HARLEY JANE KOZAK – A Date You Can’t Refuse. Broadway, trade paperback original, March 2009.

   At one time a greeting card designer, Wollie Shelley currently makes her living as a professional dater. But along with this switch in career paths, she has somehow managed to find herself mixed up in several cases of murder as well.

   In this, the fourth and final book in the series, Wollie finds herself working for a media training firm, teaching American social conventions to Eastern Europeans — in essence, dating them. It turns out her reality shows were huge hits in Belarus and vicinity, so she’s a bit of a celebrity to the clientele.

   She also happens to be informing to the FBI, because they think something is up with the vaguely cultish company — maybe arms dealing. However, the FBI isn’t very forthcoming, and her FBI agent boyfriend is involved in his own undercover investigation.

   Anyway, it turns out more than one thing is up. As usual in this series, there are a lot of ingredients in the soup, including murder, DVD piracy, bad mobile phone reception and a sidewalk chalk art competition. Wollie realizes her predecessor at the media training firm was murdered. When that young woman’s boyfriend is also killed, Wollie gets serious about investigating and lands in real danger.

   Anyone who hasn’t read the previous books might find the subplots related to Wollie’s brother, uncle and friends a bit unclear, but that won’t spoil the book. And I won’t spoil the ending to the series, one of my favorites, except to say that it seems like a happy one.

The Wollie Shelley mystery series —

       1. Dating Dead Men (2004)

       2. Dating Is Murder (2005)
       3. Dead Ex (2007)
       4. A Date You Can’t Refuse (2009)

JAMES CRUMLEY – The Mexican Tree Duck. C. W. Sughrue #2. Mysterious Press, hardcover, September 1993; reprint paperback, October 1994.

   What can you say about James Crumley that hasn’t been said before? No writer in the field has garnered so much critical attention for just three books, and a respectable number of respectable critics have lauded him as the best of the private eye writers.

   While considering him to be a powerful writer, I never shared that opinion, and in fact found it ludicrous. Nevertheless, I looked forward to reading this. I thought the first C. W. Sughrue book, The Last Good Kiss, was the best of his first three.

   C. W. hasn’t changed a whole lot, other than being middle-aged, now. He’s still rough as pine bark, and he’ll still have a drink or do a line with you, or whip your ass if it needs it. He’s hired by twins who own a fish store, overweight weapons freaks, to get their fish back from an outlaw biker that’s stiffed them on a check.

   In the process of doing that, he gets hired by the biker to find his mother. At least he thinks she’s his mother. Sound humorous? Not really. She’s a Mexican national married to a Texas oilman, and she’s been kidnapped.

   Before it’s over it’s turned to politics, drugs, and money, and Sughrue has hooked up with some Viet Nam buddies, taken on two or three governments, waged his own private war, fallen in love, and been in on the spilling of more blood than you could wipe up with a bale of tissues.

   Crumley’s prose is powerful, though I think not so much as in his earlier books. The characters are mostly of a type: the women crude, loving. tough, and ready, and the men cut from the same cloth as Sughrue himself — tough, violent, and abusers of any substance that’s inert enough to be abused.

   The improbable plot was just a framework, not terribly important to Crumley in comparison to what he had to say. Plotting never was his thing.

   This isn’t a detective novel. It’s a war story, or perhaps a paean to the brotherhood of warriors. It seems to me a book written by a man frozen in time, one not able to leave behind the world of war, drugs, and whiskey.

   There’s little here that speaks to me. To someone tortured by Crumley’s own demons it may be a fine novel, but to me it was just a sad waste of talent, not redeemed by the prose.

   The only message I got was that whiskey, drugs, and fighting are good, government and business are bad, and a man’s gotta do what a man’s gotta do. In the end, I tired of the macho posturing and the gunfire, and there wasn’t much else to it.

      The “Milo” Milodragovitch series —

The Wrong Case (1975)

Dancing Bear (1983)
Bordersnakes (1996) [with C. W. Sughrue]
The Final Country (2001)

      The C. W. Sughrue series —

The Last Good Kiss (1978)
The Mexican Tree Duck (1993)
Bordersnakes (1996) [with Milo Milodragovitch]

The Right Madness (2005)

MARJORIE ALAN – Dark Prophecy. M.S. Mill, hardcover, 1945. Hardcover reprint: Detective Book Club, 3-in-1 edition, December 1945. Originally published in the UK as Masked Murder (Hale, hc, 1945).

