REVIEWS

CLASSICS REVISITED . . . The Big Sleep

The Big Sleep was published in 1939, but the iconic film version, directed by Howard Hawks, wasn’t released until 1946. Are the dates significant? There is an obvious conclusion, in terms of what took place in between, but I am not sure if it is the correct one. The novel introduced Philip Marlowe to the reading public and, my goodness, what an introduction. The second chapter, where Los Angeles PI Marlowe goes to meet the ailing General Sternwood who is worried about his errant daughters, contains astonishing prose. Sternwood sits, wheelchair-bound, in what we Brits call a greenhouse. Marlowe sweats as Sternwood tells him:

“I seem to exist largely on heat like a newborn spider, and the orchids are an excuse for the heat. Do you like orchids?”
“Not particularly.”
“They are nasty things. Their flesh is too much like the flesh of men. And their perfume has the rotten sweetness of a prostitute.”

The General can no longer drink alcohol, but he enjoys watching men who can:

“The old man licked his lips watching me, over and over again, drawing one lips slowly across the other with a funereal absorption, like an undertaker dry-washing his hands.”

“I used to like mine with champagne. The champagne as cold as Valley Forge and about a third of a glass of brandy beneath it.”

Sternwood has two daughters. The elder, Vivian, was married to a an ex-IRA bigshot called Rusty Reagan, a man much admired by his father-in-law, but he has disappeared. The younger girl, Carmen, has gone off the rails completely, and has been sucked into a world of drugs, vice and pornography.

Initially, Marlowe’s brief from the General is to find out what is going in with Carmen. He soon discovers that she is involved with a pornographer called Geiger. He goes to Geiger’s house, and sits in his car outside, the rain teeming down.

“As the darkness folded back on it and ate it up a thin tinkling scream cried out and lost itself among the rain drenched trees. I was out of the car and on my way before the echoes died. There was no fear in the scream. It had a sound of half pleasurable shock, an accent of drunkenness, overtone of pure idiocy. It was a nasty sound. It made me think of men in white and barred windows and hard narrow courts with leather wrist and ankle straps fastened to them.”

Forcing his way into the house, Marlowe finds an interrupted photoshoot:

“Neither of the two people in the room paid any attention to the way I came in, although only one of them was dead. She was wearing a pair of long Jade earrings. They were nice earrings and had probably cost couple of hundred dollars. She wasn’t wearing anything else.”

The drugged Carmen Sternwood had clearly been in the middle of a pornographic photo shoot and beside her is Geiger – shot dead. After taking Carmen back to the Sternwood mansion Marlowe returns to Geiger’s house, where he has left his car. He finds that Geiger’s body has gone and the crime scene has been interfered with. Wondering who has taken the corpse, he makes the celebrated comment:

“Dead men are heavier than broken hearts.”

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The plot then becomes something of a whirling dervish pirouetting in the California dust, sometimes moving so fast and in such unexpected directions that it is not easy to keep track of what is going on. We meet Joe Brody, a small-time spiv who is trying to muscle in on Geiger’s pornography racket. He is shot dead by Geiger’s homosexual lover, and then Marlowe becomes aware of a much more sinister figure – gangster Eddie Mars, who is connected to Vivian Sternwood. This mad dance however is subsidiary to the poetry of Marlowe’s view of the dark world he inhabits. Chandler’s genius portrays Marlowe as a man trying to keep his footing while tiptoeing along the crumbling rim of a volcano, gazing down into the furnace below and doing his best to avoid being scorched.

In the end, as in all great novels it comes down to who we as readers care about. We don’t care too much for Carmen. We don’t care at all for the scattering of underworld figures who populate the book. We care about Vivian, who is damaged but perhaps redeemable. We care about the dying general still trying to protect his daughters and his legacy. Another cruel irony for the old man is the fate of Rusty Reagan, his corpse long since dumped in one of oil wells that have brought the family their immense wealth Above all, however, we care about Marlow and the bruises – mental and physical – he sustains while trying to do his job.

The book began with an optimistic Marlowe:

“I was wearing my powder blue suit, with dark blue shirt, tie, and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it.”

