tag:blogger.com,1999:blog-91000012209472564232024-03-18T04:03:47.836+01:00Death Can ReadMystery, Thriller, Hard-Boiled,
Detective Movie:
from Golden Age to the present day.
Not only reviews but depth analysys. Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.comBlogger194125tag:blogger.com,1999:blog-9100001220947256423.post-83400566715082081092024-02-20T20:54:00.001+01:002024-02-20T23:01:19.639+01:00Georges Meirs : La main fantôme, 1913 <div class="separator" style="clear: both; text-align: center;"><a href="https://pictures.abebooks.com/inventory/30757026896.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="548" height="512" src="https://pictures.abebooks.com/inventory/30757026896.jpg" width="350" /></a></div><br /><p><br /></p><p><span style="font-family: verdana;">After several years we return to Georges Meirs, to talk about an excellent novel from 1913: La main fantôme.<br /><br />Although it is a more than dated text, it is an excellent example of a mystery with an almost impossible crime and three locked rooms. In short, an almost unknown novel, but capable of keeping the reader captivated with a plot full of twists and turns and inventiveness.<br /><br /></span></p><p style="text-align: center;"><b style="font-family: verdana;"><span style="color: red;"> WARNING : SPOILERS !!!</span></b><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"> William Tharps, the famous private policeman, is urgently requested by Inspector Asselin: a crime has occurred in absolutely extraordinary circumstances, and the police are at a loss. In Miromesnil street, on the fifth floor of a building, an elderly sculptor was found dead in an apartment. The doctor has drawn up a death certificate due to embolism, but the inspector has a premonition, which turns out to be right: from how the body was found and from its appearance, Tharps formulates the hypothesis that he was killed instead. The autopsy will attest to Veronal poisoning.<br /><br />Already in these first signs of a novel, Tharps shows all his deductions and observations, indicating both a series of fingerprints, even on the frame of a painting, and some signs, and finally the imprint of a hand, and poses an antithesis to Doctor Mortet: it would even seem that he hastened to diagnose a natural cause to mask the poisoning. Why?<br /><br />However, this is not the only oddity, as the police in the figure of the Chief of Police Assarde and the Investigating Judge Ballencourt have already amazed several others: all around the body there are footprints, as if someone had done something during or after the death. Yet it is strange: he was not shot or stabbed or beaten, but poisoned. And the murderer seems to have remained there next to him until his death, which in itself has unparalleled audacity and temerity, and was looking for something: it seems something connected to a check book that Tharps finds while searching the house . It's not the only strangeness: there is an even more astonishing one. The assassin who murdered Mr. Corbat by giving him an elephantine dose of Veronal, entered a house completely barred by bolts and bars, while the servant was busy with his duties, in the other rooms of the house, entering the study, from which he it is also accessed via an external door secured by bolts, passing through a door concealed by a tapestry, which was known only to the staff of the house. But it wasn't the servant: everyone swears by his innocence and even Tharps is convinced of it. Yet someone must have entered the study illuminated by a large window in the ceiling: perhaps he passed through there? Hypothesis immediately set aside: the putty surrounding the glass is old and has no cracks and there are also cobwebs all around which make one think that no one could have gotten through there.<br /><br />An invisible killer, or rather... a phantom killer. And yes because a hand, a ghost, will make an attempt on Tharps' life later, shooting him in the apartment, guarded by the police, where no one has entered from the outside, as the doorman of the building swears. A killer materialized, who escapes and vanishes into the air: Carr would have been delighted.<br /><br />But before this occurs, the checkbook will also disappear from the investigating judge's office, barred, and without any break-in having occurred; and for that matter neither Ballencourt nor his highly trusted Chancellor can be held guilty of it.<br /><br />And after the attack on Tharps, thank God, grazed by two bullets and slightly wounded, another closed chamber with another crime will occur in the apartment, an apartment already defined as cursed before Corbat's death, because in the previous years a series of tenants had died in mysterious circumstances: not least the last tenant, Barolais, who fell from the window into the living room. An unknown body will be found in the apartment watched closely by two policemen, and absolutely barred: how could it have materialized?<br /><br />Tharps, during a session, in front of Doctor Mortet, the Chief of Police, Judge Ballancourt, the servant and his assistant Pastor Linhyam, will discover his papers and identify the culprit, or rather... the culprits.<br /><br /></span></p><p style="text-align: center;"><span style="font-family: verdana;"> <span style="color: red;"><b>THE END OF SPOILERS</b></span><br /></span></p><p><span style="font-family: verdana;">Written in 1913, this novel by Meirs, despite having certain quite dated characters, e.g. the deductions based on Lynham's appearance and several others, which also concern the places of the crime (for example that the murderer must have been of average height) which clearly refer to Sherlock Holmes of whom Tharps is clearly a clone, undoubtedly possesses of his qualities:</span></p><p><span style="font-family: verdana;">for being from 1913, therefore in an age of the detective novel still influenced by adventure, this story is captivating, proposing a series of false culprits: first Mortet, then the servant who leaves the apartment and disappears in search of a phantom person, then again Mortet who materializes, when Tharps is shot, and another servant of the neighbor, then again Corbat's servant, until the unexpected conclusion; a series of cursed and suspicious deaths; a strange bankruptcy story, curiously linked to that apartment; a missing banker with a treasure trove of securities; a poor sculptor living well beyond his means; and a series of near-murders and murders and disappearances of objects and people, in impossible situations.<br /><br />The solution is logical, and today we would say almost obvious, but not that much: one by Halter is directly connected to it (which makes me suspect that he had read this novel: I'll ask him sooner or later) and also one by Rogers, for one thing clearly indicated, when it is mentioned at the beginning. And that of the disappearance of the checkbook, based on the absolute innocence of the Chancellor and the Investigating Judge who had it in their possession, once resolved, we would say: overused trick, but, if we refer to the time in which it was written... And frankly I hadn't thought about it, because in a book like this where the impossible lingers everywhere, you don't expect something like that, but it's perfectly logical.<br /> </span></p><p><span style="font-family: verdana;">Tharps reveals everything and triumphs: and explains why there are two murders, attributable to two different people, but committed without real premeditation. However, the first was put into practice by someone who steals and almost kills Tharps, the second by someone who would like to steal a treasure. While the first uses the impossible escape route, the second accesses the apartment naturally, but is not investigated. And the murder happens while the two agents, in charge of surveillance of the house, are down at the bar sipping a coffee and eating a sandwich, having a perfect view of the door, which can only be accessed from the outside, not seeing anything strange. , but then finding the body of someone who is unknown who he is, but who will remind Tharps of someone.<br /><br />Tharps, who was originally called Thorpe, and who one day had his surname changed because a certain Thorpe showed up at Meirs' publishing house threatening to take legal action if the character's surname was not changed, today shows his great popularity which the now forgotten Meirs, who seems to have also been the illustrator of the covers of the first editions of his novels, already enjoyed at that time.<br /><br /></span><span class="HwtZe" lang="en"><span style="font-size: small;"><span class="jCAhz ChMk0b" style="font-family: verdana;"><span class="ryNqvb">To add is that the novel is ignored both by Robert Adey in "<i>Locked Room Murders And Other Impossible Crimes, A Comprehensive Bibliography, Revised and Expanded</i>" of 1991, and by Brian Skupin "<i>Locked Room Murders Second Edition</i>", Revised By Robert Adey,</span></span><span style="font-family: verdana;"> <span class="jCAhz ChMk0b"><span class="ryNqvb">Edited by Brian Skupin from 2018, and in Brian Skupin's 2019 compendium "<i>Locked Room Murders Supplement</i> (to "Locked Room Murders And Other Impossible Crimes" by Bob Adey). Also in volume <i>99 Chambres Closes</i> by Roland Lacourbe, it is not mentioned.</span></span></span></span></span></p><p><span class="HwtZe" lang="en"><span style="font-size: small;"><span style="font-family: verdana;"><span class="jCAhz ChMk0b"><span class="ryNqvb"> </span></span></span></span></span><br /><span style="font-family: verdana;"><b><span style="font-size: large;">Pietro De Palma</span></b></span> <br /></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-13479047653070451752023-12-21T08:26:00.003+01:002023-12-21T08:26:35.419+01:00Hake Talbot : The Hangman’s Handyman, 1942<p> </p><header class="entry-header" style="-webkit-text-size-adjust: 100%; border: 0px; caret-color: rgb(68, 68, 68); color: #444444; font-family: "Open Sans", Helvetica, Arial, sans-serif; font-size: 16px; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;"><h1 class="entry-title" style="border: 0px; clear: both; font-size: 1.571429rem; font-weight: 400; line-height: 1.2; margin: 0px; padding: 0px; vertical-align: baseline;">One of the best Locked Rooms ever </h1><div class="comments-link" style="border: 0px; color: #757575; font-size: 0.928571rem; line-height: 1.846154; margin: 1.714286rem 0px 0px; padding: 0px; vertical-align: baseline;"><br /></div></header><div class="entry-content" style="-webkit-text-size-adjust: 100%; border: 0px; caret-color: rgb(68, 68, 68); color: #444444; counter-reset: footnotes 0; font-family: "Open Sans", Helvetica, Arial, sans-serif; font-size: 16px; line-height: 1.714286; margin: 0px; padding: 0px; vertical-align: baseline;"><p data-adtags-visited="true" style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;"><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><a href="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcS-gpepd0F2K0ptOmZ-KLWNxCI9npTSBPpQ1EvxRQ156Q9bxwBI" style="border: 0px; clear: left; color: #9f9f9f; float: left; font-size: 14px; margin: 0px 1em 1em 0px; outline: currentcolor; padding: 0px; vertical-align: baseline;"><img alt="" border="0" src="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcS-gpepd0F2K0ptOmZ-KLWNxCI9npTSBPpQ1EvxRQ156Q9bxwBI" style="border-radius: 3px; border: 0px; box-shadow: rgba(0, 0, 0, 0.2) 0px 1px 4px; margin: 0px; max-width: 100%; padding: 0px; vertical-align: baseline;" /></a>Even from the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">first lines</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">we</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">see</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">projected</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">on a</span> remote island, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">battered by</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">gales</span>, which <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">has</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a name that</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">says it all</span>: <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Kraken</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">like the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">mythological monster</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of the deep sea</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">And the atmosphere</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">already</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">expresses</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">its</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">first signs of</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">strange</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and threatening</span>.</p><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;"><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Nancy</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Garwood</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">actress</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and showgirl</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">is found</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">lying</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">across</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the bottom</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of the bed,</span><i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"> </i><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">still wearing</span> the <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">evening dress and and then</span> she doesn’t <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">how she arrived to be</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in bed</span>. She <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">remembers</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">when she arrived</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in the afternoon</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">along with</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Jackson</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Frant</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">dinner:</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">as</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">you</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">say</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">later,</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">she knew</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Frant</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">“intimately</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">perhaps”</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">but</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">certainly not</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">good ..</span> <span class="hpsatn" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">(</span>it means that <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">he had sex</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">with him</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">but as a person</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">he knew</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">little)</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Also remembers</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">heavy atmosphere</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of that house</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and palpable</span>; <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">servants</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">silent and</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">without an identity as </span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">if they were</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">shadows</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the strange</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and the guests</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">seated around</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the table</span>, eight <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">including the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">host</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and five</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">empty seats</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to form</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">thirteen</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">places</span>, omen <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of doom</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">She remembers</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the salt</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">dropped</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in error</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">on the tablecloth</span>, s<span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">he remembers</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the broken mirror</span>, remembers <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">frightened faces</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">She</span> doesn’t <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">remember anything</span>.</p></div><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;"><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">When Nancy</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">falls</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in the living room</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">by candlelight</span>, t<span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">he</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">clock strikes</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">ten o’clock p.m..</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">She</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">remembers</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">that</span> s<span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">he was at dinner</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">at nine</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Must have been</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">unconscious</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">at least one hour</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The guests</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">should</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">be there</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">playing the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">piano,</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">playing cards</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">..</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Instead</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">there is none.</span><br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Nancy</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">increasingly</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">tense</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the show</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">turns to</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the dark</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and threatening</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">by candlelight</span>.<br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">We observe</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the scene</span>: <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Hake</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Talbot</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">with</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">consummate skill</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">we would like to</span> <span class="hpsatn" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">say (</span>but this is <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the debut</span>) <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">introduces the story</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">as if it</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">were not a</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">detective novel</span>, but <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">fantastic</span> novel, a <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">gothic novel </span>: it would seem <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">one</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Radcliffe</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">or</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Walpole</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The candlelight</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">instead of decreasing</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the voltage</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">for the dark</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">it increases it</span>, because it illuminates <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">what is</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">directly</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in front</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">but leaves</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the rest</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in darkness</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">And while</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Nancy</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">advances</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">frightened</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">scared</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and tense</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the sound</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">here is</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">powerful and</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">unexpected</span>: someone <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">knocks</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">at the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">door</span>.