her, she had no regrets. On their return, however, Rosalind treated them as strangers. Perhaps her mother’s long absence during her childhood accounted for some of the complexities in the relationship between mother and daughter that persisted for the rest of Christie’s life.

Christie’s naïveté is illustrated by the fact that she did not realize that the money she earned from writing was subject to income tax, and this was the start of a long and unhappy relationship with the Revenue. She needed a literary agent, and although Hughes Massie had died, she was taken on by his youthful successor whose trustworthiness made him someone she relied on for the rest of her life. This was Edmund Cork, who later escorted Ngaio Marsh to Bentley’s installation as President of the Detection Club.

Poirot had returned in The Murder on the Links, whose plot was influenced by a recent murder in France, and she tried to supplement her finances by entering newspaper competitions. The Daily Sketch serialized The Mystery of Norman’s Court, by John Chancellor, a crime writer who enjoyed a brief vogue but is now forgotten. The first prize for the solution to Chancellor’s puzzle was an eye-watering £1,300, illustrating the lengths newspapers were willing to go to in order to attract readers. Christie did not win, but was one of twelve people who shared in the runners-up prize of £800.

At this time, she did not have the loathing of publicity stunts that developed later. She even took part in a mock trial to promote a mystery play, In the Next Room, a dramatization of a locked room mystery by Burton E. Stevenson. Christie was one of four writers on a jury presided over by G. K. Chesterton. The accused was found not guilty, and Chesterton announced that in any case he would have ‘refused to convict a Frenchman for the humane and understandable act of murdering an American millionaire’.

Poirot’s popularity prompted her to feature him in a string of sub-Sherlockian short stories, but The Man in the Brown Suit broke fresh ground. It is almost unique among early Golden Age novels in being narrated (mostly) by a woman. Anne Bedingfeld, the heroine, was an idealized self-portrait of an independently minded young woman with a taste for adventure. After arriving in South Africa, Anne goes surfing at Muizenberg, as Christie had done, and finds the sport equally exhilarating. By the end of the book, she has also found love, and is happily married, with a child.

At Belcher’s request, a character based upon him played a prominent part. Much of the story is presented through extracts from two diaries, and the surprise solution paved the way for an even more daring and skilful means of confounding the reader’s expectations in The Murder of Roger Ackroyd. Christie took care to ensure that this breakthrough novel did not appear until after she had completed her contractual obligation to John Lane with a collection of the Poirot tales and a third light-hearted thriller, The Secret of Chimneys.

The events of 1926 changed everything. The year began pleasantly, with a holiday in Corsica, and winning the prize (under husband Archie’s name) for solving Berkeley’s serial, The Wintringham Mystery. In June, the publication of The Murder of Roger Ackroyd catapulted her into the front rank of crime novelists. The book remains a landmark title of classic detective fiction. The story is told not by Captain Hastings but by Dr Sheppard, who lives with his busybody sister Caroline in the sleepy village of King’s Abbot, and their new neighbour is Poirot, who has retired to grow vegetable marrows.

The arrival of a fictional detective in a tranquil location invariably presages an outbreak of homicide, and when the little Belgian starts to investigate, Dr Sheppard acts as a surrogate Hastings. Christie enjoyed writing about the doctor’s sister, Caroline Sheppard, someone who is intensely inquisitive, ‘knowing everything, hearing everything: the complete detective service in the home’. More fully developed than most of Christie’s puppets, Caroline was the prototype for Jane Marple. The village setting and dazzling plot combine to make this the definitive Christie novel.

Christie’s masterstroke was to give an ingenious extra twist to Berkeley’s central idea in The Layton Court Mystery. Her spin on the ‘least likely person’ theme resembled the trick in a book written more than forty years earlier. The Shooting Party was a remarkable early novel by that least likely of crime writers, Anton Chekhov. The Swedish writer Major Samuel August Duse (it is not true that Swedish crime fiction began with Henning Mankell and Stieg Larsson) had previously used a comparable device in Dr Smirno’s Diary and The Dagmar Case. However, since Chekhov’s book was not translated into English until 1926, and Duse’s books not at all, it is unlikely that Christie was aware of them.

A minority moaned that Christie had failed to ‘play fair’. One reader wrote a letter of complaint to The Times, and the News Chronicle harrumphed that the book was a ‘tasteless and unfortunate letdown by a writer we had grown to admire.’ This was an absurdly harsh judgment, even though Christie’s telling of the story was economical with the truth. T. S. Eliot reckoned it was a ‘brilliant Maskelyne trick’, while Sayers insisted, ‘It’s the reader’s business to suspect everybody.’

Before the year was out, Christie’s comfortable existence was ripped apart. Clara died, and as Christie struggled to cope with grief and the task of sorting out her mother’s affairs in Torquay, she felt increasingly run down and lonely. She was acutely conscious that she was no longer the svelte young woman who made admirers swoon. Her delicate beauty was fading, and since Rosalind’s birth, she had put on weight. Archie stayed in London, and when he rejoined her, he broke the news that he had fallen in love with Belcher’s former secretary, Nancy Neele. At that moment, Agatha’s ‘happy, successful, confident life’ ended.

She tried to persuade Archie to stay, but he became increasingly unkind, perhaps a sign of a guilty conscience. He walked out on his family on the morning of 3 December to be with Nancy. That same evening, Agatha drove away from home, leaving Rosalind asleep in the house.

After Agatha was tracked down to Harrogate, Archie maintained in public that she had been suffering from amnesia, a claim supported by two doctors. In a forerunner of a tabloid witch-hunt, hostile journalists accused her of simply seeking publicity. She also found herself caught up in a row between two formidable bruisers from opposite ends of the political spectrum.

When the Home Office announced that the cost to Scotland Yard of the search for Christie was twelve pounds, 10 shillings, the MP and former miner William Lunn ranted about the expense of a ‘cruel hoax’. The Home Secretary, William Joynson-Hicks, promptly revised the cost to nil, on the basis that it was absorbed by the general police budget. The real argument was not about Christie, but the bitter aftermath of the failed General Strike. Lunn was angry about expenditure on the moneyed classes when the poor were suffering. Joynson-Hicks was a right-wing hawk, unwilling to give his opponents an inch, and quite prepared to juggle the figures to suit his purpose.

Lunn’s condemnation was as brutal as the Press coverage. Christie was a victim, though she was too strong to wallow in victimhood, and too proud to seek help before she cracked. Her experiences left a mark on her future writing, in which the idea of the ‘ordeal by innocence’ undergone by ordinary people whose lives are disrupted by murder crops up as often as the ‘wronged man’ in the films of Alfred Hitchcock.

The trauma left her barely able to work. Drained of energy and enthusiasm for writing, she recuperated at Abney Hall and then took a holiday in the Canary Islands; her visit features in their tourist literature to this day. But the process of recovery was slow and tortuous. She had lost her trust in people, and had developed a loathing for crowds and for the Press. She admitted in her autobiography that she could hardly bear to go on living. Yet she, like Sayers, had a young child to whom she felt not only devotion but a sense of duty. Suicide was not an option.

With her marriage in ruins, and her confidence shattered, she struggled to earn money to look after herself and Rosalind. Inspiration had deserted her. As a stop-gap measure, she was helped by Archie’s brother, Campbell Christie, to cobble some previously published short stories together to form The Big Four. The resulting thriller was lively but ludicrous, featuring not only an evil Chinese mastermind and an exotic femme fatale, but also, in a nod to Mycroft Holmes, Poirot’s smarter brother, Achille.

When Christie did force herself to produce a fresh novel, it was simply an expanded version of an earlier short story. By her standards, it was dismally dull. Even Christie admitted she hated The Mystery of the Blue Train. The book is dedicated to Carlo Fisher, one of the few people whom Christie felt she could trust. In April 1928, she was granted a divorce, and Archie promptly married Nancy Neele. Hoping to rid herself of her former husband’s name, she tried to persuade her publishers to allow her to adopt a male pseudonym, but they refused. The Agatha Christie brand was already too valuable to be sacrificed.

She tried her hand at various types of story in an attempt to recapture her joy in writing, but struggled to recapture her zest and originality. The Seven Dials Mystery, another thriller, resurrected characters from The Secret of Chimneys, while Tommy and Tuppence Beresford returned in Partners in Crime, a collection of short stories which had mostly appeared five years earlier.

