HANNAH MARCH – The Complaint of the Dove. Headline,UK, hardcover & paperback, 1999. First US publication: Signet, paperback, March 2003.

   As far as I’ve been able to determine, this is a First Novel, and if such it is, it’s all the more remarkable, since this is a mystery taking place in 1760s England that’s as splendid a fair-play detective novel as it is an outstanding work of historical fiction.

   The hero and reluctant sleuth is Robert Fairfax, private tutor to a young, headstrong son of an ailing but wealthy father. Determining that a trip to London would widen young Matthew Hemsley’s horizon’s, Fairfax does not foresee the disaster in store: his young ward accused of murder and jailed in Newgate prison.

   The early third of the tale is humorous, warm and witty, as Robert and Matthew get a rare peek behind the scenes of a London musical theatre, where singer and performer Lucy Dove is the talk of the town.

   Young Matthew is instantly smitten, again not part of Fairfax’s original instruction plans, but in terms of showing him the ways of the world, then yes.

   The story takes a distinct turn to the melancholy, however, when sudden death interjects itself, and Fairfax hitherto unused skills in detection are the young boy’s only hopes. He’s up to the task, however, in a very neatly plotted tale, with clues and motives galore.

   Nor is the book any slouch, either, when it comes to giving the reader the authentic feeling of visiting the city of London of almost 250 years ago. Here’s how March describes a gala party to which Fairfax is invited, as his travels and deliberations grant him long glimpses into both the highs and lows of the day’s society. From page 212:

   As well as telling a tough sort of coming-of-age story, March also allows Fairfax’s own mysterious past to come gradually to light, giving us a detective that we see fully realized as flawed, but one we’d most assuredly like to see more of.

PostScript: Doing some Googling on the Internet produces the following Good News. The second Robert Fairfax mystery was The Devil’s Highway (Headline, 2000), and Googling some more … apparently there are now five in the series in all. We in the US are going to have some catching up to do.

[UPDATE] 03-17-10. More information about Hannah March that I’d hadn’t found or thought to include with the earlier review. Expanded from “her” entry the Revised Crime Fiction IV, by Allen J. Hubin:

MARCH, HANNAH. Pseudonym of Tim Wilson, 1962- . Series character in all: Robert Fairfax.

    * The Complaint of the Dove (n.) Headline 1999 [London; 1760]
    * The Devil’s Highway (n.) Headline 1999 [London; 1761]

    * A Distinction of Blood (n.) Headline 2000 [London; 1762]

    * Death Be My Theme (n.) Headline 2000 [London; 1764]
    * A Necessary Evil (n.) Headline 2001 [Bath; ??]

   The first three were published in the US by Signet as paperback originals. Neither of the last two have been published in the US. When Fairfax’s career as a fictional detective came to close, author Tim Wilson seems to have switched to writing historical fiction without a detective, this time under the name of Jude Morgan.

   Of eight books so far in the latter category, the most recent is Charlotte and Emily: A Novel of the Brontes (2010).

ARTHUR D. GOLDSTEIN – A Person Shouldn’t Die Like That. Random House, hardcover, 1972. Hardcover reprint: Detective Book Club, 3-in-1 edition, September 1972.

   Several days after his chess-and-checkers-playing friend, Jacob Schneider, fails to show up at the New York City park where they play, Max Guttman visits him to see if all is well. Unfortunately it isn’t, for Guttman finds him in his apartment, beaten to death.

   Realizing that he knew little about Schneider other than that he had survived a concentration camp, Guttman begins trying to find out why a man should have to die like Schneider did. Guttman is also pressured, only a little bit externally but very much internally, to see what he can do to keep a presumably innocent black drug addict from being convicted of the crime.

   The police don’t care for Guttman’s inquiries, nor apparently does the murderer, who may have struck again.

   In Synod of Sleuths, edited by Jon L. Breen and Martin H. Greenberg, James Yaffe discusses the Jewish detective and Jewish characters in mystery novels — Guttman isn’t literally a detective, merely a not-very-well educated but definitely intelligent immigrant who wants to know why — and contends:

   At least in this novel — the first of three — Guttman, seventy-two-year-old widower, is not a practicing Jew. Indeed, he has not kept Kosher since his wife died. Is his Jewishness “simply a thin coating of local color?”

   Not a question I can answer, and Yaffe does not deal with Goldstein’s novels in his essay. What I can say is that Guttman is an amusing, thought-provoking and complex character whom it was it pleasure to spend time with.

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

GOLDSTEIN, ARTHUR D(avid). 1937- . Pseudonym: Albert Ross. Series character: Max Guttman, in all three titles below.
    A Person Shouldn’t Die Like That (n.) Random House, 1972. Nominated for an Edgar, Best First Mystery Novel, 1973.
    You’re Never Too Old to Die (n.) Random House, 1974.
    Nobody’s Sorry He Got Killed (n.) Random House, 1976.