<br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">She</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">goes to open</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">because not even</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the servants made him</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">as if</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the house was</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">empty</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and she founds Roger</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Kincaid</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a professional</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">player</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">with an</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">ambiguous</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">past</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">but who</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">knows</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">human nature</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">better than others</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">above all knows how</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to go down</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to things</span>, even <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to those</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">who apparently</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">are not seen.</span><br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Talbot</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">reserves</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">entrance</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">leading</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Kincaid</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">with which</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">we can</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">understand that</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">we are facing</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the</span><span class="hpsatn" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">“</span>deus <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">ex machina</span>” of the situation.<br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The nature</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of the character is</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">also</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">entrusted</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">with the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">clothes</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">she wears</span>: <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a heavy</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">raincoat and a</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">hat</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">from the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">wide brim</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">which remind us</span> <span class="hpsatn" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">instantly (</span>at least on <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">those</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">familiar with</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">detective genre</span>) <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the most famous character of Carr</span>, the <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Dr.</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Fell</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">It</span> <span class="hpsatn" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">‘</span>a <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">way as any</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to tell the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">reader</span>: <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">it is</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the investigator</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">there are</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the typical conditions</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">carrian</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">novels</span>, that are <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">impossible crimes</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">or</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">closed chambers</span>.<br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The impossible crime</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">is</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">what</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">distinguishes the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">novel,</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and is also</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the event</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">that caused the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">amnesia</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of the girl</span>.</p></div><p class="separator" data-adtags-visited="true" style="border: 0px; clear: both; font-size: 14px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; text-align: center; vertical-align: baseline;"><a href="https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcTm2FqlJfCoN0K5ieTFy58E1sUjvMzGQF-IXxyXh8lc71t1HQFS" style="border: 0px; clear: right; color: #9f9f9f; float: right; margin: 0px 0px 1em 1em; outline: currentcolor; padding: 0px; vertical-align: baseline;"><img alt="" border="0" src="https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcTm2FqlJfCoN0K5ieTFy58E1sUjvMzGQF-IXxyXh8lc71t1HQFS" style="border-radius: 3px; border: 0px; box-shadow: rgba(0, 0, 0, 0.2) 0px 1px 4px; margin: 0px; max-width: 100%; padding: 0px; vertical-align: baseline;" /></a></p><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;"><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Nancy</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">recalls</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">that the number</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of thirteen</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">invited</span> <span class="hpsatn" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">(</span>but a <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">family of four</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">was not</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">reached</span>) <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">had provided</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">an opportunity for</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Jackson</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Frant</span>, industrial <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">chemicals,</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">could</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">make</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">fun of her</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">brother</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Lord</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Evan</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Tethryn</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">enormously</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">superstitious.</span><br /><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">mockery that</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">was</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">continued</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">in a crescendo</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of tension</span>, before <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">reading an</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">ancient document</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">which indicated</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">an</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">unspeakable</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">family secret</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">that the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">brother</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">had thrown</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">into the fire</span>, then <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">causing</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the breaking of</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">mirror</span>, powder, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and then</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">causing</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the deposit</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of salt on</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">tablecloth</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">and</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">at the same time</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">emphasizing</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the ensuing</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">seven years</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of trouble</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The effect</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">of this series of</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">events</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">is the</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">curse cast by</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Evan</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">at Jack</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the real secret</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">unspeakable</span>: <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to kill</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the recipient</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; 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margin: 0px; padding: 0px; vertical-align: baseline;">nothing indicates</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">manifest</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">impossibility</span>: <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">there is only</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a coincidence</span>also <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">if strange</span>. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The impossibility</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">instead</span> will <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">be realized</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">before our</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">eyes</span>, when <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Kincaid</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">will travel to</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">see</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the corpse</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">whose memory</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">causes</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">fainting</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">again</span> of Nancy. <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">While</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Kincaid</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">her aids</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">a new character</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">materializes</span>, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Arnold</span> <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Makepeace</span>.</p></div><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;">I note that the expedient of heightened tension, we have already seen both in the wake of Nancy (who finds herself in a strange house and darkness), and in the verbal confrontation between the two half-brothers, reappears now in the brief dialogue between these two characters: Arnold if at words he confirms as told by Nancy and tries to be as objective as possible, speaks almost shouting, in a tone that suggests to Rogan, as his partner is terrified.</p></div><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;">Well, he obviously present in the stroke, he is hoped in his heart that even Dr. Braxton defines it such. And the tension grows, and continues when the first Rogan rummaging through the ashes of the fireplace, he founds almost intact the loot of pages that had been thrown on the fire (which is a series of reports showing old black magic powers given to the family of two brothers by Od, an elemental spirit of sea) and then when he himself, in the library, founds a series of books specifically occult character, read and reread, especially one with such a famous short story by Edgar Allan Poe: <i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The Facts in the Case of M. Valdemar</i>. Do you remember that case? No? It talks about the mesmerism, animal magnetism made in the case of a man at death, which remains in a state of suspended death, until awakened from this state of decomposition in a heartbeat. Because Talbot refers precisely to this story by Poe? Why Kincaid will find Frant, wearing the dress evening, died not from a few hours, but died at least a month, in decomposition so advanced that the only way to assign him the identity, it’s a ring that could not have been imbedded after died.<br />Here is the manifest impossibility that would legitimize a supernatural intervention, to Od.<br />That’s it?<br />No. Someone tries to kill Kincaid strangling and yet manages to leave the room leaving her locked inside, with mosquito nets and intact old-growth, impossible to disassemble and assemble outside. Carr would say vanished into air. Only Od in person could have been!<br />But why Od would want to kill Kincaid?<br />Nothing I will say more, except that the ending of novel is amazing.</p></div><p class="inline-ad-slot" data-adtags-visited="true" data-adtags-width="624" id="inline-ad-0" style="border: 0px; float: left; font-size: 14px; height: 0px; line-height: 1.714286; margin: 0px auto; overflow: hidden; padding: 0px; vertical-align: baseline; width: 624px;"></p><p class="separator" data-adtags-visited="true" style="border: 0px; clear: both; font-size: 14px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; text-align: center; vertical-align: baseline;"><a href="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcRK7CtVhKSumRgIJASjqFUUX_hPVSoQq2EKENFCBe6WmvNp0bzrA__0zkk5" style="border: 0px; clear: left; color: #9f9f9f; float: left; margin: 0px 1em 1em 0px; outline: currentcolor; padding: 0px; vertical-align: baseline;"><img alt="" border="0" height="200" src="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcRK7CtVhKSumRgIJASjqFUUX_hPVSoQq2EKENFCBe6WmvNp0bzrA__0zkk5" style="border-radius: 3px; border: 0px; box-shadow: rgba(0, 0, 0, 0.2) 0px 1px 4px; margin: 0px; max-width: 100%; padding: 0px; vertical-align: baseline;" width="133" /></a></p><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;">Why the novel did impress me so favorably?<br />The first, we are dealing with a crime so impossible that it can not be more impossible, and even a beautiful Locked Room. Talbot, in short, to create his debut novel, in honor of Carr and Rawson, and fills it impossible crimes and locked rooms, in a supernatural tricks illusions (the same Hake Talbot dabbled in magic) and centers the target , expecting to an established pattern of classic mystery (island battered by storm, secluded villa, curse, crime impossible and even more in a closed chamber, substitutions in person, continuous plot reversals) and creating an atmosphere dense and palpable able to fascinate.<br />Also it wouldn’t seem to be a debut. It has not flaws in the final by <i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Rim of the Pit</i>, though a lot of persons still consider it superior to ours. The fact is that the ending can not hold the tension accumulated up to that point and <i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Rim of the Pit</i> seems to be missing something, because, <span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">summing</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">impossibility</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">to</span><span class="hps" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">impossibility</span>, and concentrating the explanation of all the mysteries in the finale, “with an effect of complexity a bit too exhausting”, as would tell someone I know, Talbot can not answer all the questions, to satisfy them completely, and leaving a sense of something unresolved.<br />This leads us to consider how, instead, the first novel, with some humility that is lacking in the second hand, tends to solve the puzzles, each time, leaving only the final identification of the murderer (which is not easy). In fact, the first Talbot/Kincaid addresses the Locked Room, and then he explains the crime impossible.<br />Beyond this there are similarities between the two novels.<br />First, the mythological allusions: here is an elemental deities, Od, a demon of the deep sea while there another demon is, an Indian demon, a Windingo. In addition both novels, show magic tricks performed and explained by the guests.<br />Here and there you notice any mistakes, you may notice that only after reading the novel several times: first it says that an examination of the fingers of the corpse decomposed by Kincaid, Sergeant Dorsey, the police photographer and Feldman Medical Examiner Dr. Murchison, we note that had been removed the skin of the fingertips; then at the end of the novel, we read that the corpse was that of Frant because Feldmann had taken fingerprints: inconsistency perhaps be explained by a previous draft of the novel different?<br />Beyond this, even Talbot, as Halter, may have used, to wrap the plot of his novel, a series of references to him earlier: the guests present at a villa on an island, reminiscent of <i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">And Then There Were None 1939, </i>by Agatha Christie; the 13 dinner guests, another novel by previous Christie, <i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Lord Edgware Dies, 1933</i>; and finally, I would be even tempted to believe that the same misfortune Rogan on board the vessel in the middle stormy sea and its landing on the island where the other guests are waiting, could refer to <i style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Careless Corpse, 1937</i>, by King Charles Daly.<br />Well … an extraordinary novel, which takes engrossed until the last page.</p><p style="border: 0px; line-height: 1.714286; margin: 0px 0px 1.714286rem; padding: 0px; vertical-align: baseline;">Pietro De Palma</p></div><div class="MsoNormal" style="border: 0px; font-family: Times, "Times New Roman", serif; margin: 0px; padding: 0px; vertical-align: baseline;">P. S.<br />The device by Talbot, also was used by Bill Pronzini and Paul Halter.</div></div>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-33525176389651180452023-10-18T20:21:00.004+02:002023-11-20T11:37:58.030+01:00John Sladek: By An Unknown Hand (in The Times of London Anthology of Detective Stories), 1972<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/I/51feeZ5UDyL._AC_UF1000,1000_QL80_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="674" height="699" src="https://m.media-amazon.com/images/I/51feeZ5UDyL._AC_UF1000,1000_QL80_.jpg" width="471" /></a></div><br /><p></p><p> <!--[if gte mso 9]><xml>
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Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
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</p><p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">In the
spring of 1972, the British publishing company Jonathan Cape Ltd together with
The Times of London announced a literary competition, centered on an
unpublished detective story: the winner would win the publication of a novel.
The jury was very respectable: Agatha Christie president, the playwright and
screenwriter (Sir) Tom Stoppard, John Higgins of the Times, Tom Maschler of the
Cape, Lord Butler, President of the Royal Society of Literature and Principal
of Trinity College, Cambridge. Out of more than 1000 stories submitted, about
ten were chosen, and among these the winner was By An Unknown Hand by John
Sladek which beat The Tale of Jeremy Fischer by Don Carleton and The Scapegoat
by Michael Freeman. The prize, as expected, consisted of the publication of the
first of her two Locked Room novels, Black Aura, and the publication of the
short story alongside the other shortlisted ones, in The Times Anthology of
Detective Stories (1972).</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">The
story is one of the absolute pinnacles among puzzles centered on a locked room
mystery, especially since the solution is not conceptually difficult but on the
contrary very simple, once you understand how it was implemented.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">Thackeray
Phin, a fairly esteemed private investigator, is contacted by gallery owner
Anthony Moon regarding death threats that have reached the most esteemed artist
in his contemporary art gallery, Aaron Wallis: one of the two specific threats
that that very day, at 9pm, Wallis will die. When he was part of an avant-garde
group called Aggressives, Wallis created a very representative work, Kitchen
Shrapnel, assembling a whole series of sharp tools, such as needles, pins,
knives, scissors, on an old iron sink , razors thanks to cement. The work,
inserted in a glass cube, was the most prized piece in the Moon Gallery.