The worst was not yet over, as Agatha’s brother died. She and Madge had paid for Monty to live in a house on Dartmoor; his poor health was exacerbated by a drug habit, although his personal magnetism attracted women willing to look after him. He emigrated to the south of France, and his final companion was a nurse. A stroke killed him while he was having a drink in a seafront café in Marseilles. Christie had been fond of him, but acutely aware of his failings. Attractive but weak-willed men like Monty often figure in her novels.

As Partners in Crime was published, there was at last a hint of better times to come. Anthony Berkeley introduced Christie to a new social circle, which gave her the chance to meet people with whom she had a great deal in common. Crucially, they were people whom she could trust. Her determination to stay out of the public gaze was shared by many of her new friends. They believed their books should speak for themselves. The camaraderie of their dinners helped her to patch up her self-confidence as she embarked on the long journey towards a new life.




Notes to Chapter 4


Christie had already established a reputation as a detective novelist

The principal sources for my account of Christie’s life and work, including her disappearance, are listed in the Select Bibliography. The tireless research work undertaken by both Tony Medawar and John Curran has proved especially valuable.

his French rivals Arsene Lupin and Joseph Rouletabille

Created respectively by Maurice Leblanc (1864–1941) and Gaston Leroux (1868–1927). Rouletabille first appeared in the classic ‘locked room’ novel, The Mystery of the Yellow Room, but thanks to Andrew Lloyd Webber’s musical, Leroux is now better remembered as author of The Phantom of the Opera.

she tried to supplement her finances by entering newspaper competitions

See Tony Medawar, ‘On this Day’, CADS 64, November 2012, for accounts of Christie’s prize competition entry, and the mock trials mentioned here and in chapter 6.

The Swedish writer Major Samuel August Duse … had previously used a comparable device

Duse’s work is discussed by Bo Lundin in The Swedish Crime Story (1981).

T. S. Eliot reckoned it was a ‘brilliant Maskelyne trick’

Jasper Maskelyne (1902–73) was a British stage magician, and a member of a family of stage magicians, the son of Nevil Maskelyne and a grandson of John Nevil Maskelyne. The Maskelynes’ claims to fame include not only the creation of countless tricks that fascinated Carr, but also the invention of the coin-in-the-slot toilet door, which has yet to be deployed in a locked cubicle whodunit. John Nevil invented a character dressed in a Chinese-style silk tunic, capable of playing hands of the card games whist and nap, and named Psycho. Psycho appeared to move of its own accord, but was in fact operated by concealed bellows.




5 (#ulink_c6874510-399d-50a8-b852-f472896d077e)

A Bolshevik Soul in a Fabian Muzzle (#ulink_c6874510-399d-50a8-b852-f472896d077e)


A tediously repetitive complaint about Sayers and other Golden Age novelists is that their books were dominated by ‘snobbery with violence’. This is a neat phrase, but a lazy criticism. In reality, Golden Age writers suffered under snobbish attitudes (and still do) at least as often as they were guilty of them. Douglas Cole, a leading socialist intellectual, liked to tell a story from his time as an Oxford don. He remarked to a reactionary acquaintance, Colonel Farquharson, that the BBC had broadcast one of his detective stories the previous week. The Colonel replied: ‘What a pity. Had I known earlier, I could have asked the servants to listen to it.’

Christie, Sayers and Berkeley were conservative in outlook, and their success has caused a peculiar amnesia to afflict critical discussion of the Golden Age. Detective novelists with radical views have become the men – and women – who never were. Even the distinguished historian of the genre Julian Symons, who should have known better, thought it ‘safe to say that almost all of the British writers of the Twenties and Thirties … were unquestionably right-wing.’ In fact, the Liberal Party and centre-left were well represented among Golden Age authors, while others joined the Communist Party or flirted with it. One led the Jarrow Crusade, another married one of Stalin’s senior lieutenants, yet another was killed fighting for the Republican cause in Spain. Some mocked Nazis and Fascists in their detective novels long before it was fashionable to do so. Others wrote mysteries which debated the merits of assassinating dictators.

Douglas and Margaret Cole were the leading lights of the Left among Golden Age detective novelists. Their personal lives seem, at first glance, more straightforward than the emotionally turbulent experiences of Sayers, Berkeley and Christie. Yet the Coles’ apparently happy marriage was more complicated than it seemed.

Douglas Cole was already a pillar of the Labour Research Department, when Margaret Postgate joined after a spell teaching classics at Hammersmith’s prestigious St Paul’s Girls’ School. Margaret was a dynamic young woman, with ‘a mop of short thick black wavy hair in which is set swarthy complexion, sharp nose and chin and most brilliantly defiant eyes’. Instantly smitten by Douglas, she wrote the name ‘Mrs G. D. H. Cole’ on a piece of paper to see how it looked before hastily crumpling it up.

Her brother Raymond described Douglas as ‘slender, fairly tall and quite handsome; his eyes were set in a curiously straight line and he could look at you in an oddly hypnotic manner.’ This expression reminded Raymond of a snake, while Raymond’s son Oliver gave Douglas a curious immortality by taking him as the model for the character of Professor Yaffle in the children’s television series Bagpuss. Yaffle was a woodpecker carved from wood, a brilliant academic with a grumpy demeanour, who at times of inactivity served as a bookend.

Margaret debated political theory with Douglas, and secretly wrote ‘a bad poem or two about him’, but was dismayed to find the Department ‘as nearly as possible sexless – it did not fornicate – hardly even“neck”.’ One wet winter night, she spent the evening in Douglas’ flat in Battersea, discussing a propaganda pamphlet. When he offered her the loan of an umbrella for her walk back to Fulham, rather than a bed for the night, she felt aggrieved. Although he did not seem to reciprocate the physical desire she felt for him, she put this down to the all-consuming nature of his dedication to socialism.

After a year or so, it dawned on him that Margaret’s interest in his company was not solely due to her love of politics, and he took her out to the theatre and a concert. When he invited her for a country walk, it turned into ‘a pretty fast march’ along the Thames towpath. He brought along dates and biscuits for them to eat, but forgot about anything to drink. The walk passed mostly in silence. Margaret’s throat was dry with thirst, and she could not think of anything to say. Douglas did not help her out.

Undeterred, a couple of months later, she accepted another invitation for a walk. They went down to Hampden Woods on a fine day in May. ‘Some kind of tension seemed to develop,’ she recalled, and they sat down on a log in the midst of the young beech trees. No-one else was around, apart from an ‘indignant pigeon’ which flew out of the log. With something less than the panache of a born Casanova, Douglas stretched an arm around her and said, ‘I suppose this has got to happen.’

On returning to the Labour Research Department, the couple announced their engagement. The wedding took place at a registry office adorned by a sign warning: ‘No Confetti: Defence of the Realm Act.’ Margaret wrote a poem, ‘Beechwood’, about that close encounter on the log: the pigeon was mentioned, but not the fact that Douglas fell asleep on the train home. People were startled by their marriage, since Douglas was widely assumed to be more interested in men than women. His idea of a stab at humour was to claim he had been forced into matrimony, but Margaret did not care.

‘Physically,’ she said, ‘he was always under-sexed – low-powered. If he had not married, I doubt very much whether he would have had any sex life at all in the ordinary sense … Up to this time, his physical affections, his desire to caress, had been generally directed towards his own sex; he had fallen in love with various young men … and had written poems to them. But it was all very mild, and needed no sort of legal sanction … his sympathy with homosexuals was intellectual chiefly. For women generally, except his wife, he never seemed to have any sexual use at all … he thought that the mass of women were not good Socialist material.’

In 1926, Christie lost a husband, Sayers found one, and Berkeley was contemplating a change of wife. That year was equally momentous for Douglas and Margaret Cole, but for different reasons. Having abandoned the plans they had discussed with Sayers for forming a crime-writing syndicate, they were now writing detective stories together to supplement their academic income. Fiction, however, was put on hold as they rallied to the cause of the workers during the General Strike.

