Bibliographies, Lists & Checklists


REVIEWED BY GEOFF BRADLEY:         


MALCOLM PRYCE – Aberystwyth Mon Amour. Bloomsbury, UK, 2001.

MALCOLM PRYCE Aberystwyth

    This has been on my must read list since it was first published and Maxim Jakubowski told me how funny it was. I have been looking forward to reading it for 8 years now and, in the meantime, acquired the three sequels (and a fourth has just been published).

    It is a private eye tale narrated by Louie Knight who operates in the eponymous Welsh town, though this is a sort of parallel universe version of it. Knight is approached by Myfanwy Montez, singer and night club entertainer, to investigate the disappearance of her cousin, the schoolboy Evans the Boot.

    The investigation uncovers the deaths of other schoolboys including Brainbocs [sic], the school swot. The investigation leads to a wholly unbelievable (to be fair it is not meant to be believable) conspiracy.

    Humour is subjective (as with most other qualities) but I’m afraid I didn’t find this to be funny in the slightest and, without that, there is absolutely nothing in the book to like. The good news is that I can now make the pile of books in the loft smaller by four volumes.

Bibliographic data — the Aberystwyth series:

      1. Aberystwyth Mon Amour (2001).
      2. Last Tango in Aberystwyth (2003.
      3. The Unbearable Lightness of Being in Aberystwyth (2005).
      4. Don’t Cry For Me Aberystwyth (2007).

MALCOLM PRYCE Aberystwyth

      5. From Aberystwyth with Love (2009).

A 1001 MIDNIGHTS Review by Marcia Muller:


CELIA FREMLIN – The Hours Before Dawn. Victor Gollancz, UK, hardcover, 1958. J. B. Lippincott, US hardcover, 1958. Reprint US paperbacks: Dell D422, 1961; Dell 3770, Great Mystery Library, 1966.

CELIA FREMLIN The Hours Before Dawn

   Celia Fremlin has the unusual ability to take a perfectly normal, if not mundane, situation and create an atmosphere of sheer terror. The Hours Before Dawn, which won an Edgar for Best Novel of its year, introduces us to Louise Henderson, a sleep-starved young housewife with a fretful new infant that is causing complaints from both her family and neighbors.

   The only person who doesn’t complain is Miss Vera Brandon, the boarder the Hendersons have recently taken in. In fact, Miss Brandon is so self-effacing and quiet that at times the Hendersons don’t even know she is in the house.

   Soon the boarder’s actions begin to arouse Louise’s suspicions, and she finds herself doing all sorts of things she has never done before — attempting to search the woman’s room, contacting total strangers for information about her, and finally taking the baby for a nocturnal stroll in his pram, only to fall asleep and lose him in a park.

CELIA FREMLIN The Hours Before Dawn

   The author skillfully weaves truly frightening events into Louise’s daily routine of meals, housecleaning, and childcare, and her superb characterization has the reader thoroughly on Louise’s side — and just as terrified as she is — by the time the story reaches its surprising conclusion.

   Other Fremlin titles of note: Uncle Paul (1960), Prisoner’s Base (1967), The Spider-Orchid (1978), With No Crying (1981).

         ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

CELIA FREMLIN, R.I.P. It was Martin Edwards who first made known the news of mystery writer Celia Fremlin’s passing, announcing it on his blog three days ago.

    She died this past summer in a nursing home in Bournemouth, on June 16th, with very few in the world of mystery fandom knowing about her passing until now.

    Besides Martin’s appreciative tribute to her work, plus a long array of followup comments, a longer obituary by Rebecca Tope can be found online here. She says in part, in one poignant paragraph:

    “Her personal life was, in fact, full of tragedy. From the death of her mother when she was seventeen, she went on to lose three children and two husbands, before going blind and slowly sinking into a twilight world that lasted for several years. Her books are light and humorous at first glance, but just below the surface is an acknowledgment of the truly terrible things that can happen to a person. Her style is distinctive and the books immensely enjoyable.”