   Chapter 1:   “Of course, Valerie thought, as she laid it [the letter] down, she wouldn’t go.”

   Chapter 2:   “Directly she got into the train at Paddington she knew that she ought not to go to Wayfarers. Knew in a clear, definite premonitory flash, as unmistakably as though someone had spoken the words…”

   Had I but known, I wouldn’t have begun the book. But unlike our heroine, I at least was wise enough not to undertake this perilous journey.

       Bibliography:     [Adapted from the Revised Crime Fiction IV, by Allen J. Hubin.]

MARJORIE ALAN.   Pseudonym of Doris Marjorie Bumpus, 1905- .

    Masked Murder. Hale 1945. US edition: Dark Prophecy, Mill 1945.
    Murder in November. Hale 1946. US edition: Rue the Day, Mill 1946.
    Murder Next Door. Hale 1950.
    The Ivory Locket. Hale 1951.

    Murder at Puck’s Cottage. Hale 1951.
    Dark Legacy. Hale 1953.
    Murder Looks Back. Hale 1955.
    Murder in a Maze. Hale 1956.

Editorial Comments:   This is essentially all I have learned about the author. One online source adds a birthplace (in England), but no one seems to have even a year of death for her.

    Confession time. I have not been posting all of Bill Deeck’s fanzine reviews I come across, generally choosing not to use any that are as short and dismissive as this one is. I’ve made an exception this time. Even though it’s short and dismissive, it’s also one (in my opinion) that gives a honest description and evaluation of the book.

    If you can’t get an idea of what the novel’s about in these 150 words or so, and whether you’d like it or not, I don’t think another thousand would help. You be the judge!

   Here’s my contribution to the lists that are popping up now that 2010 is over. I read nearly 100 books last year but not even half of them were vintage detective novels. I’ll have to rectify that this year.

   The list is in chronological order and not ranked because I can’t ever put my likes in numerical order or even apply letter grades. I did, however, add some highly opinionated comments after most of the titles to give you an idea of how much I liked or disliked a book.

   Titles in BOLD were excellent and entertaining on all levels. All of those titles are well worth seeking out. Good luck with finding them though, as nearly all are out of print and scarce in the used book trade. The stinker books (and there were quite a few) are at the bottom of the list after the row of asterisks.

   â— The Red Lady – Anthony Wynne. (Impossible crime with a clever gimmick that fooled me. How could I not see that one coming?)

   â— The Chinese Orange Mystery – Ellery Queen. (A re-read for me.)

   â— The Curse of the Bronze Lamp – Carter Dickson.

   â— The House Without a Key – Earl Derr Biggers. (First ever time I read a Charlie Chan book. Rather surprisingly good.)

   â— The Emperor’s Snuff Box – John Dickson Carr. (Brilliant! Why has it never been filmed? Would work beautifully on screen. Very Rear Window like, plus many cinematic sequences.)     [FOOTNOTE.]

   â— The Horseman of Death – Anthony Wynne. (One of his dull ones. Went on and on and on. Ugh.)

   â— About the Murder of a Man Afraid of Women – Anthony Abbot. (One of the better Thatcher Colt books, heavy on action in the last third. You learn a lot about ballistics in his one. Truly a surprising ending. I gasped, believe it or not.)

   â— The Ghost Hunters – Gordon Meyrick. (Short stories about an occult detective, all supernatural elements with the exception of one story are rationalized. Mediocre. One story was like a “Scooby Doo” cartoon in print.).

   â— The Greek Coffin Mystery – Ellery Queen. (Another re-read. Ellery’s lectures and overall pedanticism are annoying to me now. I think I loved them when I read them as a teenager.)

   â— The Witness at the Window – Charles Barry. (Silly, but entertaining in a Gun in Cheek kind of way. Has a secondary, French-speaking detective who appears in the last half of the book who is obviously a Poirot parody.)

   â— Poison Unknown – Charles Dutton. (More of an action thriller. From Dutton’s later period when he abandoned his scientific detective John Bartley in favor of the youthful Harley Manners who tended to resort to traps and gimmicks when unmasking the killer.)

   â— The Cleverness of Mr. Budd – Gerald Verner.