ROSS, ALBERT. Pseudonym of Arthur D. Goldstein.
    If I Knew What I Was Doing (n.) Random House, 1974.

GARRITY – Kiss Off the Dead. Gold Medal #948, pb original, 1960.

   To get the unappealing taste of Brad Latham’s Hook book out of my head, I went to my collection of prime Gold Medal stock and more or less picked this one out at random.

   I’ve read enough of these early paperback novels to be convinced that the booze-babes-and-bullets approach to detective/mystery fiction does not automatically have to mean that it’s a book that I found as disappointing as I did The Gilded Canary.

   To tell you the truth, I was a little worried. Could it be that I was wrong, that my memory had gone bad? After reading this, though, my doubts were gone. I was completely reassured. They just don’t write ’em the way they used to, that’s all there is to it.

   This is the story of Max Carey, an ex-cop who’s gone bad, on the trail of a woman — his wife, as it happens — who’s to blame. She’s a tramp, although he refuses to admit it, even to himself. Just as he finds her — in a smoke-filled bar on the way to Florida — she disappears again, and the very next day (naturally!) her body turns up in the ocean.

   Small-town police officers being what they are, Carey is blamed, and he spends the rest of the book one step ahead of the law — and the mob– desperately trying to find the killer before either one of them finds him. A hat-check girl named Sherry is the only person who’s on his side.

   Not a terrifically original plot, I have to admit, but Garrity’s roughly-hewed writing style saves the day, even to the point of being nearly poetically effective in papering over the cliches. The non-stop action includes the prerequisite bedroom scene, but here at least the camera pulls away before the X-rated warning lights go flashing on.

   The book is filled with as much action as the Warner book, if not more, but what Garrity does that Latham doesn’t is to make you feel it — as nearly a participant as reading a book can do, not as a voyeur.

[UPDATE] 03-10-10. The revisions I just mentioned were designed to make the review stand more on its own, though I think it’s fairly clear that you might want to read the preceding review anyway, just to make the context clearer. I’ve made no changes in what you read now from what my opinion was then.

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

   GARRITY.   Pseudonym of David J. Gerrity, 1923-1984.

        Kiss Off the Dead (n.) Gold Medal 1960
        Cry Me a Killer (n.) Gold Medal 1961

        Dragon Hunt (n.) Signet 1967, as by Dave J. Garrity.   (PI Peter Braid)
        The Hot Mods (n.) Signet 1969, as by Dave J. Garrity.

   GERRITY, DAVID J(ames).   Series character: Mafia hit man Frank Cardolini in all.

        The Never Contract (n.) Signet 1975

        The Plastic Man (n.) Signet 1976
        The Numbers Man (n.) Signet 1977

NOTE: Some of Garrity/Gerrity’s books were either dedicated to Mickey Spillane or had a blurb by the latter on the cover (“I wish I had written it!”). They were friends, I believe, or Spillane acted in some way as a sponsor or mentor, but I haven’t tracked down any more specific information than this.

DOROTHY GILMAN – Mrs. Pollifax on the China Station. Doubleday, hardcover, 1983. Paperback reprint: Fawcett Crest, 1984.

   CIA operative Mrs. Pollifax is off to China to rescue an incarcerated Chinese who knows all the whereabouts of the Chinese defenses on its Russian border. She is with a small group of tourists, one of whom she knows to be a fellow operative.

   When the op is revealed, she’s amazed, but they work well together. There is danger and suspense; there is also a lot of China sightseeing, and there are encounters with individual Chinese people.

   Being Mrs. P., things happen that no other tourist in China should expect. We all know that Mrs. P. and friends will get home safely, but it’s exciting reading all the same.

   Gilman just about always gives us a good read, and this one definitely is.

Editorial Comments:   A bit of good news is that Dorothy Gilman has been announced as the recipient of this year’s Grand Master Award by the Mystery Writers of America.

   With a career as long as hers, and with her long list of fine crime and mystery fiction to serve as credentials, the honor and the congratulations that go with it are certainly more than due!

   Dorothy Gilman’s first book, Enchanted Caravan (not a mystery), was published in 1949. Since then she’s written three dozen or so other novels, including 14 in the Mrs. Pollifax series, the most recent being Mrs. Pollifax Unveiled (2000).

   The first book in the series, The Unexpected Mrs. Pollifax, was filmed (United Artists, 1970) as Mrs. Pollifax — Spy, starring the perfectly cast Rosalind Russell. It was filmed a second time as a made-for-TV movie in 1999, this time having the same title as the book. This second outing starred Angela Lansbury as Mrs. Pollifax, perhaps an obvious choice as one of the “coziest” spies in the business.