   BIBLIOGRAPHY: Taken from the Revised Crime Fiction IV, by Allen J. Hubin:

FREMLIN, CELIA. Pseudonym of Celia Margaret Goller, 1914-2009. UK publishers only, except for one case of a US retitling:
      The Hours Before Dawn (n.) Gollancz 1958.

CELIA FREMLIN

      Uncle Paul (n.) Gollancz 1959.
      Seven Lean Years (n.) Gollancz 1961. US title: Wait for the Wedding, Lippincott 1961.
      The Trouble Makers (n.) Gollancz 1963.
      The Jealous One (n.) Gollancz 1965.

CELIA FREMLIN

      Prisoner’s Base (n.) Gollancz 1967.
      Possession (n.) Gollancz 1969.
      Don’t Go to Sleep in the Dark (co) Gollancz 1970.
      Appointment with Yesterday (n.) Gollancz 1972. No US edition.

CELIA FREMLIN

      By Horror Haunted (co) Gollancz 1974. No US edition.

CELIA FREMLIN

      The Long Shadow (n.) Gollancz 1975.
      The Spider-Orchid (n.) Gollancz 1977.

CELIA FREMLIN

      With No Crying (n.) Gollancz 1980.

CELIA FREMLIN

      The Parasite Person (n.) Gollancz 1982.
      A Lovely Day to Die, and other stories (co) Gollancz 1984.
      Listening in the Dusk (n.) Gollancz 1990.
      Dangerous Thoughts (n.) Gollancz 1991.
       Echoing Stones (n.) Severn 1993.
      King of the World (n.) Severn 1994.

IT’S ABOUT CRIME
by Marvin Lachman

JON L. BREEN – The Gathering Place. Walker, hardcover, 1984; paperback, September 1986.

JON L. BREEN The Gathering Place

   I’m on record as having serious reservations about occult and horror fiction, feeling most works in those genres are “copouts” in which the authors do not play by the “rules” of reality.

   Jon L. Breen’s The Gathering Place contains one unexplainable element, the ability of its heroine, Rachel Hennings, to, without practice, imitate the signatures of famous authors like ErIe Stanley Gardner. The plot device of automatic writing doesn’t help what is otherwise a classic detective story, but it doesn’t hurt it enough to keep me from recommending thls book.

   The setting is a famous old bookstore, on Santa Monica Boulevard in Los Angeles, recently inherited by Hennings from her uncle. There is real murder to go with the supernatural, and soon Rachel is acting as detective, with some help from a psychology professor, a reporter, and a Los Angeles Police detective.

   Hennings is a, strong enough character that she probably doesn’t need that many extra detectives. The mystery is crisply told and satisfactorily resolved, by strictly logical means. A real bonus is the atmosphere of an old-fashioned book store as seen through the eyes of an author who obviously loves old books.

– From The MYSTERY FANcier, Vol. 9, No. 2, March/April 1987.



   Bibliographic Data. [Expanded from the Revised Crime Fiction IV, by Allen J. Hubin.]

HENNINGS, RACHEL
      The Gathering Place. Walker, hc, 1984.
      A Piece of the Auction. EQMM, July 1986. [Short story.]
      Starstruck. Murder in Los Angeles, Adams Round Table, Morrow, 1987. [novelette]
      Touch of the Past. Walker, hc, 1988.

JON L. BREEN Touch of the Past

      Rachel and the Bookstore Cat. Danger in D.C., ed. Martin H. Greenberg & Ed Gorman, Donald I. Fine, 1993. [short story]

REVIEWED BY WALTER ALBERT:         


LORNA BARRETT – Bookmarked for Death. Berkley Prime Crime, paperback original; 1st printing, February 2009.

LORNA BARRETT

   I ordered this sight unseen, attracted by the description of it as a bookstore mystery. What I didn’t realize was that it also included recipes, a seemingly popular device for some mystery novels that I have, up to now, avoided.

   Zoe Carter, author of a popular series of mysteries, is murdered during a signing at Haven’t Got A Clue, a mystery bookstore in Stoneham, New Hampshire. Tricia Miles, the proprietor of the bookstore, has a rocky relationship with the town’s sheriff and decides to investigate the case on her own in an attempt to speed up the identification and capture of the murderer.