However, the attribution had been contested by another of the Aggressives, Bob
Price, who had claimed the true authorship of the work. The latter, in addition
to being angry about this, had also had to suffer abandonment by his
girlfriend, the actress Polly Bradbury, who had preferred Aaron to him. He is
therefore one of the potential perpetrators of the threats, which Aaron's
girlfriend, Polly, however, does not believe and asks Thackeray Phin not to
agree to act as Aaron's bodyguard because he is already worried and could
worsen his psychosis.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">It goes
without saying, however, that Phin accepts, and Moon takes him to a luxurious
building: Aaron lives on the eleventh floor. They take the elevator and as it
leaves, Moon hands him a brochure and they talk about it. When they arrive at
the eleventh floor, Moon shows them the door of the apartment which is the only
one on that floor: there are 12 floors in total: up to the ninth they are
inhabited by multiple families, while the tenth, eleventh and twelfth have
unique apartments. The only one to be inhabited that day is Aaron's, while the
occupants of the other two floors are temporarily absent.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">Phin
will have to wait for Wallis to arrive and then stand guard. In fact, at 8.15pm
Aaron arrives, with a large mop of hair and sunglasses, who opens the door and
then passes him an orange chair on which Phin will stand guard.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">About
half an hour later Moon returns with some sandwiches and a cup of coffee for
Phin: the two stay to talk about art for a while. At 10pm, Moon leaves, at the
same time asking Phin to stay until midnight to be safe. At midnight, Moon
reappears and asks them to wait until one o'clock for greater safety. Phin
always stands guard at the door. At a certain point Moon appears and the two
leave: Moon apologizes for her unjustified fears of him, but after all Phin has
been paid and therefore...</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">Going
down to the ground floor lobby, they witness the doorman having an argument
with a motorcyclist: Price has arrived. He is angry because he received a phone
call asking him to come to the palace, but it seems that no one knows anything
about it and Wallis doesn't answer the phone. In reality it seems to have been
the usual idiotic joke and Price leaves. Moon, however, begins to worry again
why Wallis didn't respond, and when Polly arrives, the three go back up to the
eleventh floor, where Phin's orange chair is outside the door.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">Since
hours have passed, they knock and ask Aaron to tell him how he is, but they get
no answer. They knock, shout and finally the two men break down the door, locked
from the inside, finding Aaron dead in front of him, strangled with a rubber
tube.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">The
apartment, whose windows and French window overlooking the fire escape were
walled up by order of Aaron who suffered from an illness caused by exposure to
sunlight, has no other openings, except the door, and a small small window,
very small, through which perhaps not even a cat would fit, for the air intake.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">The impossible
situation is paradoxical: a man entered that apartment before Phin's eyes, yet
he was strangled, and the murderer could only have come out through the door,
but this is absolutely impossible, especially since the door was closed from
the inside, and the apartment has no windows or openings suitable for a man to
pass through.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">The
police arrive and after the investigations, the Inspector hears the only
eyewitness, Phin; however, Inspector Gaylord disagrees and does not believe the
version of events told by the investigator: <i>“There are only three
possibilities, Mr. Phin. Either Aaron Wallis killed himself—which I cannot
believe—or you killed him, or else you helped someone else kill him”.</i></span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">In
essence, in addition to being cheated, Phin suffers a further mockery, as he is
accused of Wallis's murder. To save himself, he will have to call on all his
resources and his acumen to get to the bottom of it, save himself from the
accusation of murder and nail the real culprit.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">The
story truly represents one of the highest peaks of the puzzle of the impossible
crime, because it brings together in the same story some of the assumptions
followed in many previous works:</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">the exit
monitored by an absolutely truthful witness (Phin himself)</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">murder
in a hermetically sealed space</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">the door
locked from the inside using a deadbolt</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">the murderer
vanished into the air.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">And the
absolutely perfect solution is based on a few elements: an orange chair, a
license plate and two keys, a piece of string and a wire, to which Phin manages
to give specific importance by explaining how the murder was committed , whose
motive is interest, money.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">However,
the imaginative solution probably would not have been enough to explain the
crime and satisfy the four points mentioned above, to obtain the victory, I
believe: even the story that placed second had in fact a very ingenious
solution to explain the crime on which it was based. And therefore, Sladek's
story had to satisfy the four jurors and the president Agatha Christie, for
something more it had compared to the other works presented.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: verdana; font-size: small;"><span lang="EN-US">This
additional ingredient is irony, which Sladek uses to weigh his own deductive
faculties and in relating them to others. Absolutely delightful is for example
when he remembers illustrious famous writers and asks them for a hand, reading
their works: <i>”A man is killed inside a locked, watched room, he thought,
adding a mental groan. The killer vanishes. The sleuth gives up and commits
dishonorable suicide ... or else he is arrested for the crime. Sherlock Holmes
wasn't going to be any help at all. Phin hurried home to read some locked-room
mysteries. If Dr Fell could not cure this devil case, then perhaps Father Brown
could exorcize it.” </i></span></span></p><p class="MsoNoSpacing"><span style="font-family: verdana; font-size: large;"><span lang="EN-US"><b>Pietro De Palma </b></span></span><span style="font-family: verdana; font-size: large;"><span lang="EN-US"><i><b><br /></b></i></span></span></p>
Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-66104815772495504872023-08-13T22:25:00.005+02:002023-11-20T11:37:39.046+01:00John Dickson Carr : "As Drink The Dead" , from The Haverfordian ( 1926, March )in "The door to doom and other detections", Harper & Row, 1980<p> </p><p style="text-align: center;"> <img alt="" class="a-dynamic-image image-stretch-vertical frontImage" data-a-dynamic-image="{"https://m.media-amazon.com/images/I/51AwY6rfAhL._SX336_BO1,204,203,200_.jpg":[338,499],"https://m.media-amazon.com/images/I/51AwY6rfAhL._SY344_BO1,204,203,200_.jpg":[235,346]}" id="imgBlkFront" src="https://m.media-amazon.com/images/I/51AwY6rfAhL._SX336_BO1,204,203,200_.jpg" style="left: 0px; max-height: 346px; max-width: 235px; position: relative; top: 0px;" /></p><p> </p><p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Carr's story that leads the way
to the entire collection of short stories, pastiches, radio plays and essays
contained in <i>The Door To Doom</i> is <span style="mso-spacerun: yes;"> </span><i>As
Drink The Dead , The Haverfordian</i> 1926. It is an extraordinary story, which
mixes supernatural atmospheres, impossible crimes and historical research.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Two men are talking in a hall:
one, with a shaggy beard, thin and bony, whom people called "the Old
German Gnome", is a man of letters; the other with white robes and white
hair, is a holy man. From the windows you can admire a typically Italian
countryside landscape.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The man of letters wants to
finish his novel which will deal with the Borgias, but to do so he needs to see
the Trebbia Cup, one of the two which according to legend would have been
filled with poisoned wine, causing the death of Pope Alexander VI Borgia and
his son the Duke Valentine. The cup has been owned by the Monsignor for
generations. He reiterates to his guest that the two died not because they had
been poisoned, but by the direct will of God who would have punished them for
their sins. In fact, when their death occurred, nearby was the very person who
had created those cups, the alchemist Garcini Della Trebbia, mad with love for
the daughter of the Pope and sister of the Duke, Lucrezia Borgia. The cardinal,
at whose castle the two had arrived and who was unaware that the wine was
intended for him, witnessed the atrocious deaths of father and son. And
thinking that Garcini himself had poisoned them, he forced him to drink the
supposedly poisoned wine from the two goblets, which he did placidly. Yet
nothing happened to him. That is why Monsignor, at the end of the guest's
story, attributes their death to divine intervention.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Monsignor calls a servant and
orders him to bring the cup. The servant is terrified, because a minute ago he saw
the old saint upstairs lying on the bed with four lighted candles (dead?) and
now he finds him alive below. Stumbling out, von Arnhim will name the devil.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Shortly afterwards, in the
presence of the Trebbia Cup, Monsignor, to refute the Guest's thesis that the
cup is cursed, pours the wine they were drinking placed on the table, and
drinks. Shortly afterwards, Von Arnhim understands how the Borgia pope and his
son had been killed, but does not have time to save Monsignore, who dies before
his eyes.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The story demonstrates in its
entirety how Carr at the age of 21 already had that innate literary vein that
would have allowed him to become one of the cornerstones of the mystery genre.
In fact, the plot of the story is well conceived: first of all there is a
mysterious atmosphere that surrounds two strange characters, one opposite to
the other, one with a leaden aura, the other sparkling. Then there is a
historical tale, which recreates a bygone era, which speaks of atrocities,
loves, crimes. Then there is an inexplicable double death by poisoning: Pope
Borgia and his son, who were supposed to kill a cardinal who was an obstacle to
them, right at his house, happens they drink by mistake the poisoned wine that
was reserved for their guest. Then there is an equally impossible explanation
of the poisoning not by human but by divine hands. Finally there is an
impossible death in the temporal plane of the present, while the solution of
the case is rendered by the Gnome. The time lag of the past and the present, in
a continuous jump from one to the other, convinces the reader that something
will happen in the present connected to the past. And indeed this happens.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Carr's ability to blend fantasy
and historical or presumed truth is absolutely disconcerting, if compared to
the young age of the writer: this is the first absolute case of historical
mystery, the one that Carr will then bring to the level of a masterpiece with <i>The
Velvet Devil</i> and <i>Fire!, Burn</i>. Even there, the time lag creates the
conditions for a story bordering on the incredible, but in which the
impossible/possible is always around the corner.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The impossible poisoning can
already be understood before how it is then explained, if one pays attention to
what Garcini Della Trebbia does when he is forced by the cardinal to drink from
the cup: by what he does, and by what the two victims do , one can already
guess how the poison was dispensed. The impossibility is then explained,
however not in time to save the last of the Borgias from death.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">However, the story is not only
the first text of a historical thriller that is linked to the theme that will
become peculiar to Carr, that is, the impossible crime. It is also a story with
supernatural implications, or supposedly so: Carr's ability however lies
"not in defining what is supernatural or not", but in leaving more
doors open, more solutions, including the supernatural one, but which might not
even be: the fact that the terrified servant saw the master in another part of
the house, lying on the bed, very white, between four candles, while later
finding him alive and well elsewhere, could be explained by a simple
hallucination of the servant ; or, and here is the supernatural possibility,
that perhaps the devil has hinted at the end of the old man before it happens.