   Dorothy Gilman’s other series character, Madame Karitska, has appeared in two novels, separated by what may be a record number of years: The Clairvoyant Countess (1975) and Kaleidoscope (2002).

L. M. JACKSON – The Mesmerist’s Apprentice. Arrow Books, UK, paperback reprint, May 2009. Hardcover edition: William Heinemann, UK, May, 2008. No US edition.

   This is the second in a series featuring Sarah Tanner, an enterprising Victorian businesswoman and amateur sleuth, first introduced in A Most Dangerous Woman (2007).

   Mrs. Tanner (as she is known in the London neighborhood where she runs Sarah Tanner’s New Dining and Coffee House) has reopened her establishment after a disastrous fire the preceding year.

   She’s attractive, soft-spoken, and not well known in Saffron Hill, where her aloofness (which is taken for an air of mystery by the gossips) makes her the object of some suspicion.

   When a gang of thieving boys begins to target Sarah’s shop and the near-by butcher’s, she begins a discreet inquiry that convinces her that something more significant than random thieving is involved.

   In the midst of this trouble, a letter arrives from her former lover, now married, asking for her help. She hesitates but eventually meets with him and learns that he is concerned that his mother is being victimized by a nurse who is taking care of her husband in the wake of a disabling stroke that has left him unresponsive.

   When Sarah reluctantly agrees to look into the matter and determine what the nurse’s motives may be, she soon discovers a network of crimes that involves the thieving band whose forays have turned more violent and a mesmerist under whose influence the nurse appears to be working.

   Sarah Tanner is a resourceful investigator who moves easily among the various strata of London society, from the most humble to the aristocratic circle to which her former lover belongs. Her affair with her former lover Arthur DeSalie is revived, but if the investigation may resolve some difficulties, Sarah’s estrangement from her past, momentarily resolved, may not be so easily settled.

   Jackson (who also writes under the name Lee Jackson) has written other books set in Victorian London, a setting in which he and his characters seem perfectly at home. Sarah Tanner is a worthy addition to the roster of female sleuths and the novel’s conclusion suggests that she will return to deal with both old and new concerns.

Bibliographic Data:   In spite of Walter’s closing comment, there appears so far to have been only the two books in the Sarah Tanner series. As by Lee Jackson, the author has written four earlier historical mysteries:

    • London Dust (2003)

The Inspector Decimus Webb, 1870s London series —

    • A Metropolitan Murder (2004)
    • The Welfare of the Dead (2005)

    • The Last Pleasure Garden (2006)

   None of the above has had a US edition, and it is a mystery as to why that should be. Books of similar themes and settings have been gobbled up eagerly on this side of the Atlantic.

   Also by Lee Jackson is The Diary of a Murderer, another Victorian murder mystery novel, but it’s available only online and on Kindle.

J. P. HAILEY – The Anonymous Client. Tor, paperback reprint; 1st printing, August 1993. Hardcover edition: Donald I. Fine, 1989.

   In the real world, the pseudonymous J. P. Hailey is known as Parnell Hall, as you may have already known on your own. Over the course of his writing career Hall has come up with three rather distinct series characters, two under his own name and one as by Hailey.

   First by a year was Stanley Hastings, who first appeared in Detective (Donald I. Fine, 1987) as by Hall. Hastings is an outwardly inept and reluctant private eye who does small-time jobs for ambulance-chasing attorneys. He is also still around, or so it seems, last appearing not so very long ago in Manslaughter (Carroll & Graf, 2003).

   Attorney Steve Winslow, to whom I’ll return in a moment, is the detective of record in the Hailey books, beginning the year after Hastings’ debut with The Baxter Trust (Donald I. Fine, 1988). He seems to have run out of cases to solve, though, since he hasn’t made an appearance in over 13 years now.

   Picking up the slack has been crossword puzzle constructor Cora Felton, who beginning with A Clue for the Puzzle Lady (Bantam, hc, 1999), again as by Hall, has proven to be very popular, solving a long line of detective novels that come out on a regular basis ever since.

   I’ve not read any of them, yet, but the way the elderly Cora Felton has been described, she seems to be a deliberate reverse take-off of Agatha Christie’s Miss Marple: crusty, promiscuous, and a lush. (If I have that wrong, please let me know. I’d hate to be sued for defamation of character.)

   Let’s get back to J. P. Hailey, though. Here’s the list of the books in which Steve Winslow is the sleuth of distinction:

The Baxter Trust. Fine, 1988. Lynx, pb, 1989.

The Anonymous Client. Fine, 1989. Tor, pb, 1993.
The Underground Man. Fine, 1990. Forge, pb, 1994.

The Naked Typist. Fine, 1990. No paperback edition.

The Wrong Gun. Fine, 1992. No paperback edition.