   She has a sister, irritating to other people and, I suspect, to some readers as well; an ersatz boyfriend to whom she is not yet committed; and a tendency to put herself in situations that put her own life at peril.

   Tricia and I both fingered the wrong suspect, but the outcome is only slightly delayed. One of the chief suspects is a woman who has a bakery. and she keeps bringing treats to Tricia that are described in such a way as to provoke a reader with a sweet tooth into an instantaneous and severe craving for an over-caloried snack.

   I made it through the book without succumbing, but the fragrance lingers on. Now you know why I’ve avoided recipe mysteries.

   Most of the characters are quickly introduced in the first chapter, which had me retracing my steps more than once to find out who in heck the author was talking about. Distinctive characterizations are not her strong suit, but the plot has some tricky, intriguing turns, the setting is affectionately evoked (with a bookstore cat, Miss Marple, to pull in the animal lovers).

   In short, all the bases are hit for a conventional, undemanding cosy that’s dispatched with some flair.

      Bibliographic Data: Author’s Name: Lorraine Bartlett.

   Booktown Mystery Series, as by Lorna Barrett:

      1. Murder Is Binding. Berkley, pbo, April 2008.

LORNA BARRETT

      2. Bookmarked For Death. Berkley, pbo, Feb 2009.
      3. Bookplate Special. Berkley, pbo, Nov 2009.

LORNA BARRETT

   The Jeff Resnick series, as by L. L. Bartlett:

   [After insurance investigator Jeff Resnick is mugged, he discovers the resulting brain injury has left him able to sense people’s secrets.]

      1. Murder on the Mind. Five Star, hc, Dec 2005; Worldwide Mystery, pb, Oct 2007.

L. L. BARTLETT

      2. Dead in Red. Five Star, hc, June 2008.

LAWRENCE BLOCK – The Burglar in the Closet. Random House, hardcover, 1978. Paperback reprints include: Pocket, 1981; Signet, 1997. Film: Warner, 1987, as Burglar, with Whoopi Goldberg as Bernie (as in short for Bernice).

LAWRENCE BLOCK The Burglas in the Closet

   In Burglars Can’t Be Choosers, when last we met our favorite breaking-and-entering expert, Bernie Rhodenbarr, he was nabbed red-handed in an apartment which, quite unknown to him, came complete with a corpse in the bedroom.

   This time, he checks around first. While the murder’s being committed, he finds himself accidentally locked up in a closet instead. The victim? No one important, only his dentist’s not-so-favorite ex-wife.

   So, in the midst of the comedy routines provided by dentistry and other irreverent views of the world, Bernie is forced once again to become a detective on the run — burglars find it terribly difficult to get policemen to be sympathetic to their job-related problems. The end result is fast, fresh, breezy, and wow, was I slow on the clues!

– From The MYSTERY FANcier, Vol. 3, No. 3, May-June 1979
            (very slightly revised).



Bernie Rhodenbarr novels:

1. Burglars Can’t Be Choosers (1977)
2. The Burglar in the Closet (1978)
3. The Burglar Who Liked to Quote Kipling (1979)
4. The Burglar Who Studied Spinoza (1980)
5. The Burglar Who Painted Like Mondrian (1983)
6. The Burglar Who Traded Ted Williams (1994)
7. The Burglar Who Thought He Was Bogart (1995)
8. The Burglar in the Library (1997)
9. The Burglar in the Rye (1999)
10. The Burglar on the Prowl (2004)

Short stories:

“Like a Thief in the Night.” Cosmopolitan, May 1983.
“The Burglar Who Dropped In On Elvis.” Playboy, April 1990
“The Burglar Who Smelled Smoke.” Mary Higgins Clark Mystery Magazine, Summer/Fall 1997.

THE BACKWARD REVIEWER
William F. Deeck

LYON MEARSON – Phantom Fingers. Macaulay, hardcover, 1927. Hutchinson, UK, hc, 1929.