   â— All Fall Down – L.A. G. Strong. (Trenchant wit, good plot, forgotten writer whether as a mainstream novelist, short story writer or detective story writer. Well worth tracking down all of his detective novels. Also his supernatural short stories.)

   â— Murder of a Chemist – Miles Burton. (Extremely rare book. I read it then sold it online for an outrageous sum. Email me for details if you’re curious about the sale. The book is not really worth reading though.)

   â— Tragedy on the Line – John Rhode. (The early Rhode’s are surprisingly good, IMO. Rhode gets a bad rap as one of the dreary writers, but he often is entertaining. Sometimes ingenious.)

   â— The Claverton Mystery – John Rhode. (Surely one of his best, near brilliant.).

   â— Into the Void – Florence Converse. (Odd little book about bootlegging in a New England village, has a quasi impossible crime plot, more interesting as a study in the American village as microcosm than as a detective story.)

   â— Death on Tiptoe – R.C. Ashby. (I loved this! But I have a penchant for Gothic elements in the detective novel. My review for this book can be found here.)

   â— Out of the Darkness – Charles Dutton. (Author’s first book, underrated writer. He wrote a handful of books that deal with the psychopathology of multiple murderers long before anyone was writing about demented serial killers. This one deals remarkably well with the after effects of shell shock.)

   â— The Crooked Cross – Charles Dutton. (Once again emphasis on the psychopathology of murder. Fundamentalist Christian beliefs lead to mania.)

   â— The Lava Flow Murders – Max Long. (See my review here for more on this book.)

   â— Cue for Murder – Helen McCloy. (Near brilliant. Title serves as a huge clue. Basil Willing and McCloy never really get their due when discussing the cream of the crop of the Golden Age. She is definitely overlooked, IMO. Also book is spot on with the theater background — one of the best theater mysteries of any era. Really understands the actor mentality.)

   â— Streaked with Crimson – Charles Dutton. (Yet another crazed serial killer with an interesting motive.)

   â— Murder, M.D. – Miles Burton. (Overrated; most of book is dull, surprise ending is not really much a surprise for a savvy contemporary reader.)

   â— He Arrived at Dusk – R.C. Ashby. (Her best detective novel. Gripping with a Du Maurier like mastery of misdirection in the narration. Read my full review here.)

   â— The Joss – Richard Marsh. (More a supernatural thriller but with a smidgen of a detective plot that recurs throughout.)

   â— The Shade of Time – David Duncan. (Impossible crime novel, not one of my favorites due to an insulting misunderstanding of what a transvestite is in the latter portion of the book.)

   â— Murder Takes the Veil – Margaret Ann Hubbard. (Great setting: a convent school in the Louisiana bayou; story was like a bad Phyllis Whitney plot though.)

   â— The Notting Hill Mystery – Anonymous or Charles Felix. (Innovative, clever and thoroughly original – especially since it was published in 1863! My critical essay appears here earlier on this blog.)

   â— Death at Swaythling Court – J. J. Connington. (His first detective novel. Much of it seems like a parody of the genre in the first half. Entertaining, lively with an intricate and satisfying plot.)

   â— Such Friends Are Dangerous – Walter Tyrer . (Whopper of an ending. Took me completely by surprise. A little masterpiece. Succeeds as both a scathing satire of British village life circa 1955 and as a devilish detective novel. By a writer who mainly wrote adventure thrillers for the Amalgamated Press syndicate.)

   â— Candidate for Lilies – Roger East. (Underrated writer, excellent plotter, literate style. This one has a truly poignant ending for a detective novel. Borders on true tragedy in the classic Greek sense.)

   â— The Case of the Constant Suicides – John Dickson Carr. (This makes many “Best of Carr” lists. I found it to be more farce than detective novel, even with its gimmicky plot. The character of the staunch Catholic Scottish woman had me laughing out loud on the subway train several evenings.)

   â— Rough Cider – Peter Lovesey. (Brilliant! Surely one of Lovesey’s best if not his best of all time.)

   â— Murder Rehearsal – Roger East. (Mystery novelist’s plot idea seems to be the model for a real killer’s handiwork. Gets a bit convoluted in the middle, but worth seeking out. He can write!)

   â— The Lord of Misrule – Paul Halter. (Disappointing. I figured out how the killer left no footprints because the main clue was obviously planted and is also a blatant anachronism for the Victorian era in which the book is supposedly set. Also bothered by servants who were treated as members of the family — talk about lack of verisimilitude! They were allowed to take part in the seance? Never! I wanted to be surprised and delighted, but was not. I guess he’s hit and miss. For me this was a big miss.)

