NATALIE SUMNER LINCOLN – The Red Seal. D. Appleton & Co., hardcover, 1920. Hardcover reprint: A. L. Burt, n.d. Trade paperback reprint: Dodo Press, 2007.

   Twins Helen and Barbara McIntyre arrive at court to give evidence against one John Smith, caught burgling the McIntyre mansion. Strange to relate, the sisters ask lawyer Philip Rochester, who happens to be present, to defend Smith, which task he undertakes.

   Smith is taken ill as he leaves the witness box and dies, whereupon he is discovered to be in disguise. He is James Turnbull, cashier of the Metropolis Trust Company, Helen’s fiance, and Rochester’s room mate. Incredibly, all three claim not to have recognised him. Turnbull’s angina pectoris is thought to have caused his death, but Helen insists on an autopsy.

   It transpires Turnbull was burgling the house because of a silly wager made with Barbara that he could not pull it off. Barbara asks her sweetheart Harry Kent, Rochester’s partner in a legal practice, to find out who murdered Turnbull, for she and her sister are convinced his death was the result of foul play.

   Soon the deceased Turnbull is suspected of forgery, Rochester goes missing, an eavesdropper lurks at a window, and a handkerchief is suspected as being the murder weapon. To further the busy plot, various characters play pass the red-sealed envelope, whose contents turn out to be the last thing most readers will expect.

My verdict: While the initial pace is slow, it picks up after a few chapters. The solution is complicated, not to say outrageous, so don’t try reading The Red Seal if there is anything to distract you from noting every nuance.

   Cleverly worked red herrings mislead, and the explanation of the characters’ roles in the tragedy and subsequent events features what must be the largest number of culprits-named-and-then-it’s-someone-else’s-turn-to-be-accused many readers will have read — and all in a single chapter!

   Or to put it another way, the plot features twists galore. I suspect not many readers will guess whodunnit.

Etext: http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=1747

      Bibliographic data (taken from Crime Fiction IV, by Allen J. Hubin) —

LINCOLN, NATALIE SUMNER. 1881-1935.

* The Trevor Case (n.) Appleton 1912 [Washington, D.C.]
* The Lost Despatch (n.) Appleton 1913 [Washington, D.C.; 1865]
* The Man Inside (n.) Appleton 1914 [Washington, D.C.]
* C.O.D. (n.) Appleton 1915
* The Official Chaperone (n.) Appleton 1915 [Washington, D.C.]
* I Spy (n.) Appleton 1916 [Insp. Mitchell; Washington, D.C.]

* The Nameless Man (n.) Appleton 1917 [Insp. Mitchell; Washington, D.C.]
* The Moving Finger (n.) Appleton 1918 [Insp. Mitchell; Virginia]
* The Three Strings (n.) Appleton 1918 [Insp. Mitchell; Washington, D.C.]
* The Red Seal (n.) Appleton 1920 [Detective Ferguson; Washington, D.C.]
* The Unseen Ear (n.) Appleton 1921 [Detective Ferguson; Washington, D.C.]
* The Cat’s Paw (n.) Appleton 1922 [Insp. Mitchell; Washington, D.C.]
* The Meredith Mystery (n.) Appleton 1923 [Insp. Mitchell; Virginia]
* The Thirteenth Letter (n.) Appleton 1924 [Maryland]
* The Missing Initial (n.) Appleton 1925 [Insp. Mitchell; Washington, D.C.]
* The Blue Car Mystery (n.) Appleton 1926 [Insp. Mitchell; Washington, D.C.]

* The Dancing Silhouette (n.) Appleton 1927 [Insp. Mitchell; Washington, D.C.]
* P.P.C. (n.) Appleton 1927 [Insp. Mitchell; Washington, D.C.]
* The Secret of Mohawk Pond (n.) Appleton 1928 [Connecticut]
* The Fifth Latchkey (n.) Appleton 1929 [Maryland]

* Marked “Cancelled” (n.) Appleton 1930 [Washington, D.C.]

* 13 Thirteenth Street (n.) Appleton 1932 [Washington, D.C.]

MARILYN TRACY – Cowboy Under Cover.