   Damon Knight, I believe it was, once reviewed what he called an “idiot novel,” wherein the hero was an idiot and the heroine was an idiot, but fortunately the villain was a super-idiot. This novel qualifies for that description.

   The Grand Theatre in New York City is about to put on a new play. The management and the two stars receive threatening letters — signed variously “Pro Bono Publico,” “Constant Reader,” and “A Well-Wisher,” affording the only intentional humor in the novel. If the male lead attempts to make love to the female star on the stage, he Is doomed, says the threatener.

   The play takes place, and the male star does indeed die, being strangled and then having his neck broken by some invisible agency in full view of the audience and almost in full view of the detective in the case, Steve Muirhead, who would have seen it from the beginning if he had been paying attention.

   Muirhead is more alert on the second occasion when an understudy takes over the role and begins being choked on stage, again by an invisible hand. With a visible knife Muirhead stabs the invisible hand and saves the understudy’s life.

   Does Muirhead remember his brave and intelligent — his only one — act? No. He puts the knife away somewhere safe and is thus at the mercy of the villain.

   Murder and attempted murder, and Muirhead is the sole policeman involved in the investigation. The rest of the force is directing traffic, one gathers. “A fate worse than death” is mentioned often enough in regard to the heroine to make one suspect that the author was trying to titillate his readers since he couldn’t entertain them.

   The only mysteries worth thinking about here are how Muirhead’s man Briggs becomes Muirhead’s man Grigson a few pages later and how this wretched amalgamation of mystery and science fiction went into a third printing.

   How it got published originally I will let others ponder.

– From The MYSTERY FANcier, Vol. 10, No. 3, Summer 1988.



   Bibliographic Data:   [Taken from the Revised Crime Fiction IV, by Allen J. Hubin.]

MEARSON, LYON. 1888-1966. Born in Montreal; educated at New York Law School; art critic for New York Evening Mail.
      Footsteps in the Dark. Macaulay, 1927; Hutchinson, 1928. [Murder mystery revolving around an “oriental” decorated house and a stack of gold.]

LYON MEARSON

      Phantom Fingers. Macaulay, 1927; Hutchinson, 1929.
      The Whisper on the Stair. Macaulay, 1924; Hutchinson, 1924.

A REVIEW BY DAVID L. VINEYARD:         

   

E. BAKER QUINN – One Man’s Muddle. Heinemann, UK, hardcover, 1936. Macmillan, US, hardcover, 1937.

   Two years before Raymond Chandler introduced us to Philip Marlowe in The Big Sleep (1939), E. Baker Quinn, a British writer, anticipated both his voice and his attempt to do something more serious with the detective novel with her first novel about former Scotland Yard sleuth James Strange, an accomplishment noted by critic James Sandoe in his famous list of notable hard-boiled writers.

   When we first meet her sleuth James Strange, he has fled to a “… tu’penny ha’penny inn a hundred miles from nowhere,” to escape his past. But he knows it’s hopeless. “Do a bunk to the jungles of Africa and ten to one you’ll meet your mother-in-law’s char coming around the first bush …”

E. BAKER QUINN One Man's Muddle

   And for Strange it is much worse than his mother-in-law’s charwoman. He’s runs smack into the former Mrs. Boynton, now Mrs. Geoffrey Wharton, a former London snowbird, an addict, who knows all about Scotland Yard’s former bright young thing who has just completed four years in the pen for possession of illegal drugs.

   I wondered if she would be stupid enough to lie. Burns was wrong. If we could see ourselves as others see us police blotters would be empty. For instance, she’d have made an attempt to douse the 400-watt light blazing in her eyes.

   And of course Mrs. Wharton is promptly murdered, and Strange finds himself forced to help her husband cover up her past while trying to cover up his own and keep the police from finding the .32 caliber automatic hidden in his luggage, the gun he used in a manslaughter case he was acquitted in — but would rather not bring up again — and coincidentally, the same caliber Mrs. Wharton was shot with …

   His attempts to keep his head above water push him deeper into the mess, and force him back to his ex-fiancee in London and to Ratchet, the partner who ratted on him and testified against him as King’s evidence.