       Books You Would Be Wise to Avoid:

   â— The Watcher – Gerald Verner. (Pedestrian plot, lackluster writing, stock characters.)

   â— The River House Mystery – Gerald Verner. (I have no problem revealing to you that the butler did it in this one. Seriously! Utterly dreadful.)

   â— The Screaming Portrait – Ferrin Fraser. (Absurd and contrived from beginning to end. On the first page we are told that the narrator had been tiger hunting — in South Africa! I should’ve thrown the book in the trash then and there.)

   â— The Case of the Scared Rabbits – George Bellairs. (Very scarce book, but one of his worst plots. Not worth seeking out)

   â— Red Rhapsody – Cortland Fitzsimmons. (My first and probably last Fitzsimmons book. Ludicrous plot, high body count and laughable solution. Also, another insulting treatment of a gay man from the 1930s. Blecch.)

FOOTNOTE / Editorial Comment:   After John’s list appeared first on Yahoo’s Golden Age of Detection list, Bob Houk pointed out that:

    “The Emperor’s Snuff Box was made into a movie in 1957, called The Woman Opposite or City after Midnight. Here’s the IMDB entry:

    “http://www.imdb.com/title/tt0051071/.”

   Apparently a British production, the film’s two stars were Phyllis Kirk and Dan O’Herlihy, and it was released in the US by RKO Radio Pictures. It has come out commercially on VHS but (so far) not on DVD. It should be findable, but (after a quick search), I haven’t yet.

VALENTINE WILLIAMS – The Curiosity of Mr. Treadgold. Houghton Mifflin, US, hardcover, 1937; Grosset & Dunlap, US, hc reprint, no date stated. Hodder & Stoughton, UK, hc, 1937, as Mr. Treadgold Cuts In.

   Following up on his success in Quebec in investigating what were known as “the Saint Fiorentin murders,” chronicled in Williams’s Dead Man Manor, H. B. Treadgold, head of Bowl, Treadgold, and Flack, bespoke tailors of Savile Row, London, and East Fiftieth Street, New York, continues dabbling in crime investigation by solving ten cases of theft, blackmail, or murder.

   The cases here are not fair play, by any means, but that does not make them any the less enjoyable. Treadgold is a capable detective and an interesting character.

  Editorial Comment:   Bill’s review is too short, alas, to learn very much about the stories themselves, but it’s certainly long enough to be intriguing. There’s no question that Valentine Williams falls into the category of a Forgotten Writer, but if you’d like to know more, there’s a long essay about him on Mike Grost’s Classic Mystery and Detection website. Recommended!

The Mr. Horace B. Threadgold books —

      Dead Man Manor. Hodder 1936.    [novel]

      Mr. Treadgold Cuts In. Hodder 1937; published in the US as The Curiosity of Mr. Treadgold.    [story collection]
      Skeleton Out of the Cupboard. Hodder 1946.   [novel; no US edition]

ARIANA FRANKLIN – A Murderous Procession. G. P. Putnam’s Sons, hardcover, April 2010. Published in the UK as The Assassin’s Prayer: Bantam Press, hardcover, July 2010.

Genre:   Historical mystery. Leading character:  Adelia Aguilar; 4th in series. Setting:   France/Italy; Middle Ages/1179.

First Sentence:   Between the parishes of Shepfold and Martlake in Somerset existed an area of no-man’s-land and a lot of ill feeling.

    Dr. Adelia Aguilar is thrilled to learn Henry II wants to send her to accompany his daughter Joanna’s wedding procession to her home of Sicily. Her feelings change to anger when she learns Henry is keeping Adelia’s daughter in England to ensure Adelia’s return.

   With them, and well concealed, will be Arthur’s sword, Excalibur, as a gift to the bridegroom. Danger a rises from an old foe out to steal the sword and looking for revenge against Adelia.

   There was a different feel to this book than those previous. Whereas before, Adelia seemed very much in control and strong, here she was in situations completely beyond her control and, at times, in great peril.

   While some readers might not care for the change this wrought in the character, I liked that it showed her vulnerability and weaknesses, as well as the human failing that when the truth is too frightening to accept, it is denied.