In fact Von Arnhim will murmur as the servant leaves stumbling in the door:
"The devil". Unless Von Arnhim himself is the devil himself, and has
caused his guest to be tricked into seizing the goblet, and pouring wine into
it, and then dying. It is no coincidence that the two cups of Garcini della
Trebbia, of which the one in the Monsignor's possession remained, were called
The Devil's Grail.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The Halverfordian tales formed
the basis of much subsequent writing. We have also seen it for <i>The Legend of
the Cane in the Dark</i>, but the cases are countless. And even in this case,
in my opinion, there is a filiation between this and a subsequent story.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">This is the case of <i>The
Adventure of the Black Baronet</i> in <i>EXPLOITS OF SHERLOCK HOLMES</i>, the
Collection of short stories written in collaboration with Adrian Doyle (son of
Conan), which earned both the Edgar Award.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Also in <i>The Adventure of the
Black Baronet</i>, even if the story is completely different, the death, by
impossible stabbing, because the stab came from the bottom up when the victim
was drinking from a cup, at the head of the table, comes directly from the
story many years ago. And absolutely the same is the trick. Even if the final
weapon, in the past the poison, here the dagger, are different.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Again, the solution is perfectly
rendered. Indeed, in Sherlock's apocrypha, there is also a double ending,
because the murderer is a victim in turn, driven to kill by the wickedness of
his victim. A sort of reversal of the parts, typical by Carr.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The last consideration is for the
narrative part: the story of the past of <i>As Drink the Dead</i> is a very
clever mix of truth and lies: Garcini Della Trebbia never existed, but his
lover Lucrezia Borgia did; the Trebbia cup, is also an invention but the way in
which Alexander VI and his son died was not, even if this story too is double:
the most accredited story, but not unequivocal, attributes the death of the
pope to a heart attack due to malaria-induced weakness, while his son would
survive him by 4 years, later dying of syphilis; then there is another version,
more fictionalized, credited to Guicciardini, and it was from this that Carr
drew inspiration for the story, which wants the death of Pope Borgia by random
poisoning, together with his son: having decided to kill the cardinal who lived
at Villa del Cornetto, with a poisoned cup of wine, exhausted from the journey
and thirsty, they drank the same poisoned wine they should have kept for their
guest.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Love for drama, creation of
perfectly explained impossible situations, creation of atmospheres bordering on
the supernatural, tireless historical research, and a narrative made up of
skilful descriptions and psychological atmospheres: this was Carr.</span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Verdana", sans-serif;"><b>Pietro De Palma </b></span><span lang="EN-US" style="font-family: "Verdana", sans-serif;"><b><br /></b></span></span></p>
Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-27428886625788285032023-07-17T21:49:00.003+02:002023-07-17T22:14:53.570+02:00John Rhode : Poison for One, 1934<p><span style="font-family: verdana;"> </span></p><p><span style="font-family: verdana;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu9EExk3SM7w00Ah0U7zWsDWf1nN8j2QcMImj-8Wn6JJmdpOcOK-PR71KPsEuL8yhD9NfkL742jDls92JTyZushp4lymxeAQ5xlvJueg-TgcIPOkqrX1AF5XcysFJXk7fPZjv9O7gr8F6Y35vmxBuJArbRXK-F_xh0Uyr5MZ12gIH_cDnfUJBbY4SA0w/s250/Poison_for_One.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="220" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu9EExk3SM7w00Ah0U7zWsDWf1nN8j2QcMImj-8Wn6JJmdpOcOK-PR71KPsEuL8yhD9NfkL742jDls92JTyZushp4lymxeAQ5xlvJueg-TgcIPOkqrX1AF5XcysFJXk7fPZjv9O7gr8F6Y35vmxBuJArbRXK-F_xh0Uyr5MZ12gIH_cDnfUJBbY4SA0w/w325-h370/Poison_for_One.jpg" width="325" /></a></div><br /><p></p><p><span style="font-family: verdana;">John Rhode alias Miles Burton were the two pseudonyms used by Cecil John Charles Street (Gibraltar, 1884-Eastbourne, 1964), to write Mystery: the first being used for the series with Sir Lancelot Priestley, retired scientist, the second for the one with Desmond Marrion, former Naval Officer.<br /><br />Before dedicating himself to writing he was first an artillery officer and then an officer in MI7, the Counterintelligence of the time. He wrote many novels, and this penalized him because he could not always maintain a certain narrative and inventive quality. However, a good number of novels brought him to general attention, so as to earn him the consideration of John Dickson Carr, with whom he wrote a brilliant novel, Fatal Descent.<br /><br />The consideration of critics, as well as that of the public, was not always unanimous.</span></p><p><span style="font-family: verdana;">If in fact Willard Huntington Wright better known as S.S. Van Dine, in 1927, in his essay <i>The Great Detective Stories</i>, stated: “<i>Better written, conceived with greater moderation, and clinging more closely to human probabilities, are John Rhode's novels dealing with Dr. Priestley's adventures-Dr. Priestley's Quest, The Paddington Mystery, and The Ellerby Case. Dr.-or, as he is generally referred to in Mr. Rhode's text, Professor-Priestley has many characteristics in common with Dr. Thorndyke. He is a schoolman, fairly well along in years, without a sense of humour, and inclined to dryness; but he is more of the intellectual scientist, or scientific thinker, than Dr. Freeman's hero. ("Priestley, Willard Huntington Wright cursed with a restless brain and an almost immoral passion for the highest branches of mathematics, occupied himself in skirmishing round the portals of the universities, occasionally flinging a bomb in the shape of a highly controversial thesis in some ultra -scientific journal.") His detective cases to date have been few, and he suffers by comparison with the superior Dr. Thorndyke”</i>; and Julian Symmons in <i>Bloody Murder</i> (Penguin, 1974), designated him as belonging to the Humdrums genre, considering him a pretentious author : " <i>as a prominent member of the "Humdrum" school of detective fiction. "Most of them came late to writing fiction, and few had much talent for it. They had some skill in constructing puzzles, nothing more, and ironically they fulfilled much better than S. S. Van Dine his dictum that the detective story properly belonged in the category of riddles or crossword puzzles. Most of the Humdrums were British, and among the best known of them were Major John Street ..</i>,” other critics have extolled this more recently, notably Curtis Evans in his <i>Masters of the "Humdrum" Mystery: Cecil John Charles Street, Freeman Wills Crofts, Alfred Walter Stewart and the British Detective Novel, 1920–1961 (McFarland Press, 2012)</i> : “.. <i>long overdue reappraisal of these purportedly "humdrum" detection writers as accomplished literary artists. Not only did they produce a goodly number of fine fair play puzzles, but their clever tales have more intrinsic interest as social documents and even sometimes as literary novels than they have been credited with having”</i>.</span></p><p style="text-align: center;"><span style="color: red; font-family: verdana;"><b>WARNING : SPOILERS !</b></span></p><p><span style="font-family: verdana;">The novel discussed here is a locked room, rather unusual. In fact the crime perpetrated is the murder of Sir Gerard Uppingham in his mansion by prussic acid poisoning. Why am I talking about an unusual case? Because usually when we talk about locked rooms, cases of disappearances, murders, thefts perpetrated in a strictly defined and closed space are mentioned, and because all these crimes can be worth being considered in this genre, it is it is necessary that the criminal action has been carried out personally in the closed space, and then the murderer has managed to escape, maintaining the limit situation, i.e. the effective closure of doors and windows; poisoning, on the other hand, does not necessarily presuppose a direct action by the murderer in the closed room, i.e. his presence at the time of the victim's death, because poisoning can be prepared first, and then let the victim, drinking or eating something , dies, like a rat in a trap. Normally. But here the poisoning is served up in an absolutely ingenious way, which does not exclude the presence of the murderer.<br /><br />This is one of the two cornerstones on which the novel rests. The other is being a classic whodunnit, where motive and killer must be reasonably identified and proven.<br /><br />Sir Gerard Uppingham is an industrialist who made his fortune mining albanite, a mineral used to generate light in lamps. Although he is rich and respected, however, he is not loved. He is not loved by his partners Somerton-Jackson and Tibbott, but not even by his fiancée to whom Muriel Featherleigh is promised, and especially by his future brother-in-law Rupert; even her sister Elvira doesn't show much attachment; and also his secretary Percy Richards has an ambiguous attitude towards him. But everyone, and especially Lord Cossington and his sons Muriel and Rupert, should be far from having a grudge against him because Cossington's family is on the verge of ruin and therefore only Muriel's marriage to Sir Henry could restore sixth the family; yet only the old Lord shows himself not averse to his future son-in-law. The fact is that in such an environment, one evening when everyone or almost everyone was invited to dinner, and there was also a moment when the wife of one of the envoys played Beethoven on the piano, he was found locked in his study , Sir Gerard Uppingham, died of prussic acid poisoning. Doors (3) and French windows, closed, except for the one forced by Somerton-Jackson, Tibbott and Percy Richards, the secretary of Uppingham.</span></p><p><span style="font-family: verdana;">The three immediately call the family doctor, Doctor Emery, who had also been to the evening at first, leaving immediately afterwards. He diagnoses Uppingham's death and suggests calling the police, as he believes death is not natural. It appears that the vehicle is a bottle of cough syrup, to which a generous amount of hydrogen cyanide has been added to kill in seconds. And therefore its content was poured by the murderer or by the victim himself into the glass, but there is no trace of saliva on the rim of the glass which therefore would not appear to have been used for poisoning. Then how?<br /><br />Another strange thing are the glasses of port, wine and whiskey that the landlord had asked his butler to have found in the study and which lead the investigators, Sir Lancelot Priestley and Superintendent Hanslet, to doubt whether Uppingham should have hosted for discuss not only Somerton-Jackson and Tibbott, but a fourth character as well. By any chance a certain John Woodville, who seems to have arrived in the village but no one knows where he went?<br /><br />To identify the culprit, it is necessary to establish the Cui Prodest, i.e. the motive. Apparently no one would have one. But the strange thing is that at the time of the industrialist's death, very few, practically only Lord Cossington, are saddened by his death and indeed are relieved by it.<br /><br />Hanslet soon discovers the victim had not only impregnated a village girl while he was engaged to Muriel, but had also attempted to have sex with Somerton-Jackson's wife while he was busy at the factory. Therefore, Somerton-Jackson himself would have a motive, but also Rupert and perhaps even Muriel. Only Lord Cossington seems to be sad, because it seems that with the marriage he would have become director of a company, he who had squandered his and his wife's assets in horse bets, and would have revived the family finances, by virtue of a new will that Uppingham he would sign on the day of the wedding. He would have gained new liquidity, the other his noble title. But the sudden death made the second will invalid, so with the first, Uppingham's sister, Elvira, who inherits everything, gained everything. And then you add her to the others for motive. Moreover, hers is double: to inherit the fortune and to prevent another person from inheriting it. Uppingham is linked to Percy Richards, and this must be evaluated because he is the one who says he brought a bottle of syrup even though she was stolen from him (he says so). Furthermore, the issue of telephone calls is linked to Richards: he says that a telephone call was received at 10.15 pm of which no one knows anything, while he claims that he has not heard any telephone calls ringing, while from the telephone company it is learned that this call was arrived at 10.43pm. And in those moments, the doctor said that Sir Gerard presumably died.</span></p><p><span style="font-family: verdana;">The investigation goes on. Someone, the phantom John Woodville, sent a crate to the factory containing raw albanite. Hanslet learns here that Somerton-Jackson took potassium cyanide a few days before Sir Gerard's death (cyanide is produced from cyanide gas produced by processing albanite), and is about to issue a warrant for Somerton-Jackson's arrest , when Dr. Priesley intervenes and upsets everything: no syrup was found in the victim's stomach, yet it was in the syrup that a small amount of concentrated prussic acid was dissolved. Furthermore, the victim could not bear the smell of bitter almonds and therefore would never have drunk a syrup that had that smell. So it follows that the syrup was put to mislead, it's a red herring. The victim was killed by hydrogen cyanide and that's for sure, but how? Slowly one begins to think that it was inhaled in the form of anhydrous gas, but this leads to the possibility that someone made him inhale it (so how would it have come out?) and then the Locked Room problem reappears, or that it is a deadly mechanism has been set up. Somerton is still among the suspects, because hydrogen cyanide can also be obtained by the reverse process from potassium cyanide. But..<br /><br />Here's a twist! Her wife, with whom Uppingham wanted to have sex with, accuses herself of the murder, without however providing evidence of her action, and therefore making her suspect that she wants to cover for someone, perhaps her husband. But the husband also adopts a similar or almost similar tactic: isn't he in turn suspicious of his wife?<br /><br />However beyond these true or false confessions, the investigations go on and lead to the discovery of…a cork in Uppingham's studio. Together with the testimony of the person behind the pseudonym of John Woodville, that is Lemaitre, the president of the French national company competing with the British one of Uppingham in the exploitation of albanite, according to which he was the fourth person waiting for Uppingham that evening been killed, will provide the clues that will lead Dr. Lancelot Priestley (and Superintendent Hanslet of Scotland Yard), to detect the killer.</span></p><p style="text-align: center;"><span style="font-family: verdana;"><span style="color: red;"><b>FINISHED SPOILERS</b></span><b><br /></b></span></p><p><span style="font-family: verdana;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprNW_ZeOr3uoWMwVvrPwMVC5wKM7dcc6zyWHuFL6SQkXHocoVBvINuwBLd99YFrSc-kN75D01Qje_XaSB_o_g5iFsW3FMcrwQtsKMcWv2GbOh14PV5pCBpowZc7tIjAeS-RnwK-f0oeK3ORGI3iMCaVveaM5KwyDqDmXILIRXcDPKnHHNxCdzr8phwA/s800/traccia.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="471" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprNW_ZeOr3uoWMwVvrPwMVC5wKM7dcc6zyWHuFL6SQkXHocoVBvINuwBLd99YFrSc-kN75D01Qje_XaSB_o_g5iFsW3FMcrwQtsKMcWv2GbOh14PV5pCBpowZc7tIjAeS-RnwK-f0oeK3ORGI3iMCaVveaM5KwyDqDmXILIRXcDPKnHHNxCdzr8phwA/w255-h434/traccia.jpg" width="255" /></a></div><p></p><p><br /><span style="font-family: verdana;">Beyond a certain tortuosity in the first part of the novel (to arrive at the decision that it was certainly a matter of murder, one would expect almost 100 pages), this one by Rhode is a good novel! Even if the undersigned to the murderer and the accomplice got there 50 pages earlier, even before the cork was found. Call it sixth sense? I don't know. However, the memory of another novel made me think, if I'm not mistaken later (I don't remember which one it was: ah the memory !) in which the culprit was the same, and for the same thing, he hadn't initially been considered among the suspects. And furthermore he is a character who later becomes known, he frequented Govery Manor, the residence of Lord Cossington.