   That’s the set up for a novel that anticipates the style and voice of Chandler’s novels:

   Well, I thought, the lad who wrote what a tangled web we weave certainly knew what he was talking about. From the night of Alice’s (Mrs. Wharton) death, when I made a bargain with Wharton to keep his secret if he kept mine, one thing had followed on another. Little pyramids pyramiding precariously and I was so involved now that when they crashed I’d find myself squarely on the bottom of the pile.

   Before it is over Strange will solve the case, but find himself facing another two years in prison.

    “I tank ay asked for it,” I said in a small Swedish accent, “ay been dom fool.”

   In later books Strange gets out of prison and goes to work as a private eye with his despised ex-partner Ratchet. The voice continues in the Chandler vein.

   Who Quinn was, and how she came to discover a voice and subject matter so close to Chandler is a mystery in itself. But her books are worth discovering and reading, and Strange a curious compliment to Marlowe and his world.

   Here are a few samples of Quinn and Strange:

    I gave a flawless imitation of a man looking at a packet.

    “It’s a curious thing, Mr. Strange,” he said, but I never go to the cinema.”
    “I never go to America,” I said, “but I know what Roosevelt looks like.”

    “Anything I tell that old bargepole,” I said, “you can cook three minutes and throw away.”

   If one-eighth of the publicans in England began telling all they knew, divorce and civil courts would take over the nation.

   Curious how the saving of great honour usually involves the destruction of several small honours. Like the nobleman’s son who saved the families honour by not marrying the dairymaid.

   He made me think of Luther and Savonarola and Reformations, possibly because he had what I call the Righteous Eye. Believe me I’m an authority on the Righteous Eye. The judge who sent me up had it.

   A thin chill pimpled all over me.

   She gave me a rake over then, twice the voltage of mine.

   I wondered irritably how anything as peaceful as the village could be so damn unpeaceful.

   The cows gave me the same kind of look coming home with an old lady in my arms and a dripping child on my heels as they gave me going out and I thought it must be wonderful to be beyond surprise like that.

   Tonight I’d ride the old nightmare, I’d cease to walk erect and unafraid. Four years of dreams, I thought, bitterly, and just a handful of hours to kill the dream …

   One Man’s Muddle and its sequels are an interesting look at a Marlowe that might have been, one of those curious side roads that sometime run parallel to a more successful track. And well worth reading and discovering as first rate mysteries by a writer who deserved more recognition than she got.

         Bibliographic data: [From the Revised Crime Fiction IV, by Allen J. Hubin]

QUINN, E(LEANOR) BAKER

       One Man’s Muddle (n.) Heinemann 1936. Macmillan, 1937. [James Strange]
       The Dead Harm No One (n.) Heinemann 1938.    (**)
       Death Is a Restless Sleeper (n.) Heinemann 1940. Mystery House, 1941. [James Strange]

E. BAKER QUINN Death Is  Restless Sleeper

(**) While it seems likely that he is, it is not known whether James Strange is in this book or not.

A REVIEW BY FRANCIS M. NEVINS, JR.         


RICHARD ROSEN – Fadeaway. Harper & Row, 1986. Paperback reprint: Onyx, July 1989.

– Reprinted from The MYSTERY FANcier, Vol. 9, No. 2, March/April 1987.


RICHARD ROSEN

   Robert B. Parker may not be the best private eye writer of the eighties but surely he’s the most influential, as witness the horde of newcomers to the field who have used his pretentious, wildly overrated, consistently best-selling series about the Boston PI Spenser as their takeoff point.

   Richard Rosen, winner of the Mystery Writers of America Edgar award for the best first crime novel of 1985, deserves another prize for. using Parker most creatively.

   The main character both in Fadeaway and in Rosen’s prizewinning Strike Three You’re Dead is a sort of Jewish Spenser, at least in the sense that each man is a smart-mouthed jock from Boston with a liberated live-in lady and a snootful of angst.