The Coles and their allies on the British Left were convinced that a determined and united industrial movement ‘could make its will prevail’. That confidence was mirrored by the apprehension of people who supported the status quo, such as Christie. Her anxieties were reflected in The Secret Adversary. The spymaster Mr Carter warns Tommy and Tuppence Beresford about the threat to trade posed by a Labour government. ‘Bolshevist gold’ is pouring into the country, in an attempt to foment unrest among the workers. Thanks to the plucky Beresfords, the ‘strike menace’ and the ‘inauguration of a reign of terror’ feared by the newspapers are averted.

While Christie dreaded the prospect of seismic political change, the Coles devoted their lives to trying to achieve it. The General Strike offered the prospect of worker solidarity toppling the established order. After Ramsay MacDonald, the first Labour Prime Minister, lost office in 1924, Churchill’s ‘Silk Stocking Budget’ reintroduced the Gold Standard, creating pressure to cut wages, and when the mine owners threatened to slash pay, the miners threatened to strike. The government bought off the employers with a temporary subsidy, unable to risk a confrontation because stocks of coal were low. Trade unionists rejoiced over their victory, but their celebrations proved premature.

Margaret concluded afterwards that the General Strike was provoked by the government, once it had bought time to prepare for a fight. Coal was stockpiled, and Churchill set up a strike-breaking force, the Organisation for the Maintenance of Supplies. Once the subsidy ended, the mine owners again proposed lower pay and longer hours. ‘Not a penny, not a minute’ was the trade union side’s response, but concessions were not forthcoming. Compositors at the Daily Mail refused to set a leader article attacking the miners, and Baldwin retaliated by calling off negotiations. The next day, the ‘front-line troops’ were called out on strike.

At a rowdy protest meeting, members of Oxford University’s Labour Club argued about how to fight back if the Vice-Chancellor conscripted students into the O.M.S. to keep essential services moving. They were interrupted by the arrival of Douglas and Sandie Lindsay, the Master of Balliol, who came to announce a triumph. They had persuaded the authorities to reject compulsory conscription. Douglas, the ascetic intellectual, became an instant hero. A University Strike Committee was set up, based at the Coles’ house in Holywell, to produce propaganda with an ‘inky duplicator’, and organise speakers to address meetings and rally public support.

It was an exciting time. The team of activists borrowed cars to run a courier service between Oxford and London. The plan was to collect messages and instructions from the Trades Union Congress, along with copies of the union newsletter, the British Worker. Margaret was appointed chief courier, and Hugh Gaitskell, one of Douglas’s most gifted students, did most of the driving. Another undergraduate volunteer was Cecil Day-Lewis. He worked on a bulletin arguing that the Archbishop of Canterbury should mediate in the strike., and ruined his only good suit by spilling violet ink over it. Eleven years later, having assumed the identity of crime writer Nicholas Blake, he joined the Coles in the Detection Club.

Margaret was thrilled by the solidarity shown by long-serving employees of the Clarendon Press, who showed the courage of their convictions by walking out of work, even though it meant risking their pensions. For all their brilliance, however, the Coles failed to spot the obvious. The trade union leaders had blundered by calling the print workers out, as this made it harder to get their message across to a fearful public. The government, conversely, was able to influence debate on the radio. After eight days, the engineers and ship workers were called out, but although the miners opposed any compromise, the battle proved unwinnable, and the TUC told its members to go back to work.

Douglas struggled to come to terms with the scale of this defeat, but Margaret concluded that the government’s victory marked the ‘final throw’ of mass industrial action. Yet the Coles’ spirit was unquenchable. Before long they turned their minds back to detective fiction, as well as what to do next in the name of socialism. For all their deeply-felt dismay, they were lucky. The General Strike did not hurt their pockets, as it did those who lost pay they could ill afford. For Margaret, the strike was an enthralling experience, and she had enjoyed Hugh Gaitskell’s company, although it was Douglas who fell in love with him.

Sayers and the Coles bonded on an intellectual level, even though their opinions about life and society were poles apart. Sayers’ priority was to earn a living, and she threw herself into the advertising business with gusto. The Coles believed capitalism was in crisis, and opted for seclusion among the dreaming spires, although Douglas did become honorary research officer to the Amalgamated Society of Engineers.

He was always known as G. D. H. Cole; this was as much a brand name as Sayers’ insistence on her middle initial, although he would have been horrified by anything as redolent of capitalism as the idea of a ‘brand’. Although born in Cambridge, Margaret said later that he ‘developed a violent dislike of Cambridge, partly because it was not Oxford’. At St Paul’s School, he worked on a magazine which G. K. Chesterton praised, and became a devotee of William Morris. By the time he went to study Classics at Balliol, he had embraced socialism.

Douglas fantasized about Britain developing into a society based on ‘Guild Socialism’, with production run and organized by self-governing democratic organisations of workers. He became prominent in the Fabian Society. Chesterton’s novel The Napoleon of Notting Hill, set in London in 1984 (perhaps a date that stuck in George Orwell’s mind) struck a chord with the Guild Socialists, and Chesterton’s often radical views had much more in common with Douglas’s than those of Berkeley, Sayers or Christie. His friend and fellow Guild Socialist Maurice Reckitt found him kindly, but impatient and hot-tempered: ‘He was always resigning … from bodies which failed to do what he required of them.’ His ‘haughty ruthlessness’ prompted Reckitt to write a short poem:

‘Mr G. D. H. Cole

Is a bit of a puzzle.

A curious role

That of G. D. H. Cole,

With a Bolshevik soul

In a Fabian muzzle.’

Margaret’s brother, Raymond Postgate, also admired Douglas’s intellect, but thought him rude. Postgate later wrote Verdict of Twelve, a superb study of jurors in a murder case, biting enough to confound any lawyer with a sentimental attachment to the notion of trial by jury. The book’s ironic and innovative style owed much more to Anthony Berkeley than to Douglas, but Raymond became better known for founding The Good Food Guide, and as the father of Oliver.

Margaret was born a few weeks before Sayers. Because the Postgates’ father was a classical professor and grammarian who invented a ‘new’ pronunciation of Latin, at the age of six Margaret was required to ask for Sunday dinner in Latin. After leaving Roedean, she combined the study of Classics at Girton College, Cambridge, with helping to educate five younger brothers and sisters. Rebelling against her father’s right-wing views, she embraced socialism, atheism, feminism and pipe-smoking. Like her future husband, she wrote poetry, and ‘The Falling Leaves’, a poignant perspective on the consequences of war, has featured on the GCSE syllabus for English Literature students. Her father was so outraged when she chose to share her life with a socialist that he disinherited her.

In the aftermath of the war, arguments about the Russian Revolution led to divisions on the left. Raymond Postgate joined the newly formed British Communist Party, but although Douglas Cole was sympathetic to the party’s aims, he did not follow suit, and neither did Margaret. The dream of Guild Socialism turned to dust, and the Coles moved to Hampstead, where Douglas threw himself into writing and what Margaret described as ‘the pleasures of bourgeois family life’. They socialized with the likes of Leonard and Virginia Woolf, and relaxed by watching Sussex play cricket. Margaret gave birth to two daughters in quick succession, and Douglas, while recovering from a bout of pneumonia, started work on a detective novel. Margaret bet he would not finish it, which provoked him to carry on to the end.

His approach was influenced by the success of Freeman Wills Crofts’ novels about policemen who got results by sheer hard work. Douglas was in good company in admiring Crofts; T. S. Eliot rated him as the finest detective story writer to have emerged during the Twenties. Crofts was born in Dublin, but moved to Ulster in his youth, ultimately becoming Chief Assistant Engineer of the Belfast and Northern Counties Railway. During a long illness, he wrote The Cask, which became a bestseller. A cask unloaded at St Katharine’s Dock breaks open and is found to contain sawdust, gold coins – and a dismembered female corpse; but the cask and its contents vanish before the police arrive at the scene. Inspector Burnley of Scotland Yard travels to Paris in order to crack an ingenious alibi, working with the unflagging attention to detail that became the hallmark of Crofts’ detectives. The book sold so well that eventually Crofts moved to England to write full-time. In his fifth book he introduced the painstaking and utterly relentless Inspector Joseph French, whose arrival on the scene invariably spelled disaster for murderers whose chances of escaping the gallows depended on intricate alibis.