<br /><br />The absolutely ingenious weapon, and I would never have thought that such an object could be used to kill, but if anything.. to pass the fever! And the cork goes well with the rest. After all, it is a characteristic of Rhode, that of inventing mechanisms capable of killing, which can be derived from the fact that he had been an officer in the English army. A direct consequence of Rhode's origin, it is an object the killer uses to get himself invited to Uppingham's house. Using hydrogen cyanide gas as a weapon, on the other hand, is nothing new: in fact it had already been used six years earlier, in what some consider Rhode's masterpiece (but was it really?): <i>The Murders in Praed Street</i>. If anything, the medium changes: there a light bulb, here…<br /><br />The Locked Room is only apparent, because the door through which the assassin enters and exits is provided with a snap lock, however how we arrive at conjecturing his presence and how he managed to get himself invited and how he killed, is a nice to say. The clues are there, and the culprit doesn't just fall from the sky, because he is present throughout the story, several times; if anything, his motive does not spring directly from the facts, which is, for once, not greed, hatred, revenge, but… love. And we get there, only per absurdum.<br /><br />But then it is said that by reasoning in this way, one cannot catch the culprit.</span></p><p><span style="font-family: verdana;"><b><span style="font-size: large;">Pietro De Palma</span></b> </span><span style="font-family: verdana;"><br /></span></p><p><br /></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-10077850279070066022023-07-16T21:56:00.003+02:002023-07-17T21:56:42.618+02:00Margaret Erskine: The Voice of Murder, 1956<div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/S/compressed.photo.goodreads.com/books/1343374583i/10698001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="272" height="458" src="https://images-na.ssl-images-amazon.com/images/S/compressed.photo.goodreads.com/books/1343374583i/10698001.jpg" width="272" /></a></div><br /> </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Margaret Erksine (aka Margaret Doris Wetherby Williams), wrote 21 detective stories featuring Inspector Septimus Finch, between 1938 and 1977. She was born on May 2, 1901 in the city of Kingston, Ontario, Canada but grew up in Devon, England. She died on July 9, 1984.<br />One might think that she was of Canadian origins, but this is not the case: her parents were temporarily in Canada and therefore she was born there, but in reality they were English: her father was Thomas Wetherby Williams and her mother Elizabeth Erskine. On her father's side he was descended from Thomas Williams (1737-1802), the great copper baron of Llanidan on the Isle of Anglesey in Wales, while on her mother's side from the Erskines, a noble Scottish family, related to the Stuarts. Indeed, it is very probable that she herself descended from that Margaret Erskine who was the lover of James V of Scotland, father of Maria Stuarda.<br />Why did Margaret Erskine, then 30, start writing detective novels in 1937? Mysteries scholar Ellen Nehr said in 1984 that she Margaret Erskine had once said she did it as a form of revolt against her family by her name.<br />Margaret Erskine later became a member of the Crime Writers Association, and she died in a nursing home in 1984 (news learned on Curtis Evans' The Passing Tramp blog).<br />Voice of Murder is a 1956 novel and is the ninth in the series.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><b><span style="color: red;"><br /></span></b></span></div><div style="text-align: center;"><b><span style="color: red; font-family: verdana;">WARNING: SPOILERS<br /></span></b></div><div style="text-align: left;"><span style="font-family: verdana;"> </span></div><div style="text-align: left;"><span style="font-family: verdana;">Alice Carne is 48 years old and still a beautiful woman. She writes a letter in the evening. The next morning they find her dead. His doctor Stephen Leighton is forced to report his suspicions to the police: namely that Alice was murdered, by poisoning with an opiate, which later turns out to be morphine: someone had taken the pills of the late Miss Page (the housekeeper) , forcing the cabinet where they were placed. Augusta Parrish, Miss Alice's niece on her mother's side, witnessed part of Alice's speech the night before, before writing the letter (which has since disappeared), to an individual she identified as Dominick Potter, former fellow soldier and friend of Charles Forrest, cousin of Augusta, rescued by Dominick during the conflict, although he died anyway. Alice would have been scandalized because she thought that he and Barbara, the woman she lives with, were married and instead they are not, since she is even married to another man.</span></div><div style="text-align: left;"><span style="font-family: verdana;">Inspector Septimus Finch is called to investigate, the seventh of seven brothers, son of lawyers, but who had made his entire career as a simple agent earning the esteem of his superiors and ending up working in the CID. Finch, together with Sergeant Gilroy, will unravel the skein and catch a diabolical assassin, but not before he has killed two more times, removing dangerous witnesses, and who are also attempting on Augusta's life, in a pyrotechnic finale, in which one time the other possible suspects will be set aside.<br />The story will end with a pink ending.<br />Very fine and elegant writer, Margaret Erskine wrote stories that often concern family mysteries, with dark secrets that peep out: here there are extramarital affairs that intertwine.<br />Very skilled in plotting, and in the psychology of the characters, she mixes mystery and thriller in an irresistible amalgam. In Anglo-Saxon countries, her novels have been defined as gothic, not really being so, because they are real detective stories, despite the trappings sometimes enriching them with gothic elements (sleepwalkers walking in their dressing gowns in the moonlight, for example). Even if "gothic" is an adjective not exactly fitting. Of course, in the sixties and seventies, when Margaret Erskine's books were successful again, there was a fashion for books and films that sometimes even bordered on the pseudo-erotic-horror genre. And therefore, they defined her series with Finch, gothic. In reality, the gothic atmospheres of her novels do not arise as they refer to this neo-gothic vein, even cinematographic, but much earlier: since the end of the 30s and in the 40s and 50s, when Margaret wants to instill fear and tension always describes nocturnal landscapes, with the sounds and colors of the night; and this tendency to recover this type of fear of the dark is in her an effect of having read about her in her youth, the many books about her that her father's enormous library had made available to her.<br />We do not know if she had read the ghost stories of Henry James, of Montague Rhode and those of vampires and doppelgangers of Joseph Le Fanu; it is certain that Margaret Erskine, she had appropriated that way of writing, of evoking dark and nocturnal atmospheres, which only in this way already instilled fear in her pages.<br />We don't know if she had read John Dickson Carr or J.J. Connington, but it is certain that, like them, he knew how to nonchalantly master the tremors, sighs and gasps, and not only the song of hoopoes and owls, but also of other birds, if done at night, becomes an omen of misfortune: it is no coincidence that , Aunt Alice's death, happens when? Late at night. And when she sees a barred, swollen face that she tries to peer at it from outside the kitchen window? Late at night. When it's dark. And when she distinctly feels that there is someone behind her watching her, while she is writing the letters with which she offers herself to the police as a witness, and when she comes out onto the landing, what do she see? The darkness that swallows her. And she is afraid. Because she suspects that there is someone watching her in her shadow. And she's not wrong, because a few minutes later when she comes back, her letter has disappeared from the desk.<br />Psychological depth is another of the strengths of her novels and in this she is immediately noticeable: everything is the opposite of everything. No one can be said to be innocent until Finch puts him aside. Each subject is what he says he is, but also what he doesn't say he is: Alice hates Timothy in words, and Timothy hates Alice in words, because she cheated on him by putting herself with another. But.. then they get married, secretly. And someone kills them. But not for the money motive. The motive of money, even if it is waved wide, is not the right one. Here the one of the Deep South stirs, of the shame of a secret union, of the amorality of a union more uxosio which is not matrimonial. Of course everyone would give a damn about the bigoted morals of the not even fifty-year-old Alice, if they didn't all depend on her, for her money: Gordon and her wife, to open a bigger school for handicapped children; Dominick Potter for the bequest of five thousand pounds; Pauline Forrest, to continue spending on hats, perfume, purses, shoes and dresses; Augusta and her mother for the bequest of twenty thousand pounds.<br />It won't be Augusta, the fourth failed victim, who remembers the words that the killer thinks he heard and instead didn't hear because he was already shocked by the revelation of his aunt, that his father had killed himself out of shame for an extramarital affair revealed by anonymous letters, she fled to the first floor and locked herself up in her room. But Barbara, Potter's shameless companion who, having followed her companion to Alice, will reveal the last words of the assassin nailing him to her responsibilities. </span></div><div style="text-align: left;"><span style="font-family: verdana;">Furthermore, the reading and the sentimental ending with Augusta leaving, together with a gloating Septimus Finch, brought back to mind the plot of another novel, from twenty years earlier: Artists in Crime, by Ngaio Marsh. In truth, not only does Margaret Erskine describe situations, places and subjects in Marsh's way, but it seems to me that she also takes from Marsh the love between a CID Inspector and the heroine of the moment: there Roger Alleyn and Agatha Troy, here Septimus Finch and Augusta, an event certainly not usual in detective literature.<br />Historical courses and appeals.</span></div><div style="text-align: left;"><b><span style="font-size: large;"><span style="font-family: verdana;"> </span></span></b></div><div style="text-align: left;"><b><span style="font-size: large;"><span style="font-family: verdana;">Pietro De Palma </span></span></b></div><div style="text-align: left;"><b><span style="font-size: large;"><span style="font-family: verdana;"> </span></span></b></div><div style="text-align: left;"><b><span style="font-size: large;"><span style="font-family: verdana;">P.S.</span></span></b></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;">Lots of news, about Margaret Erskine, on Curtis Evans' blog, <i>The Passing Tramp </i></span></span><br /></div>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-45986943576107422572023-03-24T23:19:00.004+01:002023-03-26T22:42:24.153+02:00Elizabeth Ferrars: Furnished for Murder, 1957<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/I/51wFIIHBFaL._SY291_BO1,204,203,200_QL40_FMwebp_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="177" height="397" src="https://m.media-amazon.com/images/I/51wFIIHBFaL._SY291_BO1,204,203,200_QL40_FMwebp_.jpg" width="240" /></a></div><br /><p></p><p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Morna Doris
MacTaggart (1907-1995), was born in Rangoon, Burma to a Scottish father and a
German-Irish mother. After other books, she wrote her first mystery in 1940
with Give a Corpse a Bad Name, which was published, like all that followed,
under the pseudonym Elizabeth Ferrars (using her mother's maiden name). She was
married secondly to Robert Brown, a university professor of botany, in 1951 she
followed her husband around the university, moving to New York, then London and
finally Edinburgh. An extremely prolific author, Ferrars wrote 71 novels and
remained in business until her death in 1995. In 1953 she was a founder of the
Crime Writers' Association (which she chaired in 1977) and in 1958 she joined
the Detection Club.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">She published three
series with a fixed character and many novels without:</span></p>
<p class="MsoNormal"><b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Toby Dyke series</span></b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> (1940 to 1942: 5 novels)</span></p>
<p class="MsoNormal"><b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Virginia and
Felix Freer series</span></b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">
(1978 to 1992: 8 novels)</span></p>
<p class="MsoNormal"><b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Andrew Basnett
series</span></b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> (1983 to 1995: 8
novels)</span></p>
<p class="MsoNormal"><b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Without fixed
character</span></b><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> (from 1945 to 1995 :
53 novels)</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">In the flood of novels,
Ferrars perhaps the only rival by number of Christie (she should have surpassed
her by one novel), and underestimated for many years, is in constant
revaluation: despite the enormous number and therefore understandably the
presence of unsuccessful novels, compared to other of her colleagues (for
Christie the reference is a must), a much more open attitude to the new, and
towards certain "new" aspects: rock music, sex, the beat generation.
Even her works, up to the end, maintain a good background, despite their age:
something that does not happen in the case of Agatha Christie, whose works of
the last few years show clear signs of fatigue and lack of lucidity. For
Ferrars, the constant level of her works, even in her old age, was the result
of a very rigorous way of life, on which even her origins, partly German, had
evident influences. Her best works, according to many, are roughly those from
the mid-1950s to the mid-1980s. Nonetheless, her first 5 novels, those by Toby
Dyke, a contract journalist, & her friend George, an ex-criminal, are very
good. She echoes, only in the unusual pairing, Chesterton's Father Brown &
Flambeau. Toby is the classic amateur detective, of Van Dine's memory, but who
is decisive for solving the cases is George: a kind of revenge of the
proletariat (and of the "sidekick").</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The novel, as one
would expect from a British author, should have begun with an introduction, as
usual in Christie's novels, in which the various characters are introduced,
before the crime occurs: this practice, even if it is not present in all the
Christian work, however, has a very marked evidence. Instead, in this novel by
Ferrars, a novel which, as we have said, belongs to the 1950s, i.e. one of the
most fruitful and inspiring periods, none of this happens. First of all, the
crime takes place at least 100 pages from the beginning of the story, and in
these 100 pages, the characters appear one after the other without a precise
role; they are elusive characters, whose classification in the tragic plot is not
well understood for a long time.</span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Verdana",sans-serif" lang="EN-US" style="color: red; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">WARNING: SPOILERS !!!</span></b></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Meg and Marcus are a
couple who live in a house that is too big for them, as they are childless: he
is a writer, but he doesn't earn much and therefore she rents an apartment in
the cottage to a guy who arrives by Jaguar and whose name is Gerald Chilby .
This fellow soon begins to ask strange questions about the Priory, a house that
was originally a convent then destroyed during the Reformation, and about who
lives there.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">To inherit it should
have been Kate Hawthorne, a young woman who had been adopted by Miss Velden,
mistress of the Priory and other properties. Except that her old woman dying,
she had changed the will and named her nephew Richard as her heir, excluding
the young woman from her inheritance. The reason? The love between Kate and
Roger Cronan. Roger was married to Daphne who had left him for someone, and so
he had found love in Kate's arms. But then Daphne had returned, and realizing
that her husband had decided to divorce her, he had threatened to kill himself.