   Harvey Blissberg has turned hesitantly to the PI game after the early end of his career as a major-league outfielder, but he’s not very good at his new line of work and all his cases seem to come to him from his sports world connections. In Fadeaway he’s hired simultaneously by the Boston Celtics and the Washington Bullets to find out why a basketball star from each team vanished from Logan Airport within forty-eight hours of one another.

RICHARD ROSEN

   When both players are found shot to death, Harvey follows the trail into the seamy world of college sports recruiting, and his hunch that the murders are tied in with the seven-year-old “accidental” death of a high school basketball champ in a dark bus tunnel stirs up the usual hornet’s nest of corruption.

   If Ross Macdonald had written this book, the plot would have been so convoluted you’d need a chart to sort out who did what to whom. Rosen goes to the opposite extreme, leaving out complexity and surprise almost entirely.

   If Parker had written the book, there would have been a violent confrontation in every chapter. Rosen avoids action scenes almost entirely, too. But he’s an excellent stylist, with the ability to describe an American city (in this case Providence, Rhode Island) and the inner world of desperately lonely people as well as any PI novelist now at work.

   What sets Rosen apart from everyone else in the field, however, is his gift for shifting without effort from the film noir gear into another mode entirely. Here for example is Harvey anguishing over the case with his girlfriend, Mickey:

    “I can’t figure out where their lives crossed. Christ, Mick, what am i going to do? I’m out of my element.”

    “You never had an element.”

    “Thanks. You’re joking and I’m having a crisis.”

    “Life is a series of crises.”

    “It hasn’t always felt like this.”

RICHARD ROSEN

    “Okay, I take it back. Life is a series of crises separated by brief periods of self-delusion.”

    “I need a pith helmet to protect me from your sayings.”

   Jock though he’s supposed to be, Harvey is the only PI in the literature who cries out to be played by Woody Allen.

    Fadeaway is crammed with scenes which are not only hilarious in their own right, but marvelous as parodies of the tiresome philosophic shticks in the Spenser novels. It’s light on action and complexity, but the first-rate dialogue and characterizations and the rich anti-Parker subtext make this one a joy to read.

    Bibliography — Expanded from the Revised Crime Fiction IV, by Allen J. Hubin:

ROSEN, R(ichard) D(ean), 1949- . SC: Harvey Blissberg, in all titles.

      Strike Three You’re Dead. Walker, hc, 1984. Signet, pb, 1986. Walker, trade pb, 2001.

      Fadeaway. Harper & Row, hc, 1986; Onyx, pb, 1989.

      Saturday Night Dead. Viking, hc, 1988; Onyx, pb, 1989.

RICHARD ROSEN

      World of Hurt. Walker, hc, 1994.

RICHARD ROSEN

      Dead Ball. Walker, hc, 2001.

BRUCE ALEXANDER – Rules of Engagement.

Berkley, paperback; 1st printing, February 2006. Hardcover edition: G. P. Putnam’s Sons, March 2005.

   This is the first of Bruce Alexander’s “Sir John Fielding” detective novels that I’ve read, and no, I didn’t realize it until after I’d picked it out to read that this is also the last one that Alexander ever wrote. And as perhaps you already knew, Bruce Alexander was the pen name of Bruce Cook, 1932-2003, who wrote eleven mysteries under that name. Under his own name, he had five earlier ones, four of them with Antonio “Chico” Cervantes as the leading character.

WILLIAM COUGHLIN

   Now it gets interesting. (I’ll get back to Antonio “Chico” Cervantes in a minute.) Cook also was at least in part responsible for writing William J. Coughlin’s last book after he (Coughlin) died, The Judgment (St. Martin’s, 1997). I’m quoting from Al Hubin in Crime Fiction IV now: “Apparently written by Bruce Cook from a beginning by Coughlin, then finished and polished by widow Ruth Coughlin.”

   The reason is that this is interesting, is that this is precisely how Rules of Engagement got written. From the back cover, and quoting again: “He (Bruce Cook) died in 2003, having completed most of Rules of Engagement, and left notes on how the rest of the story unfolded. John Shannon, author of the highly praised Jack Liffey series, most recently Dangerous Games, completed the novel with Bruce’s wife, Joan Alexander.”