Crofts was published by Collins, and Douglas submitted his first novel to them, but at first they turned it down, saying it contained too many murders. He cut out one ‘gory death’, although what counted as ‘gory’ then seems cosy today. This was the only time, his wife said, that he agreed to make a significant change to any of his books. The touch of arrogance in Douglas’s unwillingness to accept that his work could be improved, coupled with furious productivity, contributed to the sterility of much of his later writing.

The Brooklyn Murders introduced Superintendent Henry Wilson, sleuthing alongside a young couple in the same mould as Tommy and Tuppence Beresford. The Coles decided to play the detective game together, and co-write a follow-up. Death of a Millionaire appeared under the joint by-line of ‘G. D. H. and M. Cole’, the brand name for all the subsequent novels, whoever wrote most of the text. The book was unusual in its day for its sympathetic portrayal of trade union leaders and refusal to demonize Bolsheviks. Unfortunately, Superintendent Wilson’s lack of charisma made Inspector French seem like a quirky maverick. Even when he resigned briefly from Scotland Yard to operate as a private eye, Wilson was no Sam Spade. The most exciting thing that happens to him during the series is that he grows six inches taller – a simple mistake, Margaret confessed. Even so, his career lasted for two decades. Having settled a plot in outline, one spouse wrote a first draft which the couple then discussed and worked on together.

The Murder at Crome House features a self-portrait of Douglas in the form of James Flint, a lecturer and tutor in history and economics. Flint turns amateur detective after discovering a bizarre photograph showing an apparent murder. It has been concealed inside a library book on the subject of psychoanalysis and autosuggestion. After the astonishingly careless owner of the photograph turns up on his doorstep, hoping to retrieve it, Flint tries to establish the truth about the crime. An elaborate alibi is unravelled with tedious persistence, and at the end of the book Flint contemplates marriage to the deceased’s widow – but the Coles amuse themselves by describing his relief when he is talked out of it. The don is not the marrying kind. The same is true of Dr Preedy in the locked room mystery novella Disgrace to the College – he is ‘fastidious to the point of confirmed celibacy in his relations with women’ but enjoys the intimacy of private conversations with his male students. Unlike Berkeley, Douglas was reluctant to fictionalize his private sexual predilections, and this is as close as the Coles came to including a homoerotic subtext in their stories. Raymond Postgate featured a gay academic in Verdict of Twelve, differentiating the character from Douglas simply by making clear that he was neither handsome nor an economist.

In a fit of optimism during a short-lived economic recovery, Douglas wrote a massive tome, The Next Ten Years in British Social and Economic Policy, suggesting that a Labour government with a majority in Parliament might ‘socialize’ all the land in Britain within a decade. Margaret later described his proposals as a testament to the ‘irresistible buoyancy’ of his spirit. Soon he had plenty to be buoyant about. After five years of Conservative rule, the general election of 1929 returned a minority Labour government led by Ramsay MacDonald.

Douglas sent MacDonald a copy of his book, and the Coles were invited to spend a day at Chequers. The new Prime Minister held court over a meal of ‘most superior’ salmon fishcakes washed down with wine, and invited Douglas, along with John Maynard Keynes, to join a new Economic Council. Margaret admitted that this produced ‘very little positive result’.

These were hectic years for radical activists, and on returning to live in London the Coles kept in touch with the working classes by engaging three servants. The children were looked after by a nurse, and an unemployed Yorkshire miner and his wife were hired to do the housework. Before long the family moved to a house in Hendon with grounds large enough for both badminton and tennis courts.

Hugh Gaitskell accompanied Douglas on a series of walking tours, and Douglas eventually declared his love for his former pupil. Gaitskell was flattered but embarrassed. Resolutely heterosexual, he was probably more attracted to Margaret, and his subsequent conquests included Ann Fleming, wife of the creator of James Bond. Douglas accepted defeat, as he had to do so often in his life, and climbed back into the closet. Gaitskell became leader of the Labour Party in the Fifties, and after his death he was succeeded by another of Cole’s brilliant Oxford pupils, Harold Wilson, who made it all the way to 10 Downing Street.

Margaret’s startlingly candid posthumous biography of Douglas included an appendix written by the family doctor. A classic example of ‘too much information’, this contained exhaustive detail about her husband’s ailments, including a refractory bowel and a degenerative narrowing of the arteries. Margaret suggested that Douglas’s lack of interest in sex may have been due to the lack of a robust constitution; ‘bleeding piles … were a constant drain on his energy … One feels that he would scarcely have had energy for vigorous love-making; and the idea of ‘love-play’ would have shocked him … His sex-life diminished gradually to zero for the last twenty years of his life … He came to feel that it was all revolting.’

Margaret’s frankness did not extend to describing how she felt about all this, but she confided in her friend, the Scottish writer Naomi Mitchison, that she ‘was made monogamous but not faithful’. She and Berkeley got on remarkably well, but even if he had designs on her, their political views were irreconcilable. Instead, she fell for Naomi’s husband Dick, an affable lawyer and future Labour MP, whose oysters-and-champagne lifestyle and baronial Scottish castle appealed to her almost as much as his personality and socialism. She described him slyly in her autobiography as ‘deceptive … because he looks so large and so respectable. He did, when I first knew him, all the things that a gentleman should, except play cricket.’ Their relationship did not jeopardize either marriage, and Margaret remained steadfast in her commitment to Douglas and their shared political values. When she wanted a break from politics, she took refuge in the Detection Club.




Notes to Chapter 5


‘snobbery with violence’

This phrase, often attributed to Alan Bennett, seems to have been coined as the title of a pamphlet published in 1932 by Count Geoffrey Potocki de Montalk (1903–1997). Colin Watson, himself a member of the Detection Club, borrowed it for his critique of pre-war thrillers and detective novels.

He remarked to a reactionary acquaintance, Colonel Farquharson

For this anecdote, I am indebted to crime novelist Keith Miles, also known as Edward Marston, who found it in L. G. Mitchell’s article ‘Murder, Univ and G. D. H. Cole’, in the University College Record, vol. xiv, no. 1 (2005).

the Liberal Party and centre-left were well represented among Golden Age authors

To take a few examples, A. E. W. Mason served briefly as Liberal MP for Coventry, and Helen Simpson campaigned as a Liberal candidate prior to her early death. Lord Gorell served in David Lloyd George’s government before defecting to the Labour Party.

One led the Jarrow Crusade, another married one of Stalin’s senior lieutenants, yet another was killed fighting for the Republican cause in Spain.

The writers concerned were Ellen Wilkinson, Ivy Low (also known as Ivy Litvinov) and Christopher St John Sprigg.

Douglas and Margaret Cole were the leading lights of the Left among Golden Age detective novelists.

The Coles’ lives have been extensively documented, with the predominant focus on their political activities. I have found Margaret’s autobiography, her biography of Douglas, and Betty Vernon’s biography of her especially valuable.

Margaret’s brother, Raymond Postgate

Postgate (1896–1971) published three crime novels in all, but neither Somebody at the Door (1943) nor The Ledger is Kept (1953) matched the success of Verdict of Twelve. His father-in-law, George Lansbury, leader of the Labour Party from 1932–35, was grandfather to Angela Lansbury, who played Jessica Fletcher in the television series Murder, She Wrote and Miss Marple in the film The Mirror Crack’d.

Freeman Wills Crofts’ novels about policemen who got results by sheer hard work

Authors whose early work shows the influence of Crofts include not only Douglas Cole and Henry Wade but also John Bude, the name under which Ernest Carpenter Elmore (1901–57) wrote a long series of detective novels.

Crofts explained his painstaking method of story construction in ‘The Writing of a Detective Novel’, reprinted in CADS 54, July 2008 with an introduction by Tony Medawar. Extensive discussion of his life and work is to be found in Curtis Evans’ Masters of the ‘Humdrum’ Mystery. ‘Humdrum’ is a term that Julian Symons applied in Bloody Murder to Crofts, Rhode and certain other novelists who ‘had some skill in constructing puzzles, nothing more’. An entertaining overview of their work is supplied in H. R. F. Keating’s Murder Must Appetize. Symons’ assessment was challenged by B. A. Pike and Stephen Leadbeatter in ‘Give a Dog a Bad Name …’, CADS 21, August 1993. Pike and Leadbeatter are champions of the ‘humdrums’, as is Evans.