Silhouette Intimate Moments #1162; c.2002; SIM edn, July 2002.

   I’m not going to go back and scour through all of the previous 1161 to check them all out, but I’ve recently discovered that quite a few of the SIM books are criminous in nature (like this one), although usually not out-and-out detective novels (like this one). SIM, if you didn’t know, is a line of books published by Harlequin, known primarily for their romances.

   This one takes place near the Carlsbad Caverns in New Mexico, where a young recently widowed woman, Jeannie McMunn, is trying to start a working ranch to house orphans and disadvantaged children. Opposing her is a villain straight from the lurid western pulps, El Patron. The US marshal working undercover for her as a ranch hand is Chance Salazar. She does not know his primary occupation, only that she seems to be depending more and more on him every day.

   Stock characters, in other words, but in a cozy setting that seems to blur the artificiality of the situation. The best characters are Jeannie’s two wards: the thorny young teen-aged girl named Dulce, multi-pierced and sullen, and José, an even younger Mexican boy, mute but cheerful. Being a romance novel, the growing sexual attraction between the two main protagonists is inevitable, and it eventually takes its natural course.

   The finale, though, is rather brutal and gory, in strong contrast to the warm, comfortable coziness of life on the ranch, but you don’t have to read too many novels like this to know that everything will turn out just about right.

[UPDATE] 11-04-08.  This book came out in 2002, too late to be included in Al Hubin’s Crime Fiction IV, which covers mystery fiction only through the year 2000. Here’s her current entry as given in the online Addenda:

TRACY, MARILYN. Pseudonym of Tracy LeCocq, ca.1954- , q.v. Under this pen name, the author of many series romances, some having criminous elements.
      Almost a Family. Silhouette, pb, 1997. [Eleven-year-old triplet boys scheme to get their choice of a father, a Texas Ranger, by inventing a murder.]
      Almost Perfect. Silhouette, pb, 1997. Setting: Texas. [A single mother’s bodyguard may be a murderer.]
      Blue Ice. Silhouette, pb, 1990. Setting: Russia. [Art dealer Aleksandra Shashkevich’s most trusted friend is killed just as she is to purchase a collection of rare items from him.]

      Code Name: Daddy. Silhouette, pb, 1996; Silhouette, UK, pb, 1997. [The aftermath of a hostage situation that ends with four dead.]

LeCOQ, TRACY (née HUBER). Ca.1954- . Pseudonym: Marilyn Tracy, q.v. Add maiden name. Lives in Roswell, NM. Under her married name and with her sister Holly Huber, the creator of the Santa Fe Tarot Deck. Their father, newspaper humor columnist Robert “Bob” E. Huber, was one of two hostages taken during a 1967 armed assault on the Rio Arriba County courthouse.

DOROTHY DANIELS – Affair in Marrakesh.

Pyramid X-1786; paperback original, 1968. Pyramid N3342, 2nd printing, 1974 (shown).

   Whether Dorothy Daniels actually wrote the gothics attributed to her, or if they were all written by her husband, long-time pulp writer Norman Daniels, has been the subject of some recent email discussion between long-time mystery bibliographer, Al Hubin, and myself. In the end, as I understand it, he decided to say something to the effect that some of her books (in particular, those copyright in Norman’s name) were likely to have been written by him.   [See UPDATE below.]

   This one’s billed as “a novel of gothic intrigue.” No castles shrouded in fog, in other words, but a Helen MacInnes sort of romantic adventure, with a naive young woman finding herself in the midst of an affair of international importance.

   More important to Margo Addison, however, are matters that are all personal: (1) on an around-the-world trip she has been followed everywhere she goes; (2) her father, who has been travelling with her since her mother’s strange death, suddenly disappears; (3) she seems to be falling in love with Gil Morley, a young American handicraft importer; and (4) no surprise, the possibility that her mother did not die after all.

   It is difficult to lose track of all of these plot-lines, as Margo seems to go over them in her mind often enough to keep even the most drowsy reader well on the right direction — sometimes, as indicated above, well before her.