   Something is wrong here, very wrong. If a book with a title like The Naked Typist can’t get reprinted in a paperback edition, something is wrong with the world of publishing, totally. In any case, after two hardcovers for which the softcover rights were not sold, that was it, no more, end of series, nor do I know why.

   Sometimes I doesn’t pay to wonder about matters not under your control, only to enjoy what you already have, and enjoyable this book is. To wit:

   Steve Winslow is a lawyer with only one client, a wealthy woman (heiress?) a carry-over from the previous book. I’m not sure how correct I’d be if you were to try to pin me down about the details, but I think I have the wealthy part right.

   In any case, as a result of whatever it was that happened in the previous book, Winslow is now Sheila Benton’s personal attorney. As a result he has a steady income, which is of course a good thing, and he’s also essentially only on call when needed. His secretary Tracy Garvin is so bored with nothing to do that at the beginning of this, the second book, she has just given him two weeks notice.

   She reads mysteries, you see, and working for Steve Winslow is nothing like what happens to Della Street in the Perry Mason books. Not until, that is, the morning mail brings an envelope containing ten thousand-dollar bills as a retainer from a client who deliberately has not signed the note that comes with it.

   It may be difficult to believe, but this creates a big problem. Winslow already has a client, and he cannot act on behalf of this new one in case there is a conflict of interest with the old one.

   He also cannot return the money, because he does not know to whom to give it back. Luckily Winslow knows a private detective whose offices are in the same building, an old buddy named Mark Taylor, and if he doesn’t remind you of Paul Drake, you certainly don’t get out and read those old Erle Stanley Gardner books very often, do you?

   Many complications ensue, and I won’t go into all of them – or any of them, for that matter – but if you were thinking that there’s got to be some really unusual courtroom shenanigans that occur, then you are thinking along exactly the same line that you should be.

   Here is a lengthy quote that I liked, lifted from page 129. It is in one of the aforementioned courtroom scenes, and Winslow is on the stand. (I wonder if Perry ever was, in one of his books – on the stand, I mean.)

   And later on, from page 228:

   So there you have it. I enjoyed the jokes, and I enjoyed the complicated plot. Make that “really enjoyed” and “really complicated.” But I have a couple of comments to make – not guesses, you understand – but just an observation or two:

   Parodies are fine – can this be anything else? – but some people may not like the razzing of their heroes. The F-word was never heard in any of Erle Stanley Gardner’s novels, but it is in this one, and several times over.

   On the other hand, parodies can also fizzle, and badly, when the subject of the parody is no longer very popular or perhaps not even remembered. By the time Steve Winslow’s run of adventures was over, Perry Mason had long since vanished from the bookstore shelves and the TV screen, or very nearly so.

   So maybe this was the reason someone’s interest in the series fell off, whether the publisher’s, the author’s, or the general public’s — or a combination thereof. I enjoyed this one, though, and if your sense of humor is anything like mine, you will too.

[UPDATE] 03-06-10. After a gap of four years, there have been (will be) two more books in the Stanley Hastings series: Hitman (2007) and Caper (2010). There are now 11 books in the “Puzzle Lady” series, with a new one appearing at a rate of about one a year.

   But there have been no more Steve Winslow books, alas.

TRAILL STEVENSON – The Silver Arrow Murder. Herbert Jenkins, UK, hardcover, 1939. No US edition.

   As a way of dying, it was a bit unusual. But there was Philip Delavalle transfixed with nine arrows — one silver, and eight belonging to various members of the local archery club, which had recently expelled Delavalle.

   Was this done by one demented archer, or was the victim the target of lots of his former fellow archers, almost all of whom had reason to despise him and possibly want him dead? And what, if anything, do the missing cocker spaniels have to do with the case?

   Detective Inspector Peter Flemont of New Scotland Yard has to get it all straightened out and isn’t quite up to the challenge. Luckily he discusses his cases with his grandmother, who is a fine little-old-lady armchair detective and who solves the case, though she had rather not.

   I knew who the murderer was, of course. If there isn’t a homicidal tramp to suspect, I always fix my view on the… But you don’t want to know that, do you?

   Despite the presence of Flemont’s grandmother, moderately dull has to be the judgment on this novel.

Editorial Comment: Traill is an unusual first name, and in retrospect I wonder why Bill didn’t comment on it. It turns out that it isn’t the author’s first name at all, and using Hubin as the first resource at hand, an even greater surprise lies in store:

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

      The Whispering Bird (n.) Nash 1923
      The Diamond in the Hoof (n.) Cassell 1926
      The Island Murder (n.) Jenkins 1936
      Murder at the Bar (n.) Jenkins 1936

      The Nudist Murder (n.) Jenkins 1937

      The Silver Arrow Murder (n.) Jenkins 1939

   There is no indication of a continuing character in any of these books, the title of one of which sounds measurably of more interest than the others. Silver Arrow may have been Inspector Flemont’s solo outing.