Roger had kept Daphne, and Kate had left. But her aunt had died before her, and
the will had been changed. Now this Gerald Chilby goes around asking for
information on the Priory: why? And these questions are certainly not without
purpose, if it is true that he himself – before he is attributed a role in the
story, when one thinks he is just a shady or in any case ambiguous type –
insinuates that Miss Velden's death was not bronchitis as everyone accepted to
have been and is surprised that there hasn't been an investigation: <i>"..An
old lady, a country doctor, and everyone is fully satisfied"</i> (chapter
6, pages 66-67), when no one has yet thought of exhuming his body. Who is he,
and why is he asking these questions?</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><br /> </span></p><div class="separator" style="clear: both; text-align: center;"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://media.anobii.com/covers/01d81e2f7967768eaa/290/509/1/paperback/webp/1213789525" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="509" data-original-width="290" height="509" src="https://media.anobii.com/covers/01d81e2f7967768eaa/290/509/1/paperback/webp/1213789525" width="290" /></a></span></div><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><br /></span><p></p><p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Moreover, the story
is already ambiguous in itself, it becomes more so when it becomes known that
someone has spread that Richard Velden, that is the one who inherited the
priory with the annexed properties, is an imposter. The fact is that Richard
left when he was a boy, and came back already a man. But he proposes a
settlement on the property to Kate who doesn't expect it, and he always answers
interested questions with precise memories that intersect with those of Kate
and which answer the truth. So is it him or isn't it him? Doubt creeps into the
reader, and involves another of whom nothing is known, Chilby: isn't it him?
Chilby shouldn't know Richard, but then, from conjectures made and which we see
later answer the truth, he ascertains that it was a phone call from Chilby to
Richard that caused the upheaval, a phone call that was intercepted by Daphne,
that no one had invited to the Priory, but who had entered.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Why is Richard
deathly pale? What does Chilby know that's so important?</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">It is following this
phone call that the infernal machine moves: while Chilby is out of the house,
someone enters it and steals something that is vital to him. Chilby thinks it
was Kate, but it was Daphne instead. From the moment this stolen document
reaches him, her life is worth nothing and she is killed. Shortly afterwards
Chilby will also be killed, with his gun.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Daphne will be found
by Richard in the water, and he will notify the police at the home of the widow
Thea Arkwright, who is in love with her.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">At this point the
investigations are entrusted to Inspector Wylie who, with uncommon gifts of
sagacity, manages to come out of the quagmire of things said and unsaid, and
through increasingly daring hypotheses that affect all the characters in the
drama, manages to give a sense of things and to frame a premeditated criminal
plan, which had had the end of killing the old lady, and to answer some
questions: why had Kate destroyed the will that named her heir, and which lay
half-burned on the floor near the fireplace? Who had burned him if it hadn't
been Miss Velden as had first been assumed? Who had advised the lawyer of the
will to change the will, if the phone call had taken place when the lady had
passed away? What was Chilby holding that had cost him and Daphne their lives?
To whom was referred a note from Chilby about her appointment at 7.30 with a
certain D.V. ? one could hypothesize that it was Richard Valden because (I had
assumed it before it was mentioned) in English Dick is diminutive of Richard.
But.. accused of the crimes, he knows how to get out thanks to unassailable
alibis.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">In a park of possible
suspects ranging from Roger, the husband who no longer loved his wife, to Kate,
the rival in love, to Marcus, who sometimes bordered on moments of madness, to
Richard, whose role is not understood, important even if he was far away in all
the crimes even of his aunt, to Thea who is in love with Richard and could have
killed for him, but that when she arrived in the village, Richard had not yet
returned from abroad and therefore did not know him , Wylie will nail the evil
killer.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Verdana",sans-serif" lang="EN-US" style="color: red; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">THE END OF SPOILERS</span></b></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The novel is
beautiful, it is fair to say. I would say a small masterpiece.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The descriptions of
the characters are all-round, withering. And the relationships between them are
not only hinted at, but explored in all their possible characteristics. Yes, it
is a deductive novel, but it is above all from a psychological point of view:
if until Daphne's death, the 100 pages are themselves an introduction, a very
long introduction, from that moment on, everything changes perspective, and
they are the same characters, as the story goes on, to define the framework of
the situation: while in the classic investigation, the witness is reticent and
the detective has to discover, through a whole series of questions, the truth,
that it comes to the surface little by little, and it is the main actors of the
drama, Roger and Kate and Miss Harbottle, the village spinster who knows
everything, who dispel the veil at least in its most hidden truths, which do
not frame the murderer, but at least help to make the picture more outlined:
the old lady, despite being against the love between Roger and Kate, did not
want to disinherit her; the new will did not exist nor had it ever been thought
of; Kate had found the sheet of the will half burned and she had burned it
completely herself, after the discovery of her aunt's body, because by
attributing to her a desire to disinherit her that she had not had, for ethical
correctness she had wanted to respect a will of her aunt, which however there
hadn't been. So for that alone Richard had been involved while he was overseas.
In short, a great mess!</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Elizabeth Ferrars
turns out to be a writer of race, very underrated, compared to many other
authors of her time. Of course, as I said in the introduction, having written
more than seventy novels, inevitably some novels may not have turned out well,
but, if you have been churning out great novels for thirty years, there must
have been some reason! This however is a little gem.</span></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The reason lies, also
and not only in itself, as in the basic idea of Ferrars which polarizes all the
novels starting from the end of the 40s, that is when abandoning the series of
Toby and Dyke, which is directly connected to the age of gold, of the amateur
detective, Ferrars evolves the structure of the British detective novel, much
more than Christie did: essentially, he sets his dramas in country houses,
where the gentry does not act, as in Christie's typical novels (but also by
Heyer), but normal people, as Curtis Evans says : “..regular people" (in
practice this means white, college educated professional types)". Curtis
adds: "One Fifties crime fiction critic referred to these books as
"country cottage" mysteries, distinguishing them from the country
house mysteries of the Golden Age. Here you tend not to have stuffy gentry and
comic servants and great mansions and weekend house parties and stolen jewels
and bodies bludgeoned in lib raries, but college-educated, middle-class
commuter professionals, modernized cottages and bungalows, and grumbling women
from the village who come in once week to clean”. Basically "The mysteries
of the country houses" of which the critics of the 50s spoke, opposing
them to those of the golden age (which are still present in Christie's 50s
novels) in which the class of the ancient landed aristocracy acted, connected
to military figures, to the curate of the village, to ladies of good society
engaged in charitable actions, are those typical of Ferrars' novels in which a
society operates which, if anything, is based on people with degrees, who make
their way into society: the small bourgeoisie becoming average, compared to the
old very conservative small landed aristocracy. It is essentially the middle
class, the one already used by Ellery Queen. It's as if Ferrars, even using the
typical means of British thriller (the murder in a country house or cottage, if
you prefer, the return of the heir, the past abroad of some characters of whom
little is known ) wanted to renew it by drawing on the great tradition of the
Yankee.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal"><b><span face=""Verdana", sans-serif" lang="EN-US" style="font-size: 16pt; line-height: 107%;">Pietro
De Palma</span></b></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-34214803376401381062023-03-21T20:42:00.002+01:002023-03-26T22:42:07.044+02:00Honda Tetsuya (誉田 哲也,) : Strawberry Night ; Omicidio a Mizumoto Park (ストロベリーナイト, 2006 ) <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.ibs.it/images/9788856684261_0_424_0_75.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="424" height="386" src="https://www.ibs.it/images/9788856684261_0_424_0_75.jpg" width="252" /></a></div><br /><p></p><p> <!--[if gte mso 9]><xml>
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</xml><![endif]--><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Murder in Mizumoto Park</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">, is the first in a series of novels by Honda, which
focus on the figure of the Tokyo Homicide Inspector, Reiko Himekawa.</span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The novel takes place in
Tokyo, in the month of August: five parts of which the first three, anticipated
in substance by a kind of prologue, with which the one who is understood to be
the murderer, completes the murder of his parents , addicts and delinquents
lost, then burning them together with the house; she then joins a gang; and
finally under the name of F, she becomes the killer of an attraction known as
Strawberry Night. In these sorts of prologues, at least at first glance, with a
very raw and direct type of language, it would seem to be a novel ideally
linked to the hardboiled or to contemporary American crime fiction, and
instead.. reading the rest of the five parts of which composes the novel, it
can undoubtedly be said that it is a precedural, which in its movements is slow
as are the very complex and difficult investigations, and then in the last part
it suddenly wakes up and picks up pace up to the absolutely original ending, at
least not in line with what one would have expected midway through the book.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">For the gloom of the
narration, and also for the merciless description of contemporary Japanese
society, and of the police force itself, it recalls certain American films,
such as Robert Aldrich's The Choirboys and Japanese films such as Ryū Murakami's
Tokyo Decadence, and also certain Hillary novels Waugh for the kind of very
gray almost black, pessimistic procedural.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Reiko Himekawa is a
twenty-seven-year-old Tokyo Police inspector, well liked by her boss, Captain
Haruo Imaizumi, leader of Unit 10, of the Homicide Squad: she became an
inspector only with her will, but in the still patriarchal Japanese society,
she is seen with suspect and even condescendingly, even if in his team he
enjoys an excellent relationship with his subordinates and with his superiors.
Despite this, her everyday life sees her having a very conflicting relationship
with her relatives, as her independence is not so much accepted and instead she
is repeatedly asked to get married and return to the home. ,. Precisely this lack
of symmetry between her conception of personal and social affirmation and that
of her family of origin spurs her even more to find ever greater satisfaction
in her work in the police.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">So then a case that happens to
her in August finds her immediately ready to immerse herself in it, all the
more so as she avoids having her relatives in the way: a corpse was found at a
crossroads near a small lake, in Mizumoto Park, a corpse wrapped in plastic, in
an advanced state of decomposition. It will be discovered that it is a certain
Taiichi Kanebara, a thirty-one year old from Nakano, whose completely naked
body presents an infinite series of more or less serious wounds up to the fatal
one in the neck that slain his throat. Furthermore, very strange thing, he has
a huge wound in his belly, inflicted post-mortem, which no one can explain, and
the most bizarre hypotheses are made about it, even with regard to drugs. Why
was he wrapped in plastic, but left in plain sight, when he could have been
thrown in the lake?</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.neowing.co.jp/pictures/l/12/00/NEOBK-1040889.jpg?v=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="358" height="500" src="https://www.neowing.co.jp/pictures/l/12/00/NEOBK-1040889.jpg?v=1" width="358" /></a></div><br /> <p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Many are wondering, including
the inspector, who however reasoning arrives at the reason for the injury. In
addition, the lake has a sign which strictly prohibits bathing. It is then that
Reiko makes a strange instinctive association: she connects the pond with the
death a few days before of a certain Yasuyuki Fukazawa, who had drunk without
meaning to some water containing a certain amoeba, which then had literally
eaten his brain. What if that was the pond in which the amoeba was present? In
that case it could also have been hypothesized that Yasuyuki Fukazawa was the
one who should have thrown the body into the pond, but he couldn't do it
because in the meantime he was dead. The wound would have been a ploy to
prevent the putrefactive gases from inflating the abdomen of the corpse, making
it re-emerge. And therefore, it would also have been possible that there was
something else on the bottom of the lake. And in general disbelief, Reiko
manages to convince the high ranks to do research in the pond, which leads to
the discovery of another more decomposed corpse, dating back to at least a
month earlier. From the dental impressions, it is also possible to give a name
to this second body: it is a very brilliant creative mind in the field of
advertising, a certain Yukio Namekawa, a successful thirty-eight year old, with
a very high number of women with whom he had sex besides having a wife and
lover. This guy, however, he had periods in which he was very down, to which he
was however counterbalanced by other periods in which he had a superhuman
energy which he poured above all into his work. With the continuation of the
investigation, Reiko learns that the period of exaltation of Namekawa always
began with the second half of the month, the day in which he was untraceable.