It ends with him making a bitter deal with Vivian, that she will take Carmen as far away as possible from the moral cesspit she has been bathing in, and that the fate of Rusty Reagan will be kept from her father.

“Me, I was part of the nastiness now. Far more a part of it than Rusty Reagan was. But the old man didn’t have to be. He could lie quiet in his canopied bed, with his bloodless hands folded on the sheet, waiting. His heart was a brief, uncertain murmur. His thoughts were as grey as ashes. And in a little while he too, like Rusty Reagan, would be sleeping the big sleep.”

The edition I read for this review was published by Penguin, and is part of their recent series of ‘Green Penguin’ crime classics. It is paired with Farewell My Lovely, and is available now.

November 14, 2023 0

MURDER ON THE CHRISTMAS EXPRESS . . . Between the covers

Alexandra Benedict (left) has confected a seasonal version of the traditional locked room mystery. Our locked room is actually a train, heading from Euston to Fort William just a few hours before the big day, but forced to stop in the middle of nowhere because of deep snow. Former Metropolitan Police copper Roz Parker is heading north on the train, not particularly for Christmas, but to be with her daughter who is about to give birth.

Her immediate fellow passengers are not people she would have chosen to be her traveling companions. There is Meg, a brittle, vacuous, Instagram-joined-at-birth, reality TV star and ‘influencer’, who live streams every moment of her life to her adoring followers. She was my odds on favourite to be bumped off, even before the Amazon publicity page for the book confirmed that it was she whose demise Roz would be investigating. Her boyfriend, Grant, is what they used to call ‘a nasty piece of work.’ By complete contrast we have Sally and Phil. Sally is stressed, jealous, and the mum-of-four, while husband Phil is a devoted dad and former teacher of Meg, the soon-to-be victim of the unknown killer.

Benedict sets out her list of suspects in the traditional way. Beck is a rather self-obsessed student and a passionate pub quizzer, while red parka-wearing Ember is an unhappy woman in her thirties with a dark past. A train steward, nicknamed ‘Beefy’, appears avuncular and honest, but it turns out he had a fixation with Meg – as did the mysterious Iain, who has no ticket for the the journey, therefore is keen not to be discovered by Beefy. He has gone one further than Beefy’s doe-eyed worship of Meg, and has stalked her to the extent of having a restraining order slapped on him. How about Craig, who Roz has taken a shine to? But he works for the Crown Prosecution Service so, surely, it can’t be him, can it?

The mechanics of ‘whodunnits’ are not particularly complex for writers, but for readers (who don’t cheat and skip to the last chapter) things can be be more complex. In this case, do we say that it couldn’t be Grant, because that would be too obvious? Or, do we think that the author is double bluffing us, and that it is the self-centred narcissist after all? It couldn’t be Phil, could it? Or did something happen back in the day when Meg was his pupil?

Needless to say, Roz Parker has to put aside her anxieties about her soon-to-be grandchild, and find out who killed Meg, a woman who may have been the most insubstantial of role-models, but was still a human being who deserves justice. Murder on the Christmas Express casts a sardonic eye over the way we live now, throwing in a conception-by-sperm donor for Roz’s daughter, and a sapiosexual love affair (look it up – I had to) while retaining its connection to the skillfully plotted murder mysteries of The Golden Age. For good measure, the author throws in some additional quiz attractions such as embedding the titles of Kate Bush songs in the narrative, and sprinkling some anagrams of her favourite poems and stories within the text. This entertaining novel is published by Simon and Schuster and is available now.

November 9, 2023 0

THE CHRISTMAS APPEAL . . . Between the covers

Janice Hallett (left) invites us to return to the idyllic village of Lower Lockwood, where her book The Appeal (2021) was set. Then, law students Charlotte Holroyd and Femi Hassan solved a particularly nasty murder but, goodness me, murder seems to haunt Lower Lockwood rather as it does the unfortunate community of Midsomer, and so they are back again when another corpse is found, threatening the production of the annual village panto. Was ever a production of Jack and The Beanstalk so fraught with difficulties?