   Also of note is that the author wrote at least two western novels in the mid-1950s. I know nothing else about her, nor have I come across cover images for any of the books above.

[UPDATE] Later the same day.   The three cover photos were sent me by Bill Pronzini, who also provided story lines for both Nudist and Bar. You’ll find these in Comment #3. Thanks again, Bill!

   In terms of Breaking News, it appears that much of what was assumed to be true about the author, Traill Stevenson, may not be so true after all, including whether he/she was male or female. Research is being done, even I speak. Stay tuned. You’ll know more as soon as I do.

[UPDATE #2] 03-11-10.   Excerpted from an email from Steve Holland, proprietor of the Bear Alley blog, just about an hour ago:

    “We established that Traill Stevenson was the father, not the daughter: Captain John Traill Stevenson (1889-1968). He was a businessman, living at various times in Glasgow, Birkenhead and Harrow, and stood for as a Liberal candidate for Parliament in the 1920s and for some time was the editor of the Lloyd George Liberal Magazine where it was noted that he had sold his first novel, The Whispering Bird.

    “There’s no indication that his daughter wrote the later novels… It was a simple error based on the initial (J, in her case for Janet). All the evidence points to her father being the author.”

LEIGH BRACKETT – No Good From a Corpse.   Coward McCann, hardcover, 1944. Dennis McMillan, hc, 1998 [includes eight detective pulp stories plus title novel]. Reprint paperbacks: Handi-Book #32, 1944; Collier, 1964.

   That’s the opening from Leigh Brackett’s tough private eye novel No Good From A Corpse. Edmond Clive is a private eye meeting the love of his life, Laurel Dane, a nightclub chanteuse at the Skyway Club, with what used to be called a past.

   Laurel and Edmund have a past, too:

   Meanwhile Kenneth Farrar is hanging around Laurel:

   Laurel Dane is on the spot and Clive is being warned off the case even as he reluctantly is drawn into a case involving an old enemy, Mick Hammond, and his wife Jane who wants to prevent “a divorce, or something more permanent.”

   Jane brings with her brother and sister Richard and Vivien Alcott, and news that Mick is involved with Laurel Dane …

   Clive turns Jane Hammond down, but when he meets Mick at the Skyway Club in Laurel’s dressing room he agrees to try and find the person writing threatening letters to him when someone takes a shot at Hammond and hits Clive instead.

   Just a flesh wound, but Clive’s not the sort to take that lying down.

   Especially when he takes Laurel Dane home and gets slugged unconscious only to wake up and find Laurel murdered:

   Clive has to sell out Hammond to get Lt. Gaines of Homicide off his neck, but swears to clear Hammond — and avenge Laurel. His chief suspect is Dion Beauvais, a New Orleans tough Laurel was once married too, and Sugar March who works at the Skyway shows up to tell him someone Laurel was afraid of was at the club a few nights before.

   Then Sugar ends up dead. An accident. Or was it?

   Meanwhile Vivien Alcott is flirting heavily:

   Clive is so tough it’s a surprise bullets don’t bounce off of him and blows to the head even faze him, but he’s drawn with an eye to the genre, and his toughness feels genuine. It helps that Brackett combines the almost poetic voice of her science fiction tales with a fine ear for dialogue. Anyone who has read her early science fiction tales knows those highly romantic stories often featured noirish heroes who wouldn’t have been out of place in Black Mask. Her specialty was space faring heroes who would have fit well with Philip Marlowe or Sam Spade.

   It all turns on a psychotic and amoral beauty, and an ending that would have satisfied Mickey Spillane:

   In some ways No Good From a Corpse is almost a parody of a hard boiled novel, with Edmund Clive the toughest of the tough.

   You can certainly see reading it how Howard Hawks came to choose Brackett to co-write the screenplay for The Big Sleep, though. Her bad girl is virtually a twin of Carmen Sternwood, and if Clive is more Sam Spade than Philip Marlowe the dialogue has the kind of bite we associate with Chandler and Marlowe. And the plot is nearly as convoluted as Chandler’s.

   Brackett’s career needs no real introduction. She began writing moody noirish science fiction tales set on Mars and Venus (including co-scripting one with a young Ray Bradbury), ghosted books for Gypsy Rose Lee and George Sanders, married fellow science fiction author Edmond Hamilton, and wrote a handful of suspense novels, a western, and screenplays from The Big Sleep to Rio Bravo and The Long Goodbye, and something called The Empire Strikes Back.

   No Good From a Corpse is her only hard-boiled private eye novel, but it’s a good one, full of snappy dialogue and Chandleresque observation. Like Chandler’s own first effort, “Blackmailers Don’t Shoot,” the book is almost a parody of the form, but also like Chandler’s effort the real touch is there, and the writing has a feel for the true voice of the genre to it. It’s a shame Edmond Clive didn’t get to show his stuff in another case. He’s a memorable eye who deserved a longer run.