   There is a progression in the lives of the characters with each book, which is important to me. Some readers have criticized the coup de foudre felt by the Irish sea captain O’Donnell for Adelia. Having personally experienced it — although it didn’t last — I didn’t find it unrealistic. I did enjoy that we meet Adelia’s parents in this book.

   As always with Franklin’s books, I learn so much history. Henry’s daughter, Joan, was known to me, but not in any detail nor her role in history. Of late, I’ve read more books that deal with the Cathers, and I find them fascinating. I certainly knew nothing of the history of Sicily and found it significant that she shows it to us at a turning point in its history.

   Perhaps I’m obtuse, but I did not figure out the identity taken by the villain until it was revealed. What I did not like was the ending. It seems more authors are doing cliff-hanger endings and it’s a trend I dearly hope will end almost immediately. Write a good book, I promise to read the next one without being tricked into so doing.

   I very much enjoyed the story and only the ending prevented my rating it as “excellent.” For readers new to the series, I recommend starting at the beginning. For me, I am ready for the next book.

Rating:   Very Good Plus.

      The “Mistress of the Art of Death” series:    [Adelia Aguilar is the world’s first female anatomist/medical examiner.]

1. The Mistress of the Art of Death (2007)
2. The Serpent’s Tale (2008) aka The Death Maze

3. Relics of the Dead (2009) aka Grave Goods

4. A Murderous Procession (2010) aka The Assassin’s Prayer

IRINA KARLOVA – Dreadful Hollow. Hurst & Blackett, UK, hardcover, 1942. Vanguard Press, US, hardcover, 1942. Reprint paperbacks include: Dell #125, 1946; Paperback Library 53-860, 1965; 2nd pr., 64-030, 1968.

   This gothic supernatural novel with detective novel elements wavers between genuinely creepy and outrageous self-parody. At the time I was reading it I wondered if Karlova is a pseudonym for some better known writer. The name seems influenced by Universal horror movie characters and actors. I later learned that I was correct.

   The author’s real name is Helen Mary Clamp (sometimes noted as H.M. Clamp), and she was extremely prolific throughout her lifetime. In addition to writing three supernatural novels using the Karlova pen name, she wrote over 60 novels from main stream to romance to adventure under her given name.

   Using yet another pseudonym (Olivia Leigh) she wrote a few more romances and eleven literary biographies on historical figures such as Nell Gwynn, Charles II of Spain and Louis XV. Her writing career lasted from 1925 to 1970.

   Dreadful Hollow seems to be influenced by those Universal monster movies I mentioned earlier. It certainly seems to be a bit of a coincidence that those films with all the Eastern European atmosphere and characters should share such a similarity with this book written several years after those films were popular.

   It is peopled with Hungarian gypsies, a mysterious countess of either Czech or Hungarian descent, and a stuffed werewolf, and the dread vampire legend looms large over the story.

   Although it does borrow a framework from the detective novel in that the two narrators do some digging up of clues and interview servants and neighbors, it really is nothing more than a pulpy, over-the-top horror novel with all the usual HIBK trappings of the neo-Gothic novel.

   The major difference is that whereas most of those books are pale imitations of a Gothic novel, Karlova’s book is indeed a true Gothic. She does very well with all the Radcliffian elements – emphasis on dreary landscapes and decaying households, a real femme fatale, a ninny of a heroine who suspects she is losing her mind, and genuine supernatural beings and activity.

   As I read I also noted that the structure of the novel was probably inspired by Stoker’s Dracula, with the first person narrative journal entries of young Dr. Clyde (who seems to have escaped from the pages of a pulp magazine like Speed Detective — he speaks in an entirely American wiseacre slang) interspersed with the third person limited sections focusing on Jillian Dare, the young girl hired to act as a companion to an ancient crone.

   The book is unintentionally funny and the mystery is, sadly, to a modern reader, rather obvious from the opening chapters. When young Countess Vera arrives on the scene, any reader who hasn’t instantly figured out the mystery has probably never seen a vampire movie in his or her lifetime.

   That isn’t to say the book is not without its deliciously gruesome surprises. There is a disappearance of a young boy that isn’t fully explained until the final pages, for instance. I have to confess that I was alternately raising my eyebrows, gasping and laughing in the final pages which really do get rather wild and bizarre for a book of this era.

   I am sure that even most jaded contemporary reader will find something thrilling in Dreadful Hollow. They certainly don’t write them like this anymore.