Our two sleuths (now fully qualified) spend little time on their hands and knees with magnifying glasses looking for minute physical traces which may betray the assailant; rather, they sit in front of their smartphones, perusing emails, WhatsApp messages, texts and other communications floating around in the digital ether. The clues are all there and, unlike the ancient trope of detectives trying to read messages from letters hastily burnt in fireplaces, these words can never be totally erased.

This novella is inventively set up with little or no conventional narrative and makes extensive use of graphics representing WhatsApp messages (above) and emails which are now known as ’round-robins’. Being an old pedant, I have to say that this is a misuse of the expression, as the dictionary says:

The term has come to be used to describe emails cc-d to multiple recipients, and those awful little printed slips inside Christmas cards telling friends (not for much longer, if I get them) all the wonderful things that have been happening to the sender’s family since the last Christmas card. Janice Hallett, by the way, makes fun of these dreadful things from the word go.

But I digress. You will either love the set up of the story, or hate it. I enjoyed it while it lasted – just 187 pages – but I suspect it wouldn’t work in a longer book.

The story begins when Charlotte and Femi receive a massive folder (all digital of course) of evidence from their former mentor, Roderick Tanner KC. The folder contains transcriptions of police interviews and copies of all communications between those involved when a long-dead body in a Santa Suit was found hidden in a giant beanstalk prop – made mostly of wood, papier–mâché and, heaven forfend, possible traces of asbestos. The beanstalk was constructed years previously for a production of the play, and so this is the coldest of cold cases. The mystery is solved as Charlotte and Femi pick up the hints from the emails, texts and messages, but along the way, Janice Hallett takes the you-know-what out of some of the more insufferable pretensions in modern society (below).

The Christmas Appeal initially deceives as it seems to wear a cloak embroidered with ‘Cosy Crime’, but this is soon shed in favour of some rather sharp satire. It has wit, charm and flair and is published by Viper. It is available now.

November 9, 2023 0

SOLSTICE . . . Between the covers

This is the final novel in the Widdershins trilogy, the previous two being Widdershins and Sunwise (both 2022). Most people with a smattering of historical knowledge will be aware of witch trials, perhaps most notably the events in Massachusetts in the late 17th century, famously dramatised by Arthur Miller in his play The Crucible. Closer to home, of course, were the events at Pendle in Lancashire much earlier in that century, and lovers of Hammer films (and Vincent Price) will be aware of the work of Matthew Hopkins – The Witchfinder General – in East Anglia during the English Civil War. I was totally unaware that there had been a virulent campaign against so-called witches in and around Newcastle in the 1670s. This is Helen Steadman’s subject.

Widdershins, by the way is a strange word. Some say it was German, others say it originated in Scotland. It translates as ‘against the way’, as in going the opposite way to the sun, which was an important part of many pre-Christian religions. The story plays out in the unlikely-sounding hamlet of Mutton Clog, in County Durham, and Helen Steadman (left) has created two dramatically contrasting female central characters. Patience Leaton is the daughter of an Anglican minister, who has been forced to leave his benign and comfortable living in Ely due to the shame brought on the family by his wife’s very public infidelity. Earnest, Patience’s twin brother – due to serve with the Royal Navy – has reluctantly accompanied them. In the opposite corner, as it were, is Rose Driver, the beautiful and passionate daughter of a local farmer, Andrew Driver.

The liberal ideas and laissez faire of the Restoration have clearly left Reverend Hector Leaton behind, as he is very Cromwellian in his distaste for anything resembling joy and pleasure, certainly where his church and its parishioners are concerned. Spurred on by the puritanical Patience, he is determined to put an end to any customs or celebrations in Mutton Clog that hint at England’s pagan past. He issues an interdict against any celebration of old customs like the equinox or the solstice, and there is a poignant passage where Rose sits on a black hill top and gazes around at the Beltane bonfires burning joyfully in distant villages.

In Mutton Clog, however, all is dark, both literally and metaphorically. Rose and Earnest have fallen in – if not love, then certainly lust – with each other, and when inevitable moment of passion is over Rose, ever in tune with her own body, senses that there will be dire consequences – a baby. Patience has been a scandalised witness of what took place, and informs her father. A hasty marriage is arranged, of which the only beneficiaries are Hector and Patience Leaton, and their sanctimony. As for Earnest, he is called to arms, and goes off to join his ship in the long running naval feud with the Dutch.