   You can download No Good From a Corpse on-line from Munseys in the format of your choice.

WILL HARRISS – The Bay Psalm Book Murder. Walker & Co., hardcover, 1983. Paperback reprint: Pinnacle, 1985.

   Those are the thoughts that Professor Cliff Dunbar has as he begins investigating the details of Link Schofield’s murder. Schofield’s daughter asks Dunbar to examine the details of her father’s death after the police classify it as “open but unsolved.”

   Dunbar agrees to take a preliminary look, since Link was a close friend and because he faces a great deal of free time. Dunbar’s wife unexpectedly died of cancer several months earlier, and he has resigned his faculty position because of differences with the chairman and doubts about teaching in general.

   Perhaps the most curious aspect of Link’s murder is that the killers took $14.00 from his wallet, yet left the Bay Psalm Book in his hand — a rare book worth $300,000. Cliff’s investigation brings him into dangerous contact with forces that soon spell personal danger.

   The trail leads to Las Vegas, with its blackjack tables and corruption behind the scenes, and California politics with its ruthless campaign tactics. Along the way, Cliff enlists the services of a bright, pretty proofreader named Mona. She provides the professor with a little romantic uplift.

   Winner of the Edgar Allan Poe Award for Best First Novel of 1983, this book sparkles with style and panache. Harriss has created a delightful mystery that is extremely well-plotted, filled with enjoyable, full-bodied characters, and one that maintains a brisk pace that never falters.

   The first sentence glitters with quality and serves as the first clue that the reader is in store for an award-winning mystery treat!

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

HARRISS, WILL(ard Irvin). 1922-

       The Bay Psalm Book Murder (n.) Walker 1983. [Cliff Dunbar]
       Timor Mortis (n.) Walker 1986. [Cliff Dunbar]

       Noble Rot (n.) St. Martin�s 1993.

   In Murder for Pleasure, the essential 1941 study of the detective story as a literary form, Howard Haycraft listed ten women authors who constituted what he called the “better element”of the so-called HIBK, or Had I But Known, school of mystery fiction, which was founded by Mary Roberts Rinehart (1876-1958) over three decades earlier with the publication of her hugely popular debut novel, The Circular Staircase (1908).

   The Had I But Known school of mystery fiction, as it was so dubbed by (mostly male) mystery critics after the term was used by Ogden Nash in a satirical 1940 poem, typically included mysteries with female narrators given to digressive regrets over the things they might have done to prevent the novel’s numerous murders, had they only been able to see the dire consequences of their inaction.

   Haycraft’s list of the ten premier Rinehart followers includes several names still fairly well-known to genre fans today, namely Mignon Eberhart, Leslie Ford and Dorothy Cameron Disney, but also more obscure names as well.

   Three of these writers, Charlotte Murray Russell and the sisters Constance and Gwenyth Little, have recently had works reprinted and resultingly undergone some reader revival, but the remaining four, Anita Blackmon, Margaret N. Armstrong, Clarissa Fairchild Cushman and Medora Field, remain almost entirely forgotten.

   Over the next few weeks I plan to highlight genre work by these forgotten HIBK authors. I begin with Anita Blackmon.

   Anita Blackmon (1893-1943) published two mystery novels, Murder a la Richelieu (1937) and There Is No Return (1938). In the United States, both of Blackmon’s mysteries were published by Doubleday Doran’s Crime Club, one of the most prominent mystery publishers in the country.

   Murder a la Richelieu was published as well in England (as The Hotel Richelieu Murders), France (as On assassine au Richelieu) and Germany (as Adelaide lasst nicht locker), while There Is No Return was published in England also (under the rather lurid title The Riddle of the Dead Cats).

   In classic HIBK fashion, Blackmon employed a series character in both novels, a peppery middle-aged southern spinster named Adelaide Adams (and nicknamed “the old battle-ax”).

   In the opening pages of Adelaide Adams’ debut appearance, Murder at la Richelieu, Anita Blackmon signals her readers that she is humorously aware of the grand old, much-mocked but much-read HIBK tradition that she is mining when she has Adelaide declare, “had I suspected the orgy of bloodshed upon which we were about to embark, I should then and there, in spite of my bulk and an arthritic knee, have taken shrieking to my heels.”

   Yet, sadly, Adelaide confides, “there was nothing on this particular morning to indicate the reign of terror into which we were about to be precipitated. Coming events are supposed to cast their shadows before, yet I had no presentiment about the green spectacle case which was to play such a fateful part in the murders, and not until it was forever too late did I recognize the tragic significance back of Polly Lawson’s pink jabot and the Anthony woman’s false eyelashes.”