   For those looking for entertainment, an evening’s enjoyment, no more, no less. For the more analytically minded, two rather obvious plot contrivances — “coincidences” as they’re called in the real world — make the taste not quite as savory as it might have been otherwise.

[UPDATE] 11-04-08.   All of the entries for Dorothy Daniels in Al Hubin’s Crime Fiction IV now state that they were ghost-written by Norman Daniels. Whether she had any input into the stories, and if so, how much, has not been established.

CHRISTIANNA BRAND – Fog of Doubt. US hardcover edition: Charles Scribner’s Sons, 1953. Previously published in the UK as London Particular, Michael Joseph, hardcover, 1952. US paperback reprint editions: Dell 881, 1956; Carroll & Graf, 1984,1995. UK paperback: Penguin, 1955.

   Fog of Doubt is, Christianna Brand states, her own favorite of all of her novels, and its amazing construction sets up seven suspects all in a row, positions each one as the killer, then eliminates them one by one till none are left.

   (The dotty grandmother likens their situation to the notorious Ten Little N-word nursery rhyme is a passage we can no longer cite.) Then one of the seven emerges, the impossibility overcome, and Cockrill has solved yet another case.

   The reader has to visualize the floor plan of two very different houses, for the solution depends on being able to “see” what is happening in both, and not just the floor plan but a good 3-D working knowledge of upstairs, downstairs, on the stairs, and what’s outside the windows of each house.

   Each belongs to a doctor: in one, lonely bachelor Ted Edwards (“Tedward”) keeps his office and moons over the lovely, Rose Birkett-like Rosie Evans, recently returned from a finishing school on the Continent and secretly pregnant with a mystery baby.

   In the other, Rosie lives and sulks and plans an abortion, while her staid older brother, Dr. Thomas Evans, may be the only character in the book from whom her pregnancy is a secret.

   His wife, Matilda, is busy with her own housekeeping and the care of a two year old, Emma; his grandmother, the dotty one, throws furniture from the windows and gets lost in the bodice-ripping Valentino silents of her youth. A sort of secretary, Melissa Weeks, lives in the basement mooning over men; and nearby a communist organizer, Damien Jones, wants to do the right thing by the errant, blowsy Rosie.

   When an unexpected visitor from Europe arrives, on the night of the worst fog in ages (a “London particular,” which Brand used for the UK title of the novel), a bloody murder occurs in the family’s midst — and no one, oddly enough, hears a sound…

   I didn’t really “buy” that in this one, Cockie is supposed to be a friend of the family. His friendship never seems convincing and they never explain how any of them came to know him. And, as the plot wears on, and one suspect after another becomes first the top suspect, then gets eliminated, the story presently turns on Brand’s less appealing characters, so the second half of the book has its longueurs.

   But on the whole Fog of Doubt is amazing, and some of its characters will live forever for their humor, charm, and valiant efforts to make sense of a suddenly violent world. Matilda Evans in particular anticipates Celia Fremlin’s trademark harried wives and mothers, with lives poised in an eternal and uneasy balance between tragedy and comedy; she might well be the mother of Lady Lydia Timms, the irrepressible housewife heroine of Peter Dickinson’s classic The Lively Dead (1975), reviewed earlier on this blog by Steve Lewis.

   I arrived at the Ramada Inn in Bordentown at about 8:00 am Saturday, November 1 and found dealers already bringing in dozens of boxes filled full of pulps, paperbacks, books, DVDs, and artwork. The official start of the show was 10:00 am but the action was already gearing up for a day of selling and buying. By the ten o’clock start all 50 or so tables were open for business.

   During the day I sold vintage paperbacks, pulps, DVDs, and cancelled checks made out to pulp authors. I had Dashiell Hammett’s first appearance in print priced at $2,000 but it did not sell. However I did sell his third or fourth appearance for $200.

   The above will give you an idea of items available at the show. I picked up a few pulps and books but my main acquisition was a pulp cover color preliminary for the first issue of Strange Stories. It’s amazing that this somehow survived; I bet the original cover art was destroyed or lost a long time ago.

   David Saunders was there with an advanced copy of the book on his father Norman Saunders. It looked stunning with hundreds of color reproductions of Saunders artwork.