Rose is kept virtual prisoner in the Rectory, while the baby inside her grows. Very soon, however, comes news that Earnest’s ship has been sunk with all hands, and so she becomes Widow Leaton. Worse is to follow, as Patience tirelessly seeks to prove that Rose and her family are involved in witchcraft. She wants nothing more than to see Rose and her unborn child dead and buried, preferably not in the holy ground of Mutton Clog churchyard, and she uses the primitive criminal justice system of the day to sate her desire for justice against those who defile what she sees as ‘God’s Way’.

I can’t recall a more vindictive and unpleasant fictional female character than Patience Leaton, other than Trollope’s Mrs Proudie. The wife of the long suffering Bishop of Barchester had, however, several volumes in which to become more nuanced. Over 232 pages, Patience Leaton is simply vile. Her scheming does claim a life in the end, but not the one she was seeking.

Don’t be misled by the delicate decorative artwork on the cover. There is nothing twee about Solstice. It is a dark and disturbing read, with echoes of the kind of Aeschylean tragedy found in Thomas Hardy’s novels. Helen Steadman’s novel is a stark reminder of a more brutal time, when the English church was at the head of an army of bigoted zealots, determined to wage war on the simple and time-proven beliefs of ordinary people who were in tune with nature and the seasons. Solstice is published by Bell Jar Books and is available now.

October 31, 2023 2

BRAT FARRAR . . . Between the covers

I imagine that anyone who calls themselves a crime fiction fan will have read Josephine Tey’s The Daughter of Time (1951) which, justifiably, regularly takes its place in the charts whenever anyone produces a list of the top crime novels ever written. I had vaguely heard of her earlier novel Brat Farrar (1949), but until I was sent a copy – by Penguin – as one of their reissued ‘Green’ classics, I had never got round to reading it. Within the first few ages I knew I was in for a treat, at least in terms of style and humour, when I read these lines:

“At this same table had eaten Ashbys who had died of fever in India, of wounds in the Crimea, of starvation in Queensland, of typhoid at the Cape, and of cirrhosis of the liver in the Straits settlements.”

“‘What became of cousin Walter?
‘Oh, he died.’
‘In an odour of sanctity?’
‘No. Carbolic. A workhouse ward, I think.'”

Rather like TDOT, the plot idea of Brat Farrar is very clever, if rather more complex. In the un-named English county where Tey sets the story, there are two neighbouring families, both formerly rather grand. In Clare House the Ledinghams “had been prodigal of their talents and their riches”. Now, the family has more or less destroyed itself and Clare is now a boarding school. The Ashbys still live at Latchetts. The male heir (the parents had been killed in an air crash) was Patrick, but he mysteriously disappeared, believed to have committed suicide by drowning, and now his marginally younger twin brother Simon stands to inherit the family fortunes when he comes of age. A member of the Ledingham family, a struggling actor called Alec Loding, has fortuitously spotted a young man – Brat Farrar – who is the living image of the late Patrick Ashby. He grooms him, and persuades him to assume Patrick’s persona, and reappear on the scene (with a plausible explanation for the false suicide) and claim the Ashby inheritance. Loding’s terms are simple:

“All I want is a cosy little weekly allowance for the rest of my life, so that I can thumb my nose at Equity, and management, and producers who say that I’m always late for rehearsal. And landladies.”

Yes, of course the plot is breathtaking in its implausibility, but that it its design – to make us gasp, and also entertain us with dazzling use of language and sharp social observation. It is also escapist in the best possible way, and for readers in the impoverished and dour times of post-war Britain, a glimpse of a different world. Perhaps a world that, even then, no longer existed, but a world away from austerity flavoured with NHS orange juice and dried milk.

Brat Farrar is an ingenious invention. He is an orphan, and even his name is the result of administrative errors and poor spelling. He has been around the world trying to earn a living in such exotic locations as New Mexico, but has ended up in London, virtually penniless and becomes an easy mark for a chancer like Alec Loding. He is initially reluctant to take art in the scheme, but with Loding’s meticulous coaching – and his own uncanny resemblance to the late Patrick – he convinces the Ashbys that he is the real thing. But – and it is a very large ‘but’ – Brat senses that Simon Ashby has his doubts, and they soon reach a disturbing kind of equanimity. Each knows the truth about the other, but dare not say. The author’s solution to the conundrum is elegant, and the endgame is both gripping and has a sense of natural justice about it.