T. S. Eliot rated him as the finest detective story writer to have emerged during the Twenties

See Curtis Evans, ‘Murder in the Criterion: T. S. Eliot on Detective Fiction’, in Mysteries Unlocked. Eliot’s other favourite was Richard Austin Freeman, who started writing detective stories much earlier.

Having settled a plot in outline, one spouse wrote a first draft which the couple then discussed and worked on together.

See ‘Meet Superintendent Wilson’ in Meet the Detectives. However, the extent to which the Coles’ books were joint endeavours is open to debate; see Curtis Evans, ‘By G. D. H. AND Margaret Cole?’, CADS 63, July 2012, which strives to identify the books written solely or predominantly by one or other of the Coles.

the Coles kept in touch with the working classes by engaging three servants

The Coles’ novels sometimes offered gentle satire, but penetrating social critiques tended to be in short supply. In Dead Man’s Watch (1931), for instance, the cast includes an eccentric and unpleasant husband and wife called Mr and Mrs Cole, who are members of a Pentecostal sect. Mention is made of a young unmarried woman who becomes pregnant, faints at work, and is sacked when her condition is revealed by the doctor called to attend her, but there is no hint that anyone would or should be surprised by this. Unusually, in Knife in the Dark (1941) a motive for murder is rooted in a xenophobe’s hostility towards foreign refugees; the well-evoked atmosphere of a university town in wartime compensates for a thin plot.





6 (#ulink_3450a9b0-3fda-5643-8c1c-ac8d89a8540e)

Wearing their Criminological Spurs (#ulink_3450a9b0-3fda-5643-8c1c-ac8d89a8540e)


The first person who set out to solve ‘the riddle of the Detection Club’ was Clair Price, the London correspondent of The New York Times. Her quest led to a top-floor flat ‘in a remote suburb of London’. By this, she meant Watford. There, ‘a cloud of cigarette smoke, rising from the depths of an easy chair’ revealed the debonair presence of Anthony Berkeley. Having conducted the first press interview about the recently formed Club with its debonair but daunting founder, Price was left in no doubt whatsoever that its members were ‘neither meek nor humble’.

It was typical of Berkeley that, despite his occasional professions of misanthropy, he not only decided to create the first social network of crime writers, but also possessed the charisma and drive to transform his idea into reality. It was equally characteristic that he embarked on this initiative a mere three years after publishing his first detective novel.

Mystery has shrouded the origins of the Detection Club. Julian Symons, a historian as well as a crime writer of distinction and former Club President, mistakenly wrote that the Club started in 1932. The Club itself continues to circulate a private list of members’ details giving the same date. The misunderstanding arose because a formal constitution and rules were not adopted until 11 March 1932, but the Club effectively came into existence two years earlier, and its origins date back to 1928.









Anthony Berkeley (by permission of Celia Down).










The Cox siblings: Stephen, Anthony Berkeley, and Cynthia.


Berkeley approached several writers of detective fiction with, as John Rhode put it, ‘the suggestion that they should dine together at stated intervals for the purpose of discussing matters concerned with their craft’. He was taking a lead from the Crimes Club, a dining society focused on legal and criminological topics, with members including Sir Arthur Conan Doyle, P. G. Wodehouse, and A. E. W. Mason, a former spy and MP whose books featuring Inspector Hanaud also earned him membership of the Detection Club.

The first dinners were hosted by Berkeley and his wife Peggy, and held at their home. These were convivial occasions, and although no known records identify those who attended, it is safe to assume they included Sayers, Christie, Douglas and Margaret Cole, Ronald Knox, Henry Wade, H. C. Bailey, and John Rhode. All of them lived either in London or within easy reach, and were members of the generation of detective novelists whose careers began after the end of the war.

In the era of globalized media, when social networking by authors is encouraged by publishers to the extent that it feels almost compulsory, it is easy to forget that, in the Twenties, writers’ lives were often unconnected. Beyond small cliques whose members first met at public school or Oxbridge, writers had few opportunities to meet and talk together. Most of them prized their privacy, and not only loathed personal publicity, but kept direct contact with readers to a minimum.

‘I never supply biographical notes or photographs: a form of publicity which I deplore,’ Berkeley said, when refusing to allow his likeness to appear on Penguin paperback editions of his novels. ‘But seeing how often I myself am put off by a photograph of the author on the back of a book, I cannot but feel that some reason at any rate is on my side.’

Christie would never be so rude. She replied to fan letters by saying that she never sent out photographs of herself to anyone but personal friends, though she was willing to send autographed cards instead. Sayers took a similar line, happy to advertise her books but determined at all costs to keep her personal life under wraps. Berkeley may have been poking fun at a post-war Detection Club member, Mary Fitt (in real life, the classicist Kathleen Freeman), who did permit Penguin to publish a photograph of her, resembling a grim Borstal boy, complete with a short back and sides. In other respects Fitt, who lived with another woman, was as reticent as Berkeley: ‘It is, I think, the writer of fiction who is of interest to the public, not the person of whom the writer is part. Therefore I do not propose to give details of where I was born, where educated and so forth …’ As late as the mid-Fifties, it was perfectly credible for Christianna Brand (who was far from diffident) to conjure up a detective novel with a plot depending upon a successful writer’s hatred of personal publicity.

Keeping a distance from inquisitive strangers was one thing. A chance to meet fellow detective novelists was something special. It is no surprise that so many of those Berkeley approached leapt at the chance, just as Ngaio Marsh was thrilled to attend E. C. Bentley’s installation as President. Younger writers loved playing the game of whodunit, but that was not quite enough. Could the detective novel metamorphose into something more than a mere puzzle? Conversations over dinner at the Detection Club promoted fresh thinking, above all about collaborative writing projects.

For Sayers, as for Christie and Berkeley, the dinners offered a break from the acute stresses of their personal lives. Christie had been deserted by Archie, Berkeley wanted to be free of Margaret, and Sayers was finding Mac a trial. They were working long hours. Financial pressures meant the two women felt under pressure to write without let-up, while Berkeley was driven by the urge to show that he was as gifted as the rest of his family.

Margaret Cole was much more sociable than Douglas, and enjoyed crossing swords with intellectual equals, such as Sayers, Berkeley, and Ronald Knox, whose attitudes differed sharply from hers. They talked about real-life murder cases, crime writing, and (a constant refrain of writers the world over) the shortcomings of publishers. The dinners proved so popular that, within a year or so, about twenty writers had attended. Excited by the success of his initiative, Berkeley decided the time had come for them to organize themselves into a permanent club.

Berkeley reimagined his get-togethers as the Crimes Circle, whose activities are at the heart of The Poisoned Chocolates Case, published in 1929. The novel was an expansion of ‘The Avenging Chance’, a story often cited as an all-time classic, in which Roger Sheringham solves an ingenious murder committed by means of chocolates injected with nitrobenzene. The crime is broadly replicated in the novel, but this time Chief Inspector Moresby recounts the story to the Crimes Circle, a group of criminologists founded by Sheringham. Scotland Yard has given up hope of solving the mystery – can the amateurs do better?

Sheringham, like Berkeley, rejoiced in assembling a talented array of colleagues, and his elitist group prefigures the Detection Club: ‘Entry into the charmed Crimes Circle’s dinners was not to be gained by all and hungry.’ Membership was by election ‘and a single adverse vote meant rejection’. The intention was to have thirteen members, though only six had so far been admitted, and it is easy to imagine that plans for the Detection Club were at a similar stage of development. In addition to Sheringham, the Circle included a distinguished KC, a famous woman dramatist, ‘the most famous (if not the most amiable) living detective-story writer’, a meek little man called Ambrose Chitterwick, and ‘a brilliant novelist who ought to have been more famous than she was’.

Each of the six armchair detectives is tasked with looking into the murder of Joan Bendix and finding a culprit, and this enables Berkeley to poke fun at the methods of detective story writers. ‘Just tell the reader very loudly what he’s to think, and he’ll think it all right,’ proclaims Morton Harrogate Bradley, a crime novelist and former car salesman (like Berkeley). He makes his point by seeming to prove that he was the culprit, emphasizing: ‘Artistic proof is … simply a matter of selection. If you know what to put in and what to leave out, you can prove anything you like, quite conclusively.’