   Bob Lewis was there with his friend Craig Poole, and Martin Grams came with hundreds of DVDs and copies of his immense new book on The Twilight Zone. I recommend this book highly; it seems to have everything in it that you would want to know about the TV series. David Kurzman was there with four tables crammed full of high quality condition pulps and first editions.

   Nick Certo has found the mother lode of Black Mask‘s and had many copies for sale. There probably will not be another large cache of these pulps available in our lifetime. John Gunnison had several tables of pulps.

   Cowboy Tony had an amazing number of magazines available. You name it, he had it: pulps, paperbacks, slicks, dime novels, men’s adventure magazines. The smell at his tables of musty, woody, pulp and slick paper, was overpowering. It was a heavenly smell.

   After the dealer’s room closed at 5:00 pm, about 15 of us met for an hour or so to talk about Pulpcon 2009 which is to be held in Columbus, Ohio July 31-August 2, 2009. Rich Harvey kindly provided the pizza and soda. All members of the new committee were present to discuss the Columbus Pulpcon and answer questions. Thank you Mike Chomko, Jack Cullers, Barry Traylor and Ed Hulse. All pulp collectors should visit the Pulpcon 2009 website which gives some details.

   These pulp shows are great for stirring up interest and usually result in visits with other collectors before the show and after the show. For instance, on Friday Steve Lewis and Paul Herman, visited me and we discussed pulp artwork and DVDs among other subjects. After the show was over, Scott Hartshorn and Nick Certo visited me and we watched film noir and horror movies until 2:00 am. I’ve been friends with all these collectors since the 1970’s when we met at Pulpcon or other conventions.

   So ended another day of great books and pulps, great friends, and plenty of fast food.

   As I often do before heading out of town, I’ve been doubling up on posts this week, as you may have noticed. Rich Harvey’s Pulp Adventurecon #9 is an all-day show on Saturday in Bordentown NJ, and I’ll be there:

   I’ll be leaving tomorrow morning with Paul Herman. We’re planning on doing some bookhunting along the way, then stopping at noted pulp collector Walker Martin’s home in NJ in the afternoon and staying overnight with noted paperback collector Dan Roberts over in nearby PA. (Paul of course is also noted, and so am I.)

   It’s always a great trip, and I’m looking forward to it.

HIDEAWAY. RKO-Radio, 1937; Richard Rosson, director; Fred Stone, Emma Dunn, Marjorie Lord, J. Carroll Naish, William Corson, Tommy Bond. Shown at Cinecon 41, September 2005.

   A rural comedy-drama, with Fred Stone, a major stage performer who created the role of the Scarecrow in the original production of The Wizard of Oz (1903), heading the cast.

   Fred is a lazy farmer who takes in as boarders a crew of urban gangsters, led by J. Caroll Naish, in search of a cache of money from a bank robbery, believed to be hidden somewhere on the property formerly occupied by a confederate of the Naish gang. The film is populated by country boobs, with Stone’s family (Dunn, Lord, and Tommy Bond of “Our Gang” fame, who died recently), a relative island of sanity in the surrounding inanity.

   The film was chosen to introduce guest Marjorie Lord, who had a minor film career and is best known for her TV role as Danny Thomas’ wife in Make Room for Daddy.

   J. Carroll Naish walked off with the film, which depressed me for its misuse of Stone and its cheapening of the once-popular rural melodrama. A more charitable view is that it’s a routine, bottom-of-the-bill quickie, with some good performers doing their best to make a weak script palatable.

ANNE ROWE – Up to the Hilt.

Detective Book Club; hardcover reprint [3-in-1 edition], November 1945. First edition: M. S. Mill, hardcover, 1945. Other hardcover reprint: Grosset & Dunlap, no date (cover shown).

   To quote Inspector Barry on page 55: “Society murders are a pain in the neck.” I don’t know whether all of Anne Rowe’s mysteries take place in the same milieu (I always wanted to use that word), but after one she wrote early on in her career, in 1930, to be precise, she became prolific later on, producing a total of seven in the years between 1941 and 1946.