Josephine Tey was one of the pseudonyms of Elizabeth MacKintosh (1896-1952) Her play, Richard of Bordeaux (written as Gordon Daviot) was celebrated in its day, and was produced by – and starred – John Gielgud. She never married, but a dear friend – perhaps an early romantic attachment – was killed on the Somme in 1916. She remained an enigma – even to friends who thought themselves close – throughout her life. Her funeral was reported thus:

“A small party of mourners, including Gielgud and the actress Dame Edith Evans, gathered at Streatham crematorium in South London on a cold, dreary day to say their farewells. “We talked to Gordon’s sister, whom we were all meeting for the first time,” *Caroline Ramsden recorded, “and she told us that Gordon had only come south from Scotland about a fortnight before, when she had stayed at her Club in Cavendish Square, on her way through London. What she did or thought about during that period was her own affair, never to be shared with anyone…. All her close friends were within easy reach, but she made no contacts—left no messages.”

*Writer, sculptor and racehorse owner, Caroline Ramsden was one of the oldest residents of London’s Primrose Hill ‘village’. Her abiding passions were horse racing and the theatre. Her memoirs encompass over 60 years of English social and cultural life, being a font of pleasure and information not only for racing and theatre enthusiasts, but for anyone who simply enjoys a glimpse of the past.

Brat Farrar is a wonderful book which simply does not date, despite the very different world in which we live. Tey’s prose is often sublime:

“She turned in at on the south porch of the church and found the great oak door still unlocked. The light of the sunset flooded the grey vault with warmth and the whole building held peace as a cup holds water.”

This edition is part of Penguin’s reissue of their ‘Green’ Modern Classics and is available now.

October 26, 2023 0

FREEDOM’S GHOST . . . Between the covers

“He now found a strange kind of peace when sitting alone with the dead. The dead were dependable. The dead had no pretence, no argument. If one only knew how to ask, the dead were always willing to share their dying secrets, their last link to the mortal world. They always told the truth”

This is Duncan McCallum, a Scottish physician who has settled in Massachusetts in the febrile years leading up to the American Revolution. I read and reviewed earlier books in this series, Savage Liberty (2018) The King’s Beast (2020) – to see what I thought, just click the links.The political situation against which the events of this novel is played out are complex. The British are determined to hold on to their American colonies despite resistance from a disparate alliance of groups, including the French, native American tribes and – most significantly – the fledgling revolutionary movement – The Sons of Liberty – whose leading lights are Benjamin Franklin and Samuel Adams.

King George’s grip on his American colonies is, however, tight and wide ranging. Not only do Redcoat platoons patrol the streets of Boston and the port of Marblehead – where this novel begins – but it is illegal to import sugar and other staples from anywhere but a British colony, and the import of industrial machinery – such as the Hargreaves Spinning Jenny – is strictly prohibited. McCallum, however, is no firebrand. He, unlike his lover Sarah Ramsey, seeks a bloodless and civilised transfer of power from Britain to America. His worst nightmare is a violent uprising resulting in a bloody conflict with the professional British army.

McCallum’s work is cut out when, within the space of a few days, two British army officers are murdered. One is found crucified in a shipping warehouse, his eyelids sewn open and his mouth sewn shut. Another soldier is hauled up in a fishing net and readily identifiable despite the work of crabs and other marine predators. McCallum realises that the British army – in the shape of the 29th Regiment of Foot – now believes it has more than enough reasons to turn Marblehead upside down their search for vengeance. His problems become worse when he discovers that Sarah is hiding group of escaped slaves from Barbados, and is hoping to smuggle them away to her property up on the Canadian border.