One by one, the members propound their solutions – and each identifies a different murderer. Sheringham takes fourth turn and comes up with the explanation from ‘The Avenging Chance’. He is followed by Alicia Dammers, who puts forward an even more convincing solution, which wins over all her colleagues except the diffident Chitterwick. He draws up a chart analysing the deductions of the other five members before explaining how they all went wrong. His is a classic ‘least likely culprit’ solution, delightfully revealed. Berkeley’s belief in the infinite possibilities of solutions to mysteries was confirmed half a century after the book’s publication when Christianna Brand devised yet another surprise ending to the book for an American publisher.

The Poisoned Chocolates Case is a tour de force. Julian Symons, a demanding critic, called it ‘one of the most stunning trick stories in the history of detective fiction’. Agatha Christie and P. G. Wodehouse admired each other’s work, but – regrettably – never collaborated with each other. Had they done so, they might have produced such a novel, blending wit with dazzling ingenuity. And as if to underline his cleverness while indulging in his new-found fascination with true crime, Berkeley drew a parallel between each of the solutions to the puzzle put forward by his characters and a real-life murder mystery. These included the story of Constance Kent, Carlyle Harris’s killing of his wife by morphine in New York, and the startling case of Christiana Edmunds, ‘the Chocolate Cream Poisoner’.

‘This correspondence must cease,’ declared Dr William Beard during the summer of 1870, in a frantic attempt to break off contact with a woman he had treated for nervous trouble. Christiana Edmunds had begun to frighten him. She lived quietly with her widowed mother in Brighton, but Beard failed to diagnose her long-standing mental illness, and Christiana started deluging him with letters proclaiming her devotion. Beard’s suspicions were not aroused when she turned up at his house with a box of chocolates as a present for his wife, but when his wife became sick after eating them, belatedly he put two and two together. However, Emily Beard recovered, and Beard said nothing to the police.

Christiana blamed Mrs Beard’s illness on a confectioner called Maynard, and set about acquiring supplies of strychnine from a local dentist, telling him that she meant to poison stray cats. She paid a number of boys to buy chocolate creams from Maynard’s shop, and duly laced them with strychnine, before leaving them around the town. One set of poisoned creams was returned to Maynard’s, and subsequently eaten by Sidney Barker, the four-year-old nephew of the man who bought them. Sidney died, and at his inquest, Christiana testified that she too had fallen ill after eating chocolates bought from Maynard’s. A verdict of accidental death was recorded, prompting Christiana to step up her campaign against the luckless scapegoat. She sent Sidney’s parents a series of anonymous letters blaming Maynard for the boy’s death, and gave arsenic-laced fruit and cake to a handful of local people, including the dentist who supplied the strychnine and Emily Beard. At last Dr Beard contacted the police, and showed them Christiana’s letters, although he always denied having had a sexual relationship with her. Christiana was tried at the Old Bailey for Sidney’s murder.

The Press loves nothing better than a sensational murder, and the journalists deduced homicidal tendencies from Christiana’s appearance in the dock: ‘Short of stature, attired in sombre velvet, bareheaded, with a certain self-possessed demureness in her bearing … a rather careworn, hard-featured woman … The character of the face lies in the lower features. The profile is irregular, but not unpleasing; the upper lip is long and convex; … chin straight, long, and cruel; the lower jaw heavy, massive, and animal in its development.’

Christiana was found guilty and sentenced to death. She tried to avoid the gallows by claiming that she was pregnant, a lie easily disproved, but the Home Secretary granted a reprieve on the ground of her insanity. She was sent to Broadmoor, where she made a memorable entrance, complete with rouged cheeks and an enormous wig. Thriving on her celebrity and self-image as a femme fatale, she remained incarcerated until her death, thirty-five years later.

Even before The Poisoned Chocolates Case appeared, Ronald Knox’s The Footsteps at the Lock hinted that Berkeley’s dinner parties might develop into a formal club. Knox’s story opens wittily with an account of two cousins who detest each other and are rival heirs to a fortune. They take a canoe trip together, and when one of them disappears, the other is the obvious suspect. The Indescribable Insurance Company calls in the amiable Miles Bredon to investigate. In the course of his enquiries, Bredon encounters an American called Erasmus Quirk, who says he is ‘a member of the Detective Club of America; and it was his duty to write up a detective mystery of some kind before the fall, as a condition of his membership’. Quirk, however, is not what he seems.

The pleasure of Berkeley’s dinners prompted Agatha Christie to add to her series of short stories parodying celebrated fictional detectives. ‘The Unbreakable Alibi’ sees the Beresfords tackling a puzzle in the manner of Freeman Wills Crofts’ Inspector French. She amalgamated the stories into Partners in Crime, which poked gentle fun at the detectives of twelve other writers, including eight founder members of the Detection Club, as well as Poirot. By an odd coincidence, given Conan Doyle’s interest in her disappearance, the Sherlock Holmes spoof story, written two years before she was discovered in Harrogate, was ‘The Case of the Missing Lady’. The lady in question had disappeared simply to indulge in a slimming cure.

On 27 December 1929, Berkeley wrote to G. K. Chesterton describing plans for the Club. The tone of the letter blended charm, dynamism, and impatience: ‘I do hope you will join. A club of the kind I have in mind would be quite incomplete without the creator of “Father Brown”, and one who has evolved such a very original turn to the detective story as you have … I want if possible to get things going for a first meeting in about the middle of January.’

He kept up the momentum. By 4 January 1930, a list of twelve ‘members to date’ was typed, along with a list of twenty-one writers invited to be the original members. Eight proposed Rules of the Club were sent to Chesterton, and the number of Rules grew to a dozen within days. Gathering members took time, and the Rules kept evolving. By the time the final version of the Rules and Constitution came into force, twenty-eight people had been elected to membership, although two were described as Associate Members.

With Sayers’ enthusiastic support, Berkeley asked Sir Arthur Conan Doyle to become Honorary President. Conan Doyle was the obvious choice, having created the most famous of all fictional characters, although like Douglas Cole he regarded his work in the genre as less ‘important’ than some of his other writing. The best Holmes stories belong to the nineteenth century, but Conan Doyle was still writing detective stories in the Golden Age. By now, though, his health was poor, and he could not accept Berkeley’s invitation.

Chesterton ranked second only to Conan Doyle in the pantheon of detective story writers, and he duly agreed to become President of the Detection Club. A committee was formed, and Berkeley became Honorary Secretary. He also awarded himself the title of ‘First Freeman’. This was a jokey way of distinguishing himself from R. Austin Freeman and Freeman Wills Crofts, although eventually the title’s supposed significance became a source of friction when Berkeley claimed it allowed him special privileges.

That lay far in the future. In the meantime, half a dozen members responded to an invitation from the BBC’s Talks Department to collaborate on a detective story for radio. Already, the Detection Club had earned a mention in the Daily Mirror’s gossip column – alongside snippets about horse racing and Gracie Fields’ holiday in Italy – as a dining club for writers whose stories ‘rely more upon genuine detective merit than upon melodramatic thrills’. Sayers probably fed the snippet to the newspaper. She was determined to make the public aware of the Club, and its meritocratic ethos.

The first episode of Behind the Screen aired on 14 June 1930, trumpeted in The Listener as a ‘co-operative effort on the part of six members of the well-known Detection Club’, a phrase that showed how effective Sayers’ promotional efforts had been in a short space of time. Ronald Knox brought the story to what the BBC called ‘a nerve-shattering and brain-racking conclusion’ on 19 July. Four days later, as a postscript to the serial, the BBC broadcast a conversation between Sayers and Berkeley on the subject of ‘Plotting a Detective Story’. As The Radio Times explained: ‘Miss Sayers will come to the microphone with a theme for a mystery story, Mr Berkeley with a new method of murder. They will endeavour to combine the two to form a plot for a story.’