   Barry is in three of these, including this one, of course, and an Inspector Josiah Pettingill is in three of the others. Pettingill’s cases all seem to take place in Maine. Inspector Barry seems to be a New York City and suburban Connecticut sort of guy.

   Telling the story in this one is Jane Applebee, head of a literary agency inherited from her aunt, and dead is one of her leading clients, a lady whose luster, though, had been fading. Living in an apartment on the top floor of a converted Manhattan loft building, Jane has many friends, neighbors, relatives (two sisters) and (sort of) a new boy friend, one Dr. Hunt Berwick, a somewhat mysterious man who has connections enough (it seems) to become an advisor to the aforementioned Inspector Barry.

   This is another old-fashioned detective story, and they surely don’t write them like this any more, where even with the wide range of characters, both leading and walk-on, the focus is on the mystery, and little else. On page 19 there is even a diagram of the layout of Jane’s entire floor, with the warning on the page opposite that it is going to prove important later.

   And yes, it does, but you have to read Jane’s description also, as the map does not include precisely and exactly what it should. The story is crisply told, though, and if you can forgive the inspector for making Jane his right-hand lady, filling her in (and therefore us, the reader) with certain details we shouldn’t have been able to ascertain otherwise, it’s quite enjoyable.

   Another small problem, if that is what it is, and I almost hate bringing it up, is that after two more murders, there are surprisingly few candidates left to be the killer. One is obvious, the other is not, and there doesn’t seem to be anyone else. (You always exclude the maids, don’t you?)

   The 1940s Manhattan set is not the sort of society I’ve ever mixed in, as I’ve probably said before, and it’s surely too late now, but this is the kind of mystery that sneaks me into it, so to speak, and with all of smart deducing going on, what it does is serve up a heaping amount of vicarious pleasure, double-portioned.

[UPDATE] 10-29-08. I’ve reviewed one other book by Anne Rowe previously on this blog, one called Too Much Poison (1944), and yes, it takes place in the same wartime Manhattan social set.

   Along with it I included a complete bibliography for her, so I won’t repeat it here. Inspector Barry was in that one, too, and if I made either it or this one sound like your kind of detective story, then I think it most probably is. In fact, I guarantee it.

TONY HILLERMAN – Listening Woman. Harper & Row, hardcover, 1978. Paperback reprint: Avon, April 1979. Many other reprint editions, both hardcover and soft.

   Joe Leaphorn is assigned to a double homicide that has occurred on a remote plateau of the Navajo reservation. Hosteen Tso, an old man, had complained of illness and gone to Margaret Cigaret, known as Listening Woman, for a pollen-blessing ceremony. During a brief period when Listening Woman left him alone, both Hosteen Tso and her niece and assistant, Anna Atcitty, were bludgeoned to death.

   The old man, Listening Woman reports to Leaphorn, knew something about some sand paintings that had been desecrated, but refused to discuss it, saying cryptically that he had made a promise to someone long ago. Following this rather slender lead, Leaphorn travels across the barren mesas to that part of the Indian nation where the Navajo wolves and witches are said to dwell.

   As in Hillerman’s other novels, ancient tribal beliefs come into sharp conflict with the modern world – a conflict that is reflected in Leaphorn himself. And when he finally reaches the solution to the crimes, he sees how legend can be manipulated to suit the designs of evil men.

   Hillerman has put his knowledge of Navajo custom and mysticism to good use in this novel. His stark depiction of the New Mexico landscape is particularly fine, conveying a haunting sense of how insignificant one man is against the vastness of nature, and making this a compelling and often chilling book.

   Joe Leaphorn also appears in The Blessing Way (1970), Hillerman’s first novel. A nonseries novel, The Fly on the Wall (1971), is a political story set in the capital of an unnamed midwestern state. In addition, Hillerman has produced a juvenile novel and various works of nonfiction, including the hilarious The Great Taos Bank Robbery and Other Affairs of Indian Country (1970).

         ———
   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.

WILLIAM P. McGIVERN – Police Special. Dodd Mead, hardcover, May 1962. Hardcover reprint: Mystery Guild, August 1962.