When the warehouse of a merchant called Bradford – a man fully in sympathy with The Sons of Liberty – is burnt to the ground, with him still inside it, tortured and tied to a stake, McCallum vows vengeance. But who are the culprits? British military, for sure, but acting on whose orders? Are they renegades? McCallum’s relationship with the occupying force is ambiguous; he is made welcome in the forts and barracks because of his medical skills, but can he be trusted? He is suspicious when Sarah receives an invitation to visit New York to meet none other than the Commander in Chief of all British forces in America, General Thomas Gage. Ostensibly, he wants to use Sarah’s rapport with the warlike Iroquois-speaking tribes on the border to foster better relations with the British, and McCallum senses something more sinister when Sarah goes missing.

When McCallum eventually arrives in New York, he finds Sarah safe and well, and he meets General Gage. finding that his medical reputation has gone before him, as the General asks him to do a thorough health and hygiene inspection of the main fort. This suits McCallum very well, as he is by now engaged in an audacious plan to switch a shipload of faulty gunpowder – the Americans are unable to manufacture ‘King George’s Powder’ due to a shortage of essential ingredients – with top grade British propellant.

Eliot Pattison has produced an intoxicating blend of real events – such as the killing of Crispus Attucks – with all the imagination demanded of a modern political thriller. Freedom’s Ghost will be published by Counterpoint on 24^th October

October 19, 2023 0

THE SAVAGE STORM . . . Between the covers

Soldiers in WW1 sang songs about their war, set to popular melodies and hymn tunes. There is an excellent collection of these in The Long Trail, by John Brophy and Eric Partridge, and parodies like When This Lousy War Is Over are one of the staples of the musical Oh What A Lovely War. There is little evidence that such parodies existed in WW2, but there is one significant exception. In the song D Day Dodgers (sung to the tune of Lili Marlene), soldiers of the 8th Army sing about their time in Italy:

We landed at Salerno, a holiday with pay,
Jerry brought the band out to cheer us on our way
Showed us the sights and gave us tea,
We all sang songs, the beer was free.
To welcome the D-Day Dodgers, way out in Italy

Palermo and Cassino were taken in our stride,
We didn’t go to fight there, we just went for the ride.
Anzio and Sangro were just names,
we only went to look for dames,
For we are the D-Day Dodgers, in sunny Italy.

The song, which has many more verses, was written as a sarcastic response to a statement made – allegedly by the MP Nancy Astor – criticising the 8th Army for not being part of the D Day landings in June 1944. Historian and broadcaster James Holland (left) has written an account of the Italian Campaign from the invasion of the mainland in September 1943 until the year’s end and, having read it, I can only think that the bitterness of the 8th Army men was more than justified.

The 8th Army and their American allies had defeated the Germans and the Italians in North Africa, and had subsequently forced the Axis defenders out of Sicily in 1943. Mainland Italy is separated from Sicily by The Strait of Messina, just short of two miles wide at its narrowest point, but those two miles posed a severe challenge to the allies.

In his book, Holland stresses a key issue often overlooked in stories of the invasion – the position of the Italian armed forces. Mussolini had been deposed and arrested, the Italian government was in turmoil yet, ostensibly, with a million men under arms, they were still German allies. Would they stay in place to fight the Allies on their beaches, or would Hitler, perpetually feeling let down by the Italians, forcibly disarm them? In fact, the ‘government’ – a vague coalition of Italian royalty, noblemen and opponents of Mussolini emerging from their bunkers had already faced the unpalatable fact that unconditional surrender was the only option open to them., but the key issue was the exact timing of the announcement, and its effect on the Germans. In the event, the Italian navy fled to Malta, there were pockets of heroic resistance to German forces – notably in and around Rome but, sadly the Italian forces behaved in a manner which confirmed popular opinion about the martial qualities of Italians.

There were three major obstacles facing the Allies:
(1) The terrain of Italy was a military defender’s dream with its spine of mountains, and consequent rivers, gorges and hilltop villages – each one turned into a fortress.
(2) In charge of the German Army was Albert Kesselring, one of the most competent and resolute commanders of the Wehrmacht.
(3) The fact that both Churchill and Eisenhower both had, in the backs of their minds, the fact that an invasion of France, planned for the following year, would be the key to defeating Hitler, thus becoming cautious about throwing men and equipment at the Italian campaign.