Detection Club membership meant writers were no longer isolated when publishers annoyed them, and Sayers organized a rebuke to Collins, which launched a ‘Crime Club’ imprint for its detective fiction list, with a hooded gunman logo. Collins announced that ‘the sole and only object of the Crime Club is to help its members by suggesting the best and most entertaining detective novels of the day’. The books were supposedly chosen by a ‘panel of experts’. This was a shrewd public relations ploy, but the Crime Club was not a club in any meaningful sense. Fans’ addresses simply constituted a database for the despatch of quarterly newsletters about forthcoming titles. Detection Club members who were not published by Collins fumed at the implication that their books did not rank with the best. Sayers and Berkeley flexed their muscles with a letter to the Times Literary Supplement, signed by eight Club members. With icy understatement, they said: ‘We wish … to raise our eyebrows at a method of advertisement which is likely to mislead the public.’ Collective pressure made more impact than a moan from a single author, and although the Collins Crime Club flourished for more than half a century, its publicity became less provocative.

Arthur Conan Doyle died on 7 July 1930, and Sayers spotted an opportunity to promote the new Club. Shamelessly, she told Berkeley: ‘Old Conan Doyle chose this moment to pop off the books. I just put on a card ‘To the creator of ‘Sherlock Holmes’ from the members of the Detective [sic] Club with reveration [sic] and deep regret.’ I thought it would look well and be a bit of publicity.’

In January 1931, Berkeley suggested that Club members might put together a ‘Detection Annual’, modelled on the popular, though sporadically published, Printer’s Pie. Baroness Orczy was among those willing to contribute, but before long, this proposal was superseded by the concept of a full-length Detection Club novel, and the result was The Floating Admiral.

At the same time, Christie contemplated writing a novel set around a ‘Detective Story Club’ involving ‘13 at Dinner’. In one of her private notebooks, she listed the cast of characters. Sayers and her husband are included, alongside a mention of ‘Poisons’, as are Freeman Wills Crofts and his wife (‘Alibis’), Christie herself, John Rhode, Edmund Bentley, Douglas and Margaret Cole, and Clemence Dane. Anthony Berkeley (and his wife, which suggests the couple contrived to keep their matrimonial difficulties to themselves) also appeared on the list.

Christie adds the note ‘fantastic writer’ next to Berkeley’s name. The admiration they had for each other’s skill and originality with mystery plots was genuine and deeply felt. Perhaps because she feared she could not out-do The Poisoned Chocolates Case, Christie never pursued the story idea. The sinister implications of an unlucky number of dinner guests were, however, soon realized in Lord Edgware Dies, the American title of which was Thirteen at Dinner. The other writer named on the list in her journal was the American S. S. Van Dine. This was odd, since Van Dine was never a member of the Detection Club. He had, however, visited England not long before, and may have been invited to one of Berkeley’s dinners as a guest. In later years, Christie jotted down an idea about her character Ariadne Oliver, a scatty detective novelist, attending a Detection Club dinner with guests. Murder was to take place when the Club’s initiation ritual began. It is a shame that she never developed this appealing idea.

On 1 May 1931, Berkeley wrote to tell Chesterton that a new member, Helen Simpson, was to be initiated in a ‘ceremonious ritual’ devised by Sayers. He thought the idea of giving solemn pledges to honour the values of fine detective writing would be amusing. This is the first recorded mention of the Detection Club’s initiation ritual.














Agatha Christie’s notebook 41: extract featuring a story idea based on the Detection Club (by permission of the Christie Archive Trust).


Club members took a strikingly modern approach to combining self-promotion with supporting a good cause, and four members collaborated in a fundraising event for a hospital charity on 31 May 1932. Berkeley (described in the publicity as the Club Secretary), Bentley, Crofts and Margaret Cole were subjected to a ‘mock trial’ at the London School of Economics, charged with ‘faking the evidence’ by a prosecuting barrister, with a King’s Counsel sitting in judgment.

Less than three months earlier, on 11 March, the Rules and Constitution of the Club had been adopted. They stated that the Club was instituted ‘for the association of writers of detective novels and for promoting and continuing a mutual fellowship between them.’ To promote the Club’s aims, the suitability of every candidate for membership was to be ‘fully and carefully examined’ to ensure that he or she had written ‘at least two detective novels of admitted merit or (in exceptional cases) one such novel; it being understood that the term ‘detective novel’ does not include adventure stories or “thrillers” or stories in which the detection is not the main interest, and that it is a demerit in a detective novel if the author does not “play fair” with the reader.’

Why exclude thriller writers? Christie and many other members wrote thrillers from time to time, and even Sayers had contemplated adding to the mountain of stories about Sexton Blake. The answer was that Sayers and her friends had no time for crude blood-and-thunder merchants. However, the rule did mean that Bentley’s old friend John Buchan, a pillar of the establishment and by a distance the most distinguished British thriller writer, was ineligible for membership, since none of his books could be classed as a detective novel.

In total there were twenty-three rules. They provided that a member who was guilty of a deliberate breach of the rules or damaged the Club’s interests was liable to expulsion. Nobody has ever been expelled, which shows the value of a rigorous approach to recruitment. By the time the Rules and Constitution came into force, there were twenty-eight members. The rules make no provision for ‘Associate Members’, yet Hugh Walpole and Helen Simpson have been described as such in the Club’s list of members. In the list for 1939–40, Walpole is described as an ‘Honorary Member’, as is Sir Norman Kendal, who was not a writer at all, and there is no suggestion that Simpson was not a full member. Presumably this untidiness is due to doubt as to whether Walpole’s psychological thrillers qualified as ‘detective novels’, despite his participation in the Behind the Screen project. Simpson was eminently qualified for full membership, whereas Kendal’s election was a goodwill gesture. One mystery is why the name of R. C. Woodthorpe, elected in 1935, has not appeared in the list of members for the last half-century. Was he thrown out, and his name expunged from the records, for some unspeakable transgression? The likeliest solution is that the omission of his name was a simple mistake.









The cover of Collins’ Crime Club newsletter for autumn 1939.










Two sample pages from Collins’ Crime Club newsletter.















The Crime Club News’ back page advertisement for Milward Kennedy’s reviews in the Sunday Times.


Despite the veneer of formality, nobody cared about inconsistencies of detail, as long as the Club’s core values were preserved. When creative people get together, sparks often fly, and that happened from time to time in the Detection Club. It was rare, though, for members to risk damage to their relationships through backbiting. They were excited by the prospect of exploiting the potential of the detective story. The mix of strong personalities and varied talents was a source of strength. Berkeley had the vision, Chesterton supplied gravitas, and Sayers led by energetic example. Her study of the history of detective fiction broke new ground, paying tribute to the contribution to the genre made by older members of the Club, and signalling how the modern writers could take it to fresh heights. Like any good detective, she knew that to understand the present, and what the future may hold, one needs to understand the past.




Notes to Chapter 6


The first person who set out to solve ‘the riddle of the Detection Club’ was Clair Price

See Clair Price, ‘A New Code for Crime between Covers’, New York Times, 24 July 1932.

Julian Symons, a historian as well as a crime writer of distinction and former Club President, mistakenly wrote that the Club started in 1932.

Symons said this in his introduction to Verdict of 13: A Detection Club Anthology (London, Faber, 1979), where he also expressed the belief that John Dickson Carr was ‘the only member ever elected who was not British’. A more reliable account of the Club’s early days was supplied by John Rhode’s Foreword to an earlier Club anthology, Detection Medley.

In other respects, Mary Fitt … was as reticent as Berkeley

Even so, she was persuaded by Picture Post to be photographed on her hands and knees, peering through a magnifying glass at a Greek vase.

The novel was an expansion of ‘The Avenging Chance’

Curiously, the story appears to have been published after the novel. A latter-day Berkeley might come up with multiple explanations for this little mystery. Perhaps he realized the strength of his short story’s plot, and delayed its publication until he had exploited it more fully, and more lucratively, through the novel.

On 27 December 1929, Berkeley wrote to G. K. Chesterton

No original correspondence relating to the early days of the Detection Club remains in the Club’s possession; while the Minute Book has apparently not been seen since the Second World War. The Club’s archive is, at the time of writing, in the process of development. I have gleaned information about the correspondence mentioned in this book from a wide variety of sources, in particular the Marion E. Wade Center at Wheaton, from Arthur Robinson, Tony Medawar, George Locke, Douglas G. Greene and Curtis Evans, as well as from occasional sales of material on www.abebooks.com (http://www.abebooks.com).