   Well! What reader can stop there? Adelaide goes on with much gusto and foreboding to relate the murderous events at the Hotel Richelieu, a lodging in a small southern city (clearly Little Rock, Arkansas; see below). Adelaide is a wonderful character: tough on the outside but rather a sentimentalist within, given to the heavy use of cliches yet actually rather mentally acute.

   The life in and inhabitants of the old hotel are well-conveyed, the pace and events lively and the mystery complicated yet clear (and at the same time played fair with the readers). Perhaps most enjoyable of all is the author’s strong sense of humor, ably conveyed through Adelaide’s memorable narration.

   Blackmon clearly knows that HIBK tales frequently are implausible and even silly in their convolutions and she has a a lot of fun with the conventions. Readers should have a lot of fun as well. Murder a la Richelieu emphatically deserves reprinting.

   Blackmon’s follow-up from the next year, There Is No Return, is less successful. This tale finds Adelaide coming to the rescue of a friend, Ella Trotter, embroiled in mysterious goings-on involving spiritual possession at a backwoods Ozarks hotel, the Lebeau Inn (in fact the novel could well have been called Murder a la Lebeau).

   Though Return opens with yet another splendid HIBK declaration in the part of Adelaide ( “As I pointed out, to no avail, when the body of the third disemboweled cat was discovered in my bed, had I foreseen the train of horrible events which settled over that isolated mountain inn like a miasma of death upon the afternoon of my arrival, I should have left Ella to lay her own ghosts”), the novel is less amusing than Richelieu, its character less interesting and its mystery less cogently presented and credible.

   Yet it is still fun to encounter the old battle-ax one final time.

   When Howard Haycraft published Murder for Pleasure in 1941, he clearly classed Blackmon as a major figure in the HIBK school, though she in fact had not published a mystery novel in three years. Two years later Blackmon would die at the age of fifty, and her fiction would be largely forgotten. I have discussed her genre work a bit, but have so far left unanswered this question: who was Anita Blackmon?

   Anita Blackmon was born in 1893 in the small eastern Arkansas town of Augusta. The daughter of Augusta postmaster and mayor Edwin E. Blackmon and his wife, Augusta Public School principal Eva Hutchison Blackmon, both originally from Washburn, Illinois, Anita Blackmon revealed a literary bent from a young age, penning her first short story at the age of seven.

   By all accounts, Blackmon grew up into a vivacious, attractive, outgoing young woman. The future novelist graduated from high school at the age of fourteen and attended classes at Ouachita College and the University of Chicago. Returning home from Chicago, she taught languages in Augusta for five years before moving to Little Rock, where she continued to teach school.

   In 1920, Blackmon left teaching and married Harry Pugh Smith in Little Rock. The couple moved to St. Louis, where Blackmon had an uncle who served as a St. Louis and San Francisco Railroad vice president, and in 1922 Blackmon published the first of what would be over a thousand short stories. Blackmon’s short stories appeared in a diverse collection of pulps, including Love Story Magazine, All-Story Love Stories, Cupid’s Diary, Detective Tales and Weird Tales.

   Blackmon began publishing novels in 1934 with a work entitled Her Private Devil, one that provoked some scandalized talk back in Augusta. Devil was published by William Godwin, a press, as described by Bill Pronzini, that specialized in titillating novels that pushed the sexual envelope of the day.

   Godwin titles by other authors in the writing stable such as Delinquent, Unmoral, Illegitimate, Indecent, Strange Marriage and Infamous Woman give some idea of the nature of most Godwin fiction.

   Blackmon’s book, which detailed the unhappy life of a southern small-town girl who gives into her strong sexual desires, is fairly bold, but by no means a “dirty” book. In actuality it is a serious study of a troubled young woman handled with considerable sensitivity and not especially explicit by today’s standards. Still, the book raised something of a stir in conservative Augusta, with some in the town expressing disapproval.

   Over the next few years Blackmon published traditional, mainstream novels under the name Mrs. Harry Pugh Smith, some of which had been previously serialized, before concluding her run with her two mystery novels, published, like Her Private Devil, under her maiden name.

   The best known of the Mrs. Harry Pugh Smith novels was Handmade Rainbows, a tale of middle class Depression-era life in small southern town very like Augusta. Part of the enjoyment one gets from Blackmon’s better novels stems from the author’s effective depiction of unique southern local color.

   Blackmon’s Murder a la Richelieu clearly is set in Little Rock, where there was in fact a Richelieu Hotel, while There Is No Return is set far in the Ozarks. Certainly many Golden Age mysteries with Arkansas settings do not come to my mind!

   Why Anita Blackmon produced no more Adelaide Adams mysteries in her last five years of life is a mystery itself. Blackmon died after a lengthy illness in a nursing home in Little Rock, where she moved after the death of her husband.

   Perhaps under the circumstances she was not up to plotting and writing another full-length mystery novel, though she is said to have continued writing until shortly before her death. Though Blackmon’s mystery novel output is small, Murder a la Richelieu, at least, merits reprinting as a significant example of an HIBK tale.