   A side note: Some additional research turned up several articles on the internet which mention the fairly recent discovery of William Faulkner’s screen adaptation of Dreadful Hollow.

   Apparently the find happened sometime in 2001 by his daughter who turned the script over to Lee Caplin, Faulkner’s literary executor. Caplin also happens to be a film producer and was toying with the idea of making the movie. Here’s a link to the news story I found from 2007.

   And there is also some mention of the discovery of the script in a article back in the March 2009 issue of The Faulkner Journal: “The Unsleeping Cabal: Faulkner’s fevered vampires and the other South.”

   But now in 2010 it seems the whole thing as been scrapped. There is no info on the movie on Lee Caplin’s website for his Picture Entertainment outfit and nothing noted on his page at IMDB — a source I find generally reliable about films in pre- and post-production.

Irina Karlova’s supernatural mysteries:

      Dreadful Hollow. Hurst & Blackett, 1942.
      The Empty House. Hurst & Blackett, 1944.
      Broomstick. Hurst & Blackett, 1946.

MARY PLUM – State Department Cat. Doubleday Crime Club, hardcover, 1945.

   Touch the cat, aptly named Trouble, that wanders the State Department halls, and bad luck ensues. The last Department employee who did so was assigned to Australia and was never heard from again.

   George Stair, about to take his oral exam for the Diplomatic Corps, touches the cat and fails the test. He also has secret papers stolen from him, is hit with the ever popular blunt instrument, and suffers various other unpleasantnesses while dealing with a would-be Latin-American dictator and a Nazi spy.

   An occasionally amusing thriller that will probably appeal only to those interested in the Washington, D.C., area, and maybe not to them. Still, it’s far better than Plum’s mysteries featuring John Smith.

MARY PLUM. 1904?-1991?    Series character: John Smith [JS].

      The Killing of Judge McFarlane (n.) Harper 1930 [JS]
      Dead Man’s Secret (n.) Harper 1931 [JS]

      Murder at the Hunting Club (n.) Harper 1932 [JS]

      Murder at the World’s Fair (n.) Harper 1933 [JS]
      State Department Cat (n.) Doubleday 1945
      Susanna, Don’t You Cry! (n.) Doubleday 1946

      Murder of a Redhaired Man (n.) Arcadia 1952

Note:   The first four books are all also Harper Sealed Mysteries.   Of Dead Man’s Secret, an online list of novels taking place in Illinois says: “Most of the people at Gray Manner’s house party are glad to see Rook Chilvers get what’s coming to him, but no one is willing to admit the murder. As the case develops and evidence implicates first one guest then another, even the cool, logical John Smith, a professional Chicago detective, seems puzzled.”

MAX LONG – The Lava Flow Murders. Series detective: Komako Koa #2. J. B. Lippincott, hardcover, 1940.

   After an expository overload in which the characters are introduced in quick succession, the first third of the book is spent on detailed descriptions of a volcanic eruption and the attempts of plantation policeman, Komako Koa, and the plantation owner, Tucker, in evacuating the visitors who have recently arrived from a yacht in the harbor.

   They are also told to avoid a heiau (sacred Hawaiian shrine) to Pele. But two members of the party mock nearly everything to do with traditional Hawaiian beliefs and culture. One of those mockers, a brash woman, enters the heiau and is seen arguing with someone who the visitors believe is the embodiment of Hawaiian goddess Pele.

   The woman is almost immediately discovered dead — her head crushed by a coconut. For some reason the mainlanders actually believe that Pele is responsible and there is a lot of silly melodrama with people running around crying out to beware of Pele.

   None of this makes any sense. Koa takes advantage of this and rather than telling everyone that he knows the woman was murdered he lets them indulge themselves in superstitious gullibility. Irresponsible of a policeman and a bit contrived on the part of the author. But without that the rest of the story would not follow.

   Meanwhile, the volcano continues to erupt and encroaching lava flows continue to threaten the characters as well as the ranch house where they are staying. Then another person is hit on the head with a coconut and yet another person disappears.

   Soon it appears that a homicidal maniac is at work and the book takes on the atmosphere of And Then There Were None set in Hawaii with an active volcano as an added menace.