What happened on that second Sunday of the month? Reiko will discover that
everything is connected to an imaginary "Strawberry Night" website,
normally untraceable and located in the so-called deep internet, a site that
promises those who view it an unforgettable experience: being able to see
someone die live, chosen at random in the public. It is obvious that whoever
was not chosen and saw someone else die received an enormous adrenaline rush,
consisting in the awareness of having escaped it and at the same time in the
willingness to give everything in the month that would follow until another
appointment with death from I live. Reiko and the partner that her boss has
chosen to work with her, Inspector Katsumata, hated by her, will find
themselves working together, and after discovering many other corpses, they
will know an uncomfortable truth, the only one for which Yazuka, having learned
of this shocking spectacle, had pulled out of it. And in an equally unexpected
ending, they will be able to stop murderer and accomplices hidden in the
shadows.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Honda's novel, despite the
fact that at the beginning it had somewhat shaken me with its very direct and
unrefined language (which wanted to be unrefined, to outline such a reality),
in reality I really liked it later. It follows Western yellow models in which
the precedural is used in very long and complex investigations, in which
despite having little as clues, with the power of intuition and deduction, it
is possible to reconstruct absolutely little proven truths, only relying on a
few clues . Hillary Waugh's novels such as <i>Sleep Long My Love, </i>1959 or <i>A Rag
and a Bone, </i>1954 would come to mind. , of an audience that enjoys death, also
satisfying the risk of being chosen instead of the unfortunate person tied to
the center of the lights and tortured to death, even films like Eli Roth's
<i>Hostel.</i> In other words, it is a procedural but with very black hues, which also
borders on horror (slightly, but as much as it takes to outline a shocking
truth, connected with the degeneration of Japanese society, dedicated to work
and nothing else and devoid of real stimuli).</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Beyond this, in a certain
sense it is also a social novel, because it takes a look at society, and its
traditional models which sometimes clash clearly with what are the demands of
the contemporary world: the woman, who according to parameters Westerners,
tends to affirm herself more and more, but which cannot escape both those who
would like her at home to raise their children, and those who cannot bear that
the affirmation of women takes her away from male authority, and therefore
makes fun of his work successes.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Inspector Kensaku Katsumata,
inspector of the homicide of the metropolitan police, foreman of Unit 5,
interprets this macho attitude, but in the extraordinary finale, he will
overturn this license of his, with a hidden attitude, much closer to Reiko, than
she herself imagined.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">To put it this way, the novel
would seem like a little thing, and instead it is a powerful novel, which
manages to conquer and outline shocking truths, the most shocking of which, can
already be guessed before the murder of the policeman Otsuka, a friend of
Reiko, but which then, acclaimed and trumpeted, recalls distant novels and one
in particular French from the early twentieth century. In other words, that
this novel was not born suddenly like a cabbage, but rests on the very solid
foundations of the historicized crime novel of Western origin.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US;">And the murderer? He/she too
is the victim of this society which is the daughter of the economic miracle, of
a society which is also violent, and which ends up creating many dissociated
models. And the murderer is also one of these mentally ill subjects, even
treated in a psychiatric hospital, who has cured his own self-harm, with the
will to hurt and kill others and who draws his own satisfaction from blood from
seeing his world gray and dull, shine with the brilliance of blood. But before
being an insane subject, he was a normal person, raped and beaten repeatedly in
the family. However, this way of approaching the murderer is not an end in
itself. In a certain sense, a parallelism can be drawn between the murderer who
curiously in his delirium will associate Reiko with Mako, the only person who
in his past had shown her friend, and therefore will save the inspector from
certain death, and Reiko herself: in fact both, murderer and policewoman, have
a past of violence and abuses in common, which however have generated two
different futures: that of F, has materialized in evil, in killing and
torturing others; Reiko's, in wanting to become a policewoman, to try to
prevent what had happened to her from happening to others as well.</span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;"><b>Pietro De Palma </b></span><span lang="EN-US" style="font-family: "Times New Roman", serif;"><b><br /></b></span></span></p>
<p></p><p> </p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-28219058240637227352023-02-16T23:37:00.001+01:002023-03-26T22:41:40.446+02:00Yokomizo Seishi : L'ascia , il koto e il crisantemo ((犬神家の一族, Inugamike no Ichizoku, 1950-1951). <p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikeyn3qB8rf-UtjzDdVMCKJS8XAqBxcIc77W9nAHiS3Y1k3Ei9nHLXZcZ87j8O7zPFaJg6HzVEiKHchxOP_HldWEPXjO7z88eTPkZOIm1-CLIYE3grjCgec2DCmjWKjJcCKhZjP-UYEogRMny9dybxzTFu4G_BEsWx9fpv0sx1lriqBLUdOMB0xVFd/s2233/koto%20001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2233" data-original-width="1556" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikeyn3qB8rf-UtjzDdVMCKJS8XAqBxcIc77W9nAHiS3Y1k3Ei9nHLXZcZ87j8O7zPFaJg6HzVEiKHchxOP_HldWEPXjO7z88eTPkZOIm1-CLIYE3grjCgec2DCmjWKjJcCKhZjP-UYEogRMny9dybxzTFu4G_BEsWx9fpv0sx1lriqBLUdOMB0xVFd/w274-h393/koto%20001.jpg" width="274" /></a></div><br /><p></p><p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">The
novel was first serialized in magazines in 1950-1951 and then published later.
A famous film by Japanese filmmaker Kon Ichigawa was made from the novel.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">The
novel is written and set in the period following the end of World War II.</span></p>
<p class="MsoNoSpacing" style="text-align: center;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><b><span style="color: red;">WARNING: SPOILERS </span></b><br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Detective
Kosuke Kindaichi is reached by a letter from a certain Wakabayashi Hoichiro who
begs him to join him in Nasu (Tochigi Prefecture, Honshu Island), a small town
on the lake of the same name, to investigate a hereditary succession which
according to the sender could be at the basis of a feud. As soon as he arrives
at the hotel, Kosuke discovers that Wakabayashi Hoichiro has been killed (it
turns out he was poisoned). The event confirms the fears of the victim.
Interrogated by the police, he soon becomes a valuable ally of Commissioner
Tachibana who is well aware of the fame of the Japanese investigator. But why
was he killed? So no one knows, but a fact is that the victim would have
survived and probably would have revealed to Kosuke his fears about</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">It soon
turns out that at the base of everything, is the struggle for the legacy of the
Inugami Clan: the old Inugami Sahee died leaving three daughters Matsuko,
Takeko and Umeko, whose mothers were not married by the old man, but were l
object of his sexual pleasures, in short, his concubines, each housed in a
different pavilion of the Western-style building. Matsuko has no husband, while
the two sisters do: Takeko's Toranosuke, Umeko's Kokichi. To complicate
matters, there are also the grandchildren of the old man: Sukekiyo, son of
Matsuko; Suketake and Sayoko, son and daughter of Takeko and Toranosuke;
Suketomo, son of Umeko. And as if that weren't enough, it will be known that
Aonuma Shizuma son of Aonuma Kikuno also shares the claims, who had been the
only woman loved by the old Sahee, much younger than him, forced to hide after
giving birth to a child who would have been the natural heir of the old Sahee,
industrial tycoon, and therefore disliked by the three aunts. The old man had
given her the golden emblems of the family: an axe, a koto and a chrysanthemum.
Whoever had them, would have had the right to administer the Clan's assets. But
the woman, joined by the old man's three daughters, had been forced to hand
over the three objects, to prevent her son from being injured or killed by the
three women.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://static.fnac-static.com/multimedia/Images/FR/NR/50/07/04/264016/1507-1/tsp20200902095430/La-hache-le-koto-et-le-chrysantheme.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="400" height="345" src="https://static.fnac-static.com/multimedia/Images/FR/NR/50/07/04/264016/1507-1/tsp20200902095430/La-hache-le-koto-et-le-chrysantheme.jpg" width="276" /></a></div><br /> <p></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">The will
of which the notary Furudate is the depositary will increase the hatred and the
power struggle existing within the Clan, assigning the task of settling the
dispute, establishing who will inherit most of the assets , to the young
Tamayo, a woman of great beauty, adopted daughter of Sahee, as granddaughter of
Nonomiya Daini, a Shinto priest who had been Sahee's main benefactor when he
was young, as well as being his lover. However it will be Nonomiya's successor
at the Shinto temple, to learn by reading old documents he found, that she was
the daughter of Moriko, daughter in turn born from the extramarital
relationship between Sahee and Haruko, wife of Nonomiya Daini, and therefore
granddaughter by Sahee. That's why she had had a significant part in her
inheritance: essentially whoever married her among her three male grandchildren
would inherit the Inugami industrial empire.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Soon the
woman is stalked by the children of Takeko and Umeko, who each try for their
own part, to make inroads into her heart. Then there is also Sukekiyo, who
before the war was the one who had been closest to Tamayo, but since he
returned, a rubber mask covered his features horribly disfigured by the
explosion of a grenade, and no one nourished the little chance that a woman as
beautiful as Tamayo could join a man now horribly disfigured. But if she was
able to marry anyone, unless they died and in that case she alone would
inherit, she would be succeeded by Aonuma Shizuma, who, however, was not known
to have ended up with her.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.ebayimg.com/images/g/rz0AAOSw50JhzgnG/s-l500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="357" height="366" src="https://i.ebayimg.com/images/g/rz0AAOSw50JhzgnG/s-l500.jpg" width="261" /></a></div><br /><p></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">But
crimes disturb the precarious coexistence in the Inugami Clan Palace: first
Suketomo is found decapitated: in reality the head is found placed one of the
four mannequins in the chrysanthemum garden, representing the 4 characters of
the Kabuki Theater, while the body is not found and will be found only later in
Lake Nasui; then Sutekake will be found tied to a chair and strangled by a Koto
rope; finally Sukekiyo will be found upside down in the frozen lake, with his
legs apart to symbolize an axe. The crimes seem to recall the three symbols of
the family.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">To make
Takebana's investigation increasingly convoluted and difficult, there is also a
phantom demobilized soldier, who stays in small hotels under a convenient name
and wanders around the house, proving to know too many things: who is he? Is it
Aonuma Shizuma, the son of Sahee and Aonuma Kikuno, or is it Sukekiyo, the son
of Matsuko? Indeed at one point Matsuko presented as his son, the man wearing a
rubber mask to cover the horror of a face devastated by war, but no one is
really sure it's him. And besides, when he touches something that might keep
his fingerprints, he too hastens to erase them. Yet when it's the long-awaited
moment to confirm one's identity, to affix his fingerprints so that Furudate
can compare them with the fingerprints left by the three nephews before the
war, in the end it is confirmed that he is indeed Sukekiyo. So why does that
something indefinable associated with his person remain? Is it that mask? Will
Tamayo's behavior be so strange when he sees him? Why did someone, after
beheading Suketake, bother to go and make his body disappear, risking being
seen? Who was it that was hiding in Sahee's first house, along the reed bed,
washing and eating in the bathroom, the only room not visible from the outside?
Was he the one who, after having saved Tamayo's virginity from the aims of
Suketomo - who by dishonoring her would have offered to save her by marrying
her - killed him? Why did he kill Sukekiyo by sticking him upside down in the
ice?</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">It will
be up to Kindaichi Kosuke, settle suspicions and pierce the veil of truth,
revealing the twisted plan of a murderer in the shadows and at the same time
saving those who accused themselves of the crimes.</span></p>
<p class="MsoNoSpacing" style="text-align: center;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><b><span style="color: red;"> THE END OF THE SPOILERS</span></b><br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Frankly,
I don't know which Yokomizo's best novel is, but this is a true masterpiece: a
novel in which three horrendous crimes are perpetrated in dreamlike landscapes,
in an atmosphere in which hatred, passion, envy, lust mix in an explosive
amalgam .</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Kosuke
plays a role here that goes beyond mere investigative action: he is the true
center of the action. In fact, there is a prologue that precedes the discovery
of his murdered client. It is centered on Tamayo: in fact, someone has staged
some attempted accidents against her and the latest of which consists of a hole
made in the boat with which she rows on the placid surface of the lake.