   As coincidences go, it would be rather minor, but was it a coincidence? Probably not. The idea was there, and the Bruce Cook and his wife simply carried it out in the same way it had been done before. And as you can easily imagine, there are both pluses and minuses in doing so.

BRUCE COOK Mexican Standoff

   But before getting into that, and to Sir John Fielding and what the book (and the series) is about, I promised to tell you something about Chico Cervantes. This Thrilling Detective link will tell you more, but perhaps it suffices to say that Cervantes was a Mexican-American ex-LA cop turned private eye whose stomping grounds were (as you probably already guessed) Southern California.

   His four recorded cases, published between 1988 and 1994, did not seem to turn the mystery fiction world on fire, and in fact, only one of the four, the first, Mexican Standoff, was ever published in paperback, the other three only in hardcover.

   For whatever that tells you. In any case (no pun intended) the year the last Cervantes book came out, 1994, was the same year that Blind Justice, the first Sir John Fielding novel appeared. Cook, as Alexander, at the age of 62, had hit the equivalent of pay dirt.

   I’ll append a complete list of the highly popular Fielding books at the end of this review. (I have them all. They are, unfortunately, still in the TBR (To Be Read) portion of the basement.)

BRUCE ALEXANDER

   Sir John Fielding, as I hasten now to tell you (at last), was the blind English magistrate who was the real-life founder of London’s first true police force, the Bow Street Runners, in the mid-to-late 1700s.

   What’s interesting about one of Alexander’s Fielding books, An Experiment in Treason, Benjamin Franklin makes an appearance. Unlike Robert Lee Hall’s series of books of the latter’s London adventures, though, in Treason Franklin is a suspect, not the detective, while in Hall’s books, Fielding is only a (relatively) minor character.

   In the books by Bruce Alexander, Fielding’s household and close-knit circle of friends and close acquaintances takes center stage, filled to abundance with family, servants, many of which (if not most) are fictional. Especial note should be made of the narrator of the tales, one Jeremy Proctor, Fielding’s protege with him throughout the series, an orphan taken under his wing as a dogsbody, now in Rules of Engagement all of eighteen and Sir John’s clerk at the Bow Street Court.

   The title comes in part from the fact that Jeremy is engaged to be married to Clarissa Roundtree, the other orphan taken in by the Fieldings: Clarissa as Lady Fielding’s general factotum, and as the book begins, he (Jeremy) is beginning to wonder greatly about his future. (On page 241 there is another context in which “rules of engagement” come into play.)

   The mystery is extremely slight, but of course it needs to be mentioned. It concerns the strange death of Lord Lammermoor, who has recently jumped to his death from a bridge while crossing the Thames alone.

BRUCE ALEXANDER

   Several chapters later (or to be precise, in Chapter Three) the case is all but solved when Fielding and his entourage are entertained at the theater by a practitioner of “animal magnetism” and/or “mesmerism.” The only question that remains (to the reader, that is) is who is responsible, and while I cannot reveal his/her name, you will know as soon as he/she enters the story. (Ventriloquy is also an important factor, but my telling you that will neither enlighten you further, or less.)

   One hopes for more, but more there is not, save 200 pages in which a great happens, but very little of any consequence. All in all, what the authors in combination have provided is nothing less than a worthy attempt to tie up some loose ends for the readers who followed the series and the characters from early on — but not all of them (the loose ends, that is). Life happens, and that is what is left for the reader to contemplate. This is one of the aforementioned pluses.

   For someone expecting a detective story with some solid, down-to-earth detective work going on, either Mr. Alexander did not have one in mind, or if he did, neither his wife nor John Shannon were able to build one out of the notes that he left them. This is one of the aforementioned minuses.

   For the record, the pluses outweigh the minuses, but personally, coming in at the end as I did, I left with a feeling of disappointment that I sincerely wished I hadn’t — come in at the end, that is.