   Koa’s friend and the series narrator, Hastings Hardy, believes that a local Hawaiian has gone mad and is acting as a murderous nemesis for the offended Pele. There is a character called “the firewalker” who fits this bill. But Koa says no Hawaiian would enter a heiau and commit murder let alone do any of the other horrid things that the killer does (for example, a woman is thrown into the steaming, fomenting ocean where the lava flow ends and is basically boiled to death!).

   The book is not very well constructed and — believe it or not — is often dull. It’s a hodgepodge of a disaster adventure comprised of lots of scientific detail about volcanoes, lava flow, the different types of lava and how they behave, the types of rock and ash that accompany violent eruptions, etc. etc.

   The murder mystery is thrown in almost as an afterthought. The book could easily have been much shorter and the narrative handled less clumsily had the author focused on the story rather than focusing on the volcano and the lava.

   The only thing that holds one’s interest is the interspersing of Hawaiian lore and legends. The culprit, once one accepts Koa’s dismissal of anyone Hawaiian, is a bit obvious. The killer’s motive, set up also rather obviously way back in the first chapter when land rights and inheritances are discussed, and the denouement overall are less than satisfying.

LONG, MAX (Freedom). 1890-1971. SC: Komako Koa, in all.
      Murder Between Dark and Dark. Lippincott, 1939.
      The Lava Flow Murders. Lippincott, 1940.
      Death Goes Native. Lippincott, 1941.

J. B. O’SULLIVAN – Someone Walked Over My Grave. T. Werner Laurie Ltd., UK, hardcover, 1954. No US edition.

   As I often do, I’ll append a list of all of J. B. O’Sullivan’s Steve Silk mysteries at the end of these comments. There are a few of them, as you’ll see, but only two have even been published in the US.

   Silk himself is described on the Thrilling Detective website as “a former boxer turned un-licensed PI. Quick with a wisecrack and quicker with his fists, he dresses well and chases women with vigor,” but there are no signs of fisticuffs in the book at hand, and no woman chasing either.

   Silk is usually based in New York, so maybe the difference is that when he visits Ireland, as he does in Someone Walked Over My Grave, he’s on his best behavior. In fact the murder that’s solved in this book is a country manor affair, one much more suited for the likes of Supt. George Tubridy than a smooth as silk operator like Steve.

   There is a point in time, however, at which the reader (this one, anyway) will suddenly realize that what is going on is a competition between the two. Who (and which approach) will solve the case first? Amusingly, though, the two end up asking the same questions of the same people and each in their own fashion, coming up with very much the same answers.

   Dead is the father of a would-be bridegroom, and the number one suspect is the wayward brother (on the other side of the Irish political divide) of the would-be bride when it appears the wedding is off (therefore all of the would-be’s). Telling the story is Jimmy (no last name noted), a local reporter who spent some time in the US chronicling some of Silk’s earlier adventures.

   In the grand Golden Age of Detection fashion, there are lots of suspects, some with alibis, some not, and some of the alibis are suspicious if not outright flimsy. There are several decent twists before a suspect admits to having done the crime, then an even better one before (PLOT ALERT, and maybe I shouldn’t even be telling you this) the last three paragraphs turn everything around again.

   An amazing feat. I was on cruise control at the time, and it made me stop on a dime, sit up and take notice, I’ll tell you that.

The Steve Silk novels —     [Adapted from the Revised Crime Fiction IV, by Allen J. Hubin]

       Casket of Death (n.) Grafton 1945
       Death Came Late (n.) Pillar 1945
       The Death Card (n.) Pillar 1945

       Death on Ice (n.) Pillar 1946
       Death Stalks the Stadium (n.) Pillar 1946
       I Die Possessed (n.) Laurie 1953. US: Mill, 1953

       Nerve Beat (n.) Laurie 1953
       Don’t Hang Me Too High (n.) Laurie 1954. US: Mill, 1954

       Someone Walked Over My Grave (n.) Laurie 1954
       The Stuffed Man (n.) Laurie 1955
       The Long Spoon (n.) Ward 1956

       Choke Chain (n.) Ward 1958
       Raid (n.) Ward 1958
       Gate Fever (n.) Ward 1959
       Backlash (n.) Ward 1960

       Make My Coffin Big (n.) Ward 1964
       Murder Proof (n.) Ward 1968

The Supt. George Tubridy novels —

       Someone Walked Over My Grave (n.) Laurie 1954
      Pick Up (n.) Ward 1964

       Lunge Wire (n.) Ward 1965