   Also worth noting are the many now-unknown short stories that Blackmon wrote, some of which (those published in Detective Tales) might well be of interest to mystery genre fans. Clearly, further delving is in order!

NOTE:   Information on Anita Blackmon’s life was drawn from Woodruff County Historical Society, Rivers and Roads and Points in Between 3 (Fall 1975), pp. 21-22 and interviews with Rebecca Boyles and Virginia Boyles. Special thanks for his generous help to Kip Davis, Augusta City Planner.

     Bibliography    (Short Fiction; Incomplete) —

BLACKMON, ANITA

* * Glory That Flamed, (ss) Four Star Love Magazine Mar 1937
* * The High Heart, (ss) Cupid’s Diary Jun 28 1927
* * Love’s Precious Secret, (ss) Sweetheart Stories Feb 17 1926
* * The Mystery of Tip Top Inn, (sl) Sweetheart Stories Apr 14 1926
* * Under Another’s Name, (ss) Cupid’s Diary Dec 2 1925
* * With Hearts Aflame, (nv) Sweetheart Stories Mar 3 1926

SMITH, MRS. HARRY PUGH

* * Angel Face, (ss) Love Story Magazine Nov 27 1926
* * The Book of Death (nv) Weird Tales, Nov 1924
* * The Burnt Offering (?) Mystery Magazine, Aug 1 1922
* * Carnival Man, (ss) All-Story Love Stories Apr 15 1933
* * Chained [Part last of ?], (sl) All-Story Love Stories Nov 30 1935
* * Cheated, (ss) Cabaret Stories Jan 1929
* * The Colonel’s Daughter, (ss) Sweetheart Stories May 20 1930
* * A Cottage for Two, (ss) All-Story Dec 14 1929
* * The Devil’s Signet, (ss) Love Story Magazine Oct 31 1925
* * Double Motive (?) Detective Classics June 1930
* * Fettered, (ss) Love Story Magazine Sep 25 1926
* * Firecracker Kathy, (nv) All-Story Love Stories Jul 1 1932
* * Flower of Dusk, (ss) Cupid’s Diary Jun 12 1929
* * The Gay Deceiver, (ss) Love Story Magazine Oct 29 1927
* * Ghost Between [Part last of ?], (sl) All-Story Love Stories Feb 16 1935
* * Her Snobbish Dude, (ss) Far West Romances Jan 1932
* * The Hermit (?) Detective Tales Nov 16/Dec 15 1922
* * The Hindu, (ss) Detective Tales Feb 1923
* * An Interrupted Engagement, (ss) Love Story Magazine Dec 18 1926
* * The Jeweled Pin (?) Detective Tales Apr 1924
* * Jezebel, (ss) Breezy Stories Mar #2 1925
* * Little Lost Bride, (ss) Sweetheart Stories Jul 1935
* * Long Live the King!, (ss) Cupid’s Diary Dec 12 1928
* * Love at Last, (ss) Love Story Magazine Jan 2 1926
* * Love by Accident, (ss) All-Story Love Stories Apr 1 1933
* * The Love Fued, (ss) Love Story Magazine Nov 20 1926
* * Love’s Upward Trail, (ss) Love Story Magazine Jul 30 1927
* * The Marriage of Michael Malloy, (nv) All-Story Love Stories Mar 23 1935
* * Marry for Love, (ss) Sweetheart Stories Mar 1937
* * Marry Him If You Dare!, (sl) All-Story Love Stories Jan 30 1937
* * Maybe It’s Love, (sl) All-Story Love Stories Sep 19, Sep 26, Oct 3, Oct 10, Oct 17, Oct 24 1936
* * My Lady’s Dressing-Table, (vi) Breezy Stories Feb 1923
* * Object, Matrimony, (ss) All-Story Love Stories May 15 1933
* * One True Love [conclusion], (sl) All-Story Love Stories Sep 8 1934
* * The One-Track Heart, (sl) All-Story Love Stories Jan 18 1936
* * The Pride of Darcy, (ss) Love Story Magazine Nov 21 1925
* * Ranch Paradise, (nv) Street & Smith’s Far West Romances Jun 1932
* * The Sting of the Scorpion, (ss) Action Stories Feb 1923
* * A Tangled Skein, (ss) Love Story Magazine Mar 27 1926
* * The Town’s Bad Boy, (sl) All-Story Love Stories Mar 13, Mar 20, Mar 27, Apr 3 1937
* * With This Ring, (nv) All-Story Love Stories Jun 15 1932
* * The Yellow Dog (?) Detective Tales Oct 16 1922

SOURCES: The FictionMags Index; Mystery, Detective & Espionage Fiction, 1915-1974, Cook & Miller.