   McGivern had a rich and varied writing career ranging from newspaper work to pulp fiction to crime novels (five of which were made into feature films most notably Odds Against Tomorrow starring Robert Ryan and Harry Belafonte, 1959) to screenplays (the John Wayne film Brannigan, 1975) to TV series scriptwriting (Kojak).

   Like many once popular and respected mystery writers from the middle of the last century, McGivern is rarely read today. A review of Police Special (1962), a collection of three of his crime novels, may serve to re-kindle interest in this neglected writer.

Rogue Cop (1954), the first entry in this omnibus, tells the story of once honest but now corrupt Philadelphia cop Mike Carmody and his younger honest cop brother, Eddie. Mike spends the first half of the novel trying to protect Eddie from the murderous thugs who now bankroll his affluent lifestyle.

   It becomes clear early on that Mike will ultimately fail to prevent the murder of his brother. The second half of the story follows Mike’s efforts to avenge Eddie by bringing down the guilty criminals. Whether Mike succeeds or not and if so at what cost to himself and others is only revealed in the final chapters.

   This is a gripping morality tale filled with menacing scenes and dangerous confrontations worthy of Hammett himself. McGivern believes that we all make countless daily choices to be good or bad, to be brave or cowardly. The decisions we make have consequences and effects far beyond ourselves and the immediate present.

The Seven File (1956) describes a kidnapping from beginning to end. Two of the central characters, as in Rogue Cop, are brothers. Duke Farrell was once a golden boy — strong, smart, athletic but of flawed character.

   Hank Farrell, not quite as strong, smart or athletically gifted as his older brother has stayed clear of Duke for many years until the two are brought together by the meticulously planned kidnapping of a wealthy family’s child.

   McGivern shows that deeply flawed people are unlikely to carry out even the most perfect of schemes because they will inevitably deviate from the plan due to their own greed, cowardice and poor judgment. Despite numerous setbacks the kidnappers do manage to snatch the child and one must read through to the final chapter to learn of the ultimate outcome of the crime.

   McGivern alternates the story’s middle chapters between the kidnapper’s actions and the FBI’s efforts to solve the crime. The chapters featuring the criminals are grippingly menacing and expose their gradual loss of control over events. The FBI chapters painstakingly detail the procedures of a mid-twentieth century kidnapping investigation.

   A theme that emerges from McGivern’s storytelling is that most of us are capable of at least one act of courage or one act of mercy, no matter how costly to ourselves, which can turn around a seemingly lost situation. The action takes place mostly in New York City and Maine. The title of the story derives from a code name that the FBI gives to this kidnapping investigation.

The Darkest Hour (1955) shows how corruption on the New York City waterfront affects the lives of those who work on and live near the docks. Steve Retnick returns to Manhattan after serving time for manslaughter. He was a tough but honest cop who crossed the wrong people and was framed for his efforts by some union thugs.

   Retnick has seemingly lost everything; his job, his wife and five years of his life so he is hell bent for revenge no matter what the cost to himself or others. Though Retnick believes that all his former friends and co-workers have abandoned him, he still does have some allies and it is those allies who provide the framework for his ultimate salvation — should he choose to use them. As is typical in a McGivern story, there are many gritty confrontation scenes between the various characters.

   McGivern’s writing style, subject matter and themes are neither for the fainthearted nor for those seeking a high amount of classic detection. Whether tackling police corruption, political corruption, union corruption or civic corruption, he zeroed in on the weaknesses of society and created compelling crime stories that are still entertaining and meaningful half a century after they were written.

          — — —

            Additional bibliographic data:

Rogue Cop. Dodd Mead, hardcover, 1954. Paperback reprints: Pocket 1030, 1954; Pyramid M3188, 1973; Berkley, 1987.

The Seven File. Dodd Mead, 1956. Paperback reprint: Pocket 1156, 1957, as The #7 File. Also: Berkley, pb, 1989, under the original title.

The Darkest Hour. Dodd Mead, 1955. Also published as: Waterfront Cop, Pocket 1105, paperback, 1956. Also: Berkley, pb, 1988, under the original title.

   See this earlier post for a complete listing of all of William P. McGivern’s crime fiction. This review also appears on the Golden Age of Detection wiki, reprinted by permission.