The first four months of this campaign set a pattern which was to repeated endlessly over the following sixteen months. A German army in retreat, but with total command of the defensive landscape – blowing bridges, mining roads, pouring hell down on the Allied troops from mountain strongholds – and a determination to make British and American soldiers pay a heavy price for every yard of territory gained.

Questions remain. Italy was never going to be ‘the soft under-belly’ of Hitler’s Europe. For me, it has the whiff of The Dardanelles campaign in 1915 – an alternative front, an attempt to attack a perceived weakness, ostensibly a quick victory against a vulnerable opponent. The facts are stark. Hitler’s southern front (via Austria) was never seriously threatened any more than Constantinople and the Black Sea ports were in 1915. Although outside the scope of this book, it is worth noting that the Germans did not finally surrender in Italy until just hours before Hitler committed suicide in his Berlin bunker in April 1945. Holland’s story ends on 31st December 1943, but more – much more – slaughter was still to be endured.

In this book – which makes frequent use of the accounts of men who were there = James Holland exhibits meticulous research and attention to historical detail, but what sets The Savage Storm well above similar accounts of the campaign is that he recounts his story with the narrative verve of a novelist. He tells a grim tale with sensitivity and compassion, and the story is undiminished by our knowledge that the worst was yet to come. The book is published by Bantam and is available now. The last word should be left in the hands of whoever wrote D Day Dodgers. The final verse sums up the campaign to perfection:

Look around the mountains, in the mud and rain;
You’ll see some scattered crosses, and some that have no name.
Heartbreak and toil and suffering gone,
The boys beneath them slumber on.
These are your D Day Dodgers, who’ll stay out in Italy.

October 12, 2023 0

CLASSICS REVISITED . . . Maigret’s Revolver

Perhaps there’s a PhD to be written on the character of Madame Maigret, and none of the TV or film versions have made much of her, but here, at least for a while, she takes centre stage, in rather an unfortunate fashion. A young man, terribly nervous and ill-at-ease, arrives at their apartment, 132 Boulevard Richard Lenoir, asking to speak to the great man. Perhaps because he seems shy and inoffensive, she lets him in to wait while she finishes cooking lunch. A little while later, she breaks with their normal convention and telephones her husband at work. Hesitantly, she explains what has happened and, shamefaced, saying that the young man has now left, but she believes he has taken a revolver – presented to Maigret by the FBI – some years earlier. The revolver may seem to be ceremonial, as it is engraved with Maigret’s name, but it is far from a museum piece. It is a Smith and Wesson .45 and a very powerful agent of death in the wrong hands.

In what appears to be a separate strand of the plot, we learn that the Maigrets have recently dined with a long-standing friend, Dr Pardon, and that another guest – Lagrange – who was apparently very anxious to meet the celebrated policeman, failed to show up. When they visit Lagrange at his home, they find a man who appears to be extremely ill. Pardon confides in Maigret that Lagrange is something of a problem patient. Bedridden though he may appear to be, it transpires that he had enough strength to hire a taxi late the previous evening and, with the driver’s help, convey a heavy trunk to the left luggage office of the Gare du Nord. There is a very satisfying ‘click-clunk’ when it emerges that the young man who took Maigret’s revolver is none other than Alain, the sick man’s son. And in the trunk? A dead body, naturally, and it is that of André Delteil, a prominent – and controversial – politician, shot dead with a small calibre handgun.

Lagrange, when questioned, descends into a state of paranoia and behaves like a feverish child. Maigret cannot decide if this is genuine, or an attempt to defer the inevitable investigation into the corpse in the trunk. Playing safe, he sends the man to hospital. But what links the murdered politician, the babbling Lagrange – and his fugitive son? Simenon comes up with a very elegant – and deadly – connection in the shape of a wealthy socialite called Jeanne Debul who collects rich men like some people collect stamps. He uncovers a deeply unpleasant melange of blackmail, obsession and greed and concludes that Alain Lagrange is convinced that his father’s downfall can be laid at the door of Madame Debul. And he is at large, with Maigret’s revolver and a box of recently bought ammunition.