   If you’d like to call my verdict “mixed,” you’d certainly be right. I wouldn’t deny it at all.

— March 2006



      The Sir John Fielding novels by Bruce Alexander:

   All were published in hardcover by Putnam and in paperback by Berkley. The dates are of the hardcover editions; the paperback generally appeared a year later.

Blind Justice. 1994.

Murder in Grub Street. 1995.

BRUCE ALEXANDER

Watery Grave. 1996.

Person or Persons Unknown. 1997.

BRUCE ALEXANDER

Jack, Knave and Fool. 1998.

Death of a Colonial. 1999.

The Color of Death. 2000.

BRUCE ALEXANDER

Smuggler’s Moon. 2001.

An Experiment in Treason. 2002.

The Price of Murder. 2003.

BRUCE ALEXANDER

Rules of Engagement. 2005.

MARK BURNELL – Chameleon. Avon; reprint paperback, March 2003. HarperCollins hardcover, 2002.

MARK BURNELL

   A spy thriller about a female assassin, the best in the business that there is. She’s Stephanie Patrick a/k/a Stephanie Schneider a/k/a Petra Reuter and quite a few others as the book goes on, and at the beginning of this 400-plus page novel, she’s burned out, in hiding from her British overseers, and (more significantly) from herself.

   This retreat may be caused in large part, by events, in an earlier novel, The Rhythm Section, but since I seem to have missed the book completely, that’s only a strong conjecture.

   But adding to a theory I’m still in the process of developing, there’s something I’ve decided to call the Heinz test. The precise numerical value is still subject to empirical study, and hence revision, but at the present time it goes something like this. If after reading 57 pages, and nothing in the book has happened that makes you really want to keep reading, why should you?

   On page 57 Stephanie is the midst of being involuntarily rehabilitated, being fitted up for service again. And even though the problem she’s being groomed to tackle, something to do with plutonium being smuggled out of somewhere into somewhere, was moderately non-interesting, the reclamation project she’s being forced to undergo was engaging and challenging enough for me to give the book a tentative and conditional go-ahead.

   There’s a re-evaluation stage that comes next, and I’ll call this one the Dalmatian test. When I got to this point, I stopped, and I stalled out again. If I may, I’ll quote for you a paragraph from page 101:

MARK BURNELL

   The largest fraud that Komarov had been associated with had been perpetrated by the Tsentralnaya crime syndicate. It was well known that Russian criminal organizations targeted governments because they tended to be the largest generators of money. Moreover, they were usually very poor at monitoring it. Tsentralnaya had run a highly lucrative petroleum products fraud against the Czech government during the immediate aftermath of the Velvet Revolution. Relaxed laws had allowed foreigners to invest with confidence in the Czech Republic. No one took greater advantage of the new liberal atmosphere than Russia’s most powerful criminal organization.

   There’s more immediately following, three or more paragaphs in a similar vein. Information dumps like these occur far too often. Every minor character seems to have his or her own long history, and in turgid detail. Also making the book unappealing is that it’s also difficult to root for an assassin, whether she’s on “our side” or not. A writer like Donald Westlake can pull it off, a lesser author can not.

   (Note to self: It’s obviously time to put Westlake on the to-be-read list, and maybe Eric Ambler too. See below.)

   Ambler’s early heroes were ordinary people, as I recall, caught up in events beyond their control, and managing somehow to still survive. Stephanie has too many contacts, too much money, and even with all the psychological baggage she carries with her, and the love affair that’s all-too-apparently going nowhere, she’s far too competent at what she does for the reader to care.

   Not this reader, at least. Not this time.

— April 2003


          Bibliographic Data:

      The Stephanie Patrick series:

The Rhythm Section. HarperCollins, UK, hc, 1999. HarperCollins, US, hc, 2000; Avon, pb, 2000.

MARK BURNELL

Chameleon. HarperCollins, UK, hc, 2002. HarperCollins, US, hc, 2002; Avon, pb, 2003.

Gemini. HarperCollins, UK, pb, 2003.

MARK BURNELL

The Third Woman. HarperCollins, UK, hc, 2005.

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