‘Plotting a Detective Story’

See Tony Medawar, ‘Plotting a Detective Story – Dorothy L. Sayers and Anthony Berkeley’, CADS 51, April 2007.

four members collaborated in a fundraising event for a hospital charity on 31 May 1932

A fifth collaborator was Captain Alan Thomas (1896–1969). His The Death of Laurence Vining (1928) was a well-regarded ‘impossible crime’ novel, and he later became editor of The Listener. Death of the Home Secretary (1932) is one of a host of Golden Age mysteries in which politicians meet an untimely end.




7 (#ulink_719b0088-2799-5c00-bfa4-704611632a5e)

The Art of Self-Tormenting (#ulink_719b0088-2799-5c00-bfa4-704611632a5e)


‘The art of self-tormenting is an ancient one,’ Sayers proclaimed in her essay introducing the first volume of Great Short Stories of Detection, Mystery and Horror. She knew more than most people about self-torment. Keeping her son’s existence secret was a constant strain, and on one occasion before she married Mac her self-discipline snapped. She confided in a total stranger, a woman with a boy of ten who had just divorced her husband, and who envied Sayers because nobody else was laying claim to her son. Sayers told John Cournos that contemplating someone else’s misfortune made her feel better, but she still wanted to find a man ‘to help me to handle the kid later on’. Mac never offered such help.

The self-torment she was talking about was the way that people love to be teased by a mystery. To trace the roots of detective fiction, she delved into ancient texts like a gumshoe determined to leave no stone unturned. Her hunt for early forerunners of the detective story yielded some unlikely suspects. Analysis of evidence featured in the Apocrypha, the fabrication of false clues appeared in Herodotus, and psychological detection underpinned the story of Rhampsinitus. Sayers was stretching to prove her point, but not as far as it might seem. Nine years after her anthology appeared, the murderer in John Dickson Carr’s To Wake the Dead relied on an intricate scheme echoing the story of Rhampsinitus.

Why had detective fiction not developed sooner? The Jews, ‘with their strongly moral preoccupation’ were, Sayers felt, well suited to create detective stories. So were the Romans, with their taste for logic and law-making. She identified elements of detection in one of the Grimms’ tales, and in an Indian folk-tale. Yet although stories about crime had flourished for centuries, the detective story could not thrive until the wider public sympathized more with the forces of law and order than the law-breakers.

Sayers argued that the ground rules for the genre were set forever in the United States, in the 1840s, when Edgar Allan Poe wrote five seminal tales of mystery and imagination. First came ‘The Murders in the Rue Morgue’, a ‘locked room’ story. A woman and her daughter are found savagely murdered inside a locked room. The central puzzle, borrowed by hundreds of Poe’s successors was – how could the murderer have got in and out?

Poe created a gifted and eccentric amateur sleuth, Chevalier C. Auguste Dupin, the first of fiction’s Great Detectives. Dupin’s cases were told by an unnamed chronicler, setting the template for Holmes and Watson, Poirot and Hastings, and dozens of less celebrated pairings, in which admiring sidekicks ranging from the obtuse to the sophisticated recount the exploits of amateur sleuths who almost always outsmart the professional police. The neat twist in ‘The Purloined Letter’ was that the solution was so obvious that everyone overlooked it. Chesterton’s ‘The Invisible Man’ was the most famous of many later stories using this trick of a clue hidden in plain sight. Even more influential was ‘The Mystery of Marie Roget’, in which Dupin plays the ‘armchair detective’. This was the very first detective story based on a criminal puzzle from real life.

Marie Roget was the fictional counterpart of Mary Rogers. She worked in a New York tobacconist’s, and her ‘raven tresses’, womanly figure and tantalising smile inspired young male customers to poetry and earned her the sobriquet ‘the beautiful cigar girl’. Among Mary’s admirers was a young lawyer called Alfred Crommelin. She rejected his advances, and became engaged to Daniel Payne, a cork cutter. Subsequently, she left a note at Crommelin’s apartment, hinting at a reconciliation. When he did not reply, she sent him a series of letters, and asked for money. Shortly afterwards, on 23 July 1841, she disappeared. This was not the first time she had vanished without explanation; the same thing had happened three years earlier.

A few days after she went missing, a group of young men decided to escape the steamy heat of the city by walking out to Sybil’s Cave at Hoboken. They noticed clothes floating in the shallow waters of the North River, and thought someone had fallen in. Finding a wooden scull nearby, they rowed over to the bobbing objects, to discover the body of a young woman, whose long black hair rippled in the water like seaweed. A slip of cloth was knotted around her neck. One report said, ‘Her forehead and face appeared to have been battered and butchered, to a mummy.’

The remains were identified as Mary’s. A popular theory was that she had been killed by a gang, although Payne and Crommelin also came under the microscope. The plot thickened when some of her garments were found close to a tavern run by a Mrs Frederica Loss. Daniel Payne committed suicide, and Frederica Loss was shot by one of her sons, but the precise details of Mary Rogers’ death were never established. Mrs Loss supplemented her income with work as an abortionist, and Mary’s death probably followed a termination that went wrong.

Poe hinted at the truth in his story (transplanted to Dupin’s home turf in Paris) as well as offering a more imaginative alternative theory. Sayers was impressed by his efforts at solving a real-life mystery, and by Arthur Conan Doyle’s ‘splendid efforts’ on behalf of George Edalji and Oscar Slater, wrongly accused men who benefited from his work as an amateur detective. Detection Club members were keen to follow the lead given by Poe and Conan Doyle – none more so than Sayers herself.

Poe showed how to transform a real-life case into detective fiction, and a generation later Wilkie Collins followed his example in The Moonstone. He borrowed details from the Constance Kent case, and based Inspector Cuff on the real-life Inspector Whicher. For Sayers, The Moonstone came closer to perfection than any other detective story, even though Arthur Conan Doyle’s Sherlock Holmes was incontestably the greatest detective. Collins was the most gifted author of Victorian ‘sensation novels’, but the short story remained the dominant form in detective fiction until the Golden Age.

Sayers loved the Holmes tales, and admired the way Conan Doyle enriched English literature with countless memorable lines. There is a striking resemblance between lines from ‘The Musgrave Ritual’ and a passage in Eliot’s Murder in the Cathedral, while the success of Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time and the television show Sherlock demonstrate that Holmes-speak still appeals in the twenty-first century.

Sherlock Holmes’ leading rivals were created by three contrasting writers – a socially mobile Cockney, a rural dean, and a Hungarian baroness – who would become Detection Club members. Arthur Morrison, son of an engine fitter, exploited his literary gifts to escape London’s slums. A journalist, he hit his stride with Tales of the Mean Streets¸ but could scarcely have guessed that ‘mean streets’ would become a phrase associated with American private eyes. Morrison depicted the East End with an insider’s expertise, but became embarrassed by his humble origins. He even falsified data on the national census to conceal his date and place of birth. It is a pity he was so sensitive, since the strength of his writing lies in an understanding of working class life that Berkeley, Sayers and Christie could never match.

Morrison’s Martin Hewitt, a lawyer turned private investigator, was meant to fill the gap left by Holmes’ plunge into the Reichenbach Falls. Portly and good-natured, Hewitt was too ordinary to outshine the sage of 221b Baker Street, dead or alive. More distinctive was Horace Dorrington, a suave villain who plans a murder at the start of The Dorrington Deed-Box. His scheme fails, and although he escapes justice, his intended victim discovers the records of several cases in which Dorrington combines work as a private inquiry agent with shameless criminality. Morrison abandoned Dorrington after one book, but had created the literary ancestor of the murderous charmer Tom Ripley, created by Patricia Highsmith, herself a member of the Detection Club, and of Jeff Lindsay’s serial killer Dexter Morgan.

Thorpe Hazell was another eccentric Great Detective. Hazell is a specialist railway detective, a vegetarian and health fanatic. After solving the puzzle of ‘Sir Gilbert Murrell’s Picture’, he declines Sir Gilbert’s offer of a cooked lunch. He has already ordered lentils and salad to eat at a railway station, and starts to perform his ‘physical training ante-luncheon exercises’. As the bewildered baronet watches him ‘whirling his arms like a windmill’, Hazell explains, ‘Digestion should be considered before





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