Maigret is not best pleased to learn that Jeanne Debul has flown to London, followed – on the next flight – by Alain Lagrange. It’s a rotten job, but someone has to do it, and Maigret follows the socialite and her would-be assassin to London, where he books into the same hotel as Madame Debul – The Savoy, no less. Helped – and hindered – by his Scotland Yard counterparts, our man awaits the collision of hunter and hunted, and this section of the story is a delightful flourish by Simenon where, via his great creation, he describes every little irritation and frustration that an urbane Frenchman could possibly encounter in the buttoned-up world of 1950s London.

As ever with Simenon, this story is a masterpiece of brevity – just 150 pages – and where lesser writers might take a page or more to describe a person, an atmosphere or a situation, he does the job in a paragraph. This edition of Maigret’s Revolver (first published in 1952), translated by Siân Reynolds, is one of the new Penguin Modern Classics and will be available on 5^th October

October 3, 2023 0

IN THE WASH . . . Between the covers

Wisbech is a town in the fenland area of Cambridgeshire, and that is where I live. At which point some unkind wag will usually comment, “Well, I suppose someone has to.” That slight is not undeserved, as much of the place is pretty grim. It has some pretty Georgian and Victorian architecture, but in recent years it has had the stuffing knocked out of it by immigration. Add to that the disease infecting so many similar places in the country, that of the shops we knew and loved (but not patronised enough, sadly) being replaced with a seemingly endless supply of charity shops, mobile phone stores, bookies, coffee shops and pound stores. The town has featured peripherally in some novels; perhaps the brewery that featured in Graham Swift’s Waterland was our our own Elgoods; the town makes a brief appearance in my favourite crime novel, Dorothy L Sayers’ The Nine Tailors, gets a passing mention in some of Jim Kelly’s novels, but now there is a novel firmly centred in the town.

The legend of King John’s lost treasure is an intriguing one, and Diane Calton Smith (left) cleverly reimagines it in her novel In The Wash. I am not normally a fan of split time narratives, but she does it beautifully here, with the events of October 1216 being mirrored perfectly by a present day story beginning, also, in October. Perhaps ‘mirror’ is not the best metaphor – the two stories are more like a melody and its counterpoint in music, each complementing the other. In 1216 we meet Rufus, a young clerk under the tutelage of Father Leofric, a priest at Wisbech Castle, and the entire establishment is waiting for the arrival of King John, who is to make a break in his journey from Bishop’s Lynn to Newark. In present day Wisbech, Monica Kerridge is the curator of The Poet’s House Museum, an establishment dedicated to the life and work of celebrated Georgian poet Joshua Ambrose.

Rufus and his fellow clerks can only watch in awe from a distance as the King and his retinue arrive. Beset by political troubles both at home and abroad, the King appears tense and distracted at the lavish feast prepared for him, but his mood worsens when he receives shocking news from one of his courtiers, freshly arrived at the castle. His baggage train, a mile long and consisting of lumbering bullock carts and hundreds of men has fallen foul of the capricious tide as they attempted to ford the river mouth where it meets The Wash – with catastrophic results. In the days that follow, Rufus is called upon to catalogue the battered remains of the king’s wagons and the scores of of corpses washed up on the sea banks.

Back in the present day, Monica and several other town worthies become involved with a new group being set up to try to get to the bottom of the enduring mystery of what actually happened on that day in October 1216 and – more importantly – establish exactly where the abortive attempt to cross from Norfolk into Lincolnshire was made.

It is an established fact that King John died not long after his fateful sojourn in Wisbech, and was succeeded – at least in name – by his nine year-old son. Rufus becomes involved in a dangerous search for one particular item of John’s lost treasure – an item so precious that powerful interests in the land think little of murder in order to gain the prize. The search by Monica and her friends is less perilous, but they uncover a mystery just as intriguing.

Diane Calton Smith lets her two narrative melodies weave their magic and cleverly keeps the two time lines running almost exactly parallel, just separated by the eight centuries. Then, to extend the musical metaphor, the two themes resolve together in an very satisfying cadence to bring the piece to an end. I loved this book. Yes, the local interest intrigued me, but this is writing of the highest quality, backed by scrupulous historical research, a genuine sense of place, and shrewdly observed characters. In The Wash is published by New Generation Publishing and is available now

September 28, 2023 1