Basically, if Kosuke hadn't come to save her, the commissioner of his coming to
Nasu would have been saved from him, and would have revealed his fears about
some of the hereditary people. And so he saving Tamayo (who would still have
been saved by her bodyguard) decrees the death not only of Wakabayashi
Hoichiro, but also of all those who will come after her. It's a real needle on
the balance. And of the action of the novel, which takes place in the period following
the end of the Russo-Japanese treaty, in a war-torn Japan; and the Inugami
family, devastated in their affections and interests, in turn become a metaphor
for Japan. Moreover, this devastation contrasts with the descriptions of the
places: the lake, the snowy landscape, the Japanese gardens. And therefore the
comparison that derives from it is all the more stringent.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">That it
is then a novel derived in part from mechanisms typical of Western mystery, is
something that is immediately understood: the series of killings in the family
to eliminate the suitors, recalls many novels but many, and also the return of
the heir, a characterizing element of the British novel, here it is present in
the double hypothesis that it could be Aozuma or Sukekiyo. And after all, even
if they are typical elements of the western novel, no one can dispute that they
may have been chosen regardless of this, because in feudal Japan how many wars
of succession and murders and devastations have there been for power? And with
a war that had just ended, with so many dead and missing, how many cases were
there also in Japan of men believed dead and then returned, who perhaps aspired
to take back what they had left behind, leaving for the war? Another element is
the continuous masking and unmasking of the characters according to a mechanism
typical of the Feuelliton, which could have been absorbed by Gaston Leroux's
novels with Rouletabille, above all the first two: <i>Le mystère de la chambre
jaune</i>, and <i>Le parfum de la dame en noir</i> and Leroux's first novel had
already been recalled in Kindaichi Kosuke's first adventure, <i>Honjin Satsujin
Jiken (</i></span><i><span lang="EN-US" style="font-family: "MS Gothic"; mso-ansi-language: EN-US; mso-bidi-font-family: "MS Gothic";">本陣殺人事件</span></i><i><span lang="EN-US" style="mso-ansi-language: EN-US;">).</span></i></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Others
in my opinion are the elements that directly or indirectly recall the western
novel: first of all the death of Wakabayashi Hoichiro, one of the employees of
the Furudate Studio, <u>recalls a novel by Agatha Christie, <i>Murder on the
Links</i>, a 1923 novel in which Poirot is sent a letter in which a man who
urgently summons him in a case of life and death is found dead, was serialized
in the Japanese translation in the magazine Shin Seinen in 1929. And the
editor-in-chief of the magazine at that time was Seishi Yokomizo (detail known
from Shunichro Futono). So it is certain that Yokomizo took advantage of
Christie's gimmick at the right time</u></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Then
there is the question of the mask: perhaps <i>Persons Unknown</i> by Edgar
Wallace from 1929, but another historical reference is the novel <i>Le Vicomte
de Bragelonne</i> by Alexandre Dumas, even more stringent, in which the central
element is the <i>Man in the Iron Mask</i>, a man who was forced to wear an
iron mask from which he could never be separated (except in certain moments of
intimacy). A direct reference to the rubber mask would have been Sauvestre's <i>Fantomas</i>
who wears rubber masks for his disguises, but as Shunichro told me, this French
novel was translated for the first time in Japan in 1964 and therefore long
after the publication of the Japanese novel. Now whether or not Yokomizo has
read these novels I don't know; what is certain is that in one way or another
they could have provided inputs. I confess another association came to mind:
the one with the novel by Claude Aveline, <i>La double mort de Frederic Belot</i>,
but Shunichro Futono, friendship on Fb, told me that it was first published in
Japanese in 1983, the year after Yokomizo's death.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://theinvisibleevent.files.wordpress.com/2021/01/inugami-curse-the.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="522" height="342" src="https://theinvisibleevent.files.wordpress.com/2021/01/inugami-curse-the.jpg" width="223" /></a></div><br /><p></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Finally,
the last association that I allow myself to hypothesize about a Western novel
is the one that refers to an Italian one: <i>Dante Alighieri's Divine Comedy</i>,
translated for the first time from Italian and published in Japanese in 1922,
with the title <i>Shinkyoku</i> (literally <i>Divine Song</i>), although
already at the beginning of the 1900s, the work was circulating translated from
French or German. It was in 1922 that the first complete translation from
Italian was prepared by Heizaburo Yamakawa, but the best known and most
appreciated translation was that of 1962 by Soichi Nogami. Why allow me to
ideally associate Yokomizo with Dante? Because in the third crime, a man is
stuck upside down in a frozen lake, with his legs spread, to symbolize an axe.
Now there are at least two examples in Dante's Inferno of the Damned inserted
into something: the simoniacs those who in the Middle Ages marketed sacred
things, whom Dante places in the III Bolgia of the VIII circle, in Canto XIX of
the Inferno: the simoniacs are placed upside down in circular holes, with the
legs raised and the soles of the feet touched by flames; and, a comparison even
closer to us, the traitors of relatives, inserted in the ice (Lago Cocito) up
to the head, even if not upside down: in the IX Circle (Canto XXXII). Now, for
something that will only be known at the end of the novel, in the final
explanation, whoever had been placed upside down in the ice had, in a certain
sense, been a parental traitor. Not forgetting that death upside down is
historically attributed to George of York, Duke of Clarence, brother of Edward
IV and Richard III, drowned in a barrel of Malvasia: George of Clarence had
betrayed his brother Edward by conspiring against him.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Why, in
my opinion, is Yokomizo's novel a masterpiece? His greatness in this novel lies
in continually turning the truths upside down: is Tamayo an unfortunate woman,
or is she astute calculator? Is the man wearing a rubber mask Aonuma or Sukekiyo?
Is Shizuma's mother Aonuma Kikuno dead or is she hiding under other guises? Why
did the demobilized soldier who hides his face save Tamayo and probably kill
Suketomo? How come the individual with the mask who was afraid of leaving
footprints, is then recognized as the one who had the honor of wanting to be
recognized? The continuous change of situations and hypotheses is rendered in
such a refined way by Yokomizo Seishi, who reaches peaks of unusual virtuosity.
In a certain way it reminded me of Christianna Brand's <i>Cat and Mouse</i>,
precisely because of the ability to keep the reader in suspense, continually
turning the same thing over and over again: in some ways Brand's enterprise is
even more titanic than that of Seishi because while the park of Yokomizo's
characters is large, that of Brand is extremely narrow, and therefore the
action of the plot is less varied and the ability to keep the reader captivated
is due to her in an even more deserved way. And this ability to disguise
himself under different guises is not his only, but also Aonuma Kikuno's, since
he will take on the appearance of a koto teacher, who occasionally visits the
Inugami Clan mansion, to teach koto (and also to see for the last time old
Sahee, dead).</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">It's not
a cheerful novel, far from it. It is a desperate novel, just as the situation
in Japan was desperate at the time. But the tragedy of the novel is mitigated
by the figure of Kosuke and his obsessions, first of all that of scratching his
head conspicuously, as well as dressing in a scruffy way. A detective who is in
a sense an anti-detective, an anti-hero: not the pomaded Poirot, not the
impeccable Philo Vance, not the noble and snobbish Lord Whimsey, but a dark
fellow who would go unnoticed and somehow even disgusted for these detestable
quirks of his, were he not a highly regarded and respected detective. And above
all a genius of the reconstruction of the facts.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US"><span style="font-size: large;"><b>Pietro
De Palma</b></span></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US"><span style="font-size: large;">P.S.</span></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">One
thing that surprised me, but not so much, is that the names of some characters
change according to the western translations, which strengthens my desire to
compare, whenever I can and when I notice something strange in the Italian
text, the same with the text basis. This time I realized that the names of the
three male grandchildren, in French Sukekiyo Suketake, Suketomo, in Italian
have been reported verbatim, but in the English edition they are instead in the
meaning Kiyo, Take, Tomo. And so they also appear in the English subtitles of
the 1976 film. It would therefore be necessary to compare them with the original
edition in Japanese: therefore I turned to some friends on Fb, people I follow
and who follow me. Shunichro Futono was the one who gave me more than a hand,
whom I have already mentioned and who dispelled all my doubts: both
nomenclatures in both the English and French (and Italian) editions are
correct. Why? The English one is the original one, the other two add (we don't
know why) the prefix Suke which in Japanese is a sort of honorific, noble title
that indicates belonging to a family and descent (like my De). Moreover, that
the original meanings of the names are Kiyo, Take, Tomo, is confirmed by a fact
which is reported in the novel and which explains why in the third crime the
victim was placed upside down: because in addition to the shape of the body, it
must mean how Kiyo is to be seen backwards, and therefore Yoki (which in
Japanese means Axe). And therefore to be related to the three symbols of the
family: "Yoki", "Koto" and "Kiku", the axe, the
Koto and the Chrysanthemum.</span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-47453602360383787452023-01-25T21:13:00.011+01:002023-03-26T22:41:20.293+02:00Tom Mead : Death and the Conjuror - The Mysterious Press, New York, 2022<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/P/1613163185.01._SCLZZZZZZZ_SX500_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="350" height="500" src="https://m.media-amazon.com/images/P/1613163185.01._SCLZZZZZZZ_SX500_.jpg" width="350" /></a></div><br /> <p></p><p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Tom Mead is a dear friend.
We've known each other for a few years.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Friendship born on Facebook,
but not like many others: deepened and marked by readings and discussions.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">He remembered me because years
ago in an anthology by John Pugmire & Brian Supkin a story of mine with a
classic locked room had appeared, he told me that he really liked it and asked
me if I had written anything else. I told him that I had written many short
stories, some published in the past and many unpublished, and that I had also
written a novel, which probably would never be published, with two locked rooms
and an impossible crime. From there, various discussions on concomitant areas,
and reflections on French authors of the past, too, Steeman for example (of
which he told me he had in mind to have novels published in his translation
from French). Then the request to read my stories (some I had even translated
into acceptable English) and the offer to translate some of his choice.
Obviously he flattered me, also because he was the only person who could do it,
as he used to do his best in Italian: as we know, Igor Longo, a splendid
translator and once friend, disappeared from the scene about two years ago, and
we don't know when and if he will come back.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Moreover, one of the three
stories that he translated better than I had done was then published in Arthur
Vidro's prestigious American magazine, and for this I thanked him for the
translation and Mike Grost for the feed.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Tom told me about two years
ago that he had written a novel, and among others had made Gabriele Crescenzi
read it. Then he happily told me that he had sent the novel to Otto Penzler,
who had appreciated it so much that he wanted to publish it. However, it must
be said that Tom is not a completely new name: he has already published some
stories both in Ellery Queen Mystery Magazine and in Alfred Hitchcock Mystery
Magazine, moreover focused on the adventures of the same character, who acts in
the novel, i.e. Joseph Spector, and he has already made himself known for his
propensity to invent impossible crimes.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">That of impossible crimes and
locked rooms is in a certain way "a mental distortion": it is not
only a very particular and very elitist subspecies of mysteries, but also in my
view, "a mental distortion", and I say it without only as a reader
and critic but above all as a writer of locked rooms and impossible crimes. In
other words, whoever writes inventing this kind of misdeeds is so in love with
and even obsessed with the crime that takes place in impossible circumstances,
that not only cannot he find satisfaction in inventing a story based on a
common crime, but he is also linked to the willingness to continually outdo
themselves, always inventing new original tricks.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">About this, it is good opening
a parenthesis: as someone said, after the death of the great writers of Locked
Rooms, the historical ones, I mean Carr, Rawson, Crispin, Talbot, Sladek,
Commings, Hoch, Wynne and some others, writers who invented tricks there are
very few originals, and normally the novels that are written are almost always
real or ideal tributes to these great writers of the past.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Tom's novel is too. <br /></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: center;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"></span></p><p class="MsoNormal" style="line-height: normal; text-align: center;"><b><span style="color: red;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">WARNING: SPOILERS !</span></span></b></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The action takes place in the
past, in 1936.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Benjamin Teasel is the
impresario of a theatrical show that promises to be very successful: <i>Miss
Death</i>. The protagonist is Della Cookson, an established actress. Joseph
Spector, a magician, was called to cure the effects. The show is very
successful. Teasel organizes a party at his house and invites everyone and also
a psychoanalyst recently residing in the city, who escaped from Germany, Dr.
Anselm Rees and his daughter. Rees, however, declines the invitation. Among
others, he has an appointment with a mysterious visitor who has urgently asked
to be able to see him.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">He arrives, with a raised coat
and a wide-brimmed hat that prevents recognition, and heads towards Rees'
study. After a certain time, he always goes out the front door. They hear the
doctor answering the phone. After a while the housekeeper goes to see if the
doctor needs anything, but she gets no answer; same thing with daughter Lydia,
also a doctor. Furthermore, the room is locked from the inside. They shout but
receive no answer. They therefore decide to open the room from the outside with
the trick of pushing the key, making it fall and then recovering it with a
newspaper from under the door. What they find is the horrific vision of Dr.
Rees killed with a deep gash at the base of his neck, so much so that he nearly
decapitated him. They try the window, but find it blocked, so they reserve
their energies to find the killer who must necessarily be there; and as it
happens there is a wooden chest deep enough to receive a body. But..it's empty.
Yet the visitor couldn't have been, because then they heard the victim talking
on the phone. Or, if he did it, he must have come up with some trick. The fact
is that the two women, shaken and on the verge of shock, go to find a bottle of
liquor to calm down and then call the police.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">It's raining outside. And that
will play a part in determining from the fingerprints what has been done and
what hasn't.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Enter Inspector Flint and his
friend the wizard Joseph Spector. And from here begins an investigation that
first of all tends to learn more about the figure of Rees, and his patients. It
soon becomes known that the cases on which he had poured his energies were
three: Floyd Stenhouse, international violinist, who had recurring horrible
dreams (Patient A); actress Della Cookson, who suffers from kleptomania
(Patient B); Claude Weaver, writer, suffering from memory lapses (Patient C).
And all three will have an impact on the story in one way or another.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">If the investigators have to
carry out investigations in order to find evidence to stop the murderer, they
soon find themselves facing an ancillary problem: someone, on the night of the
party at the Teasel house, stole without us being able to understand how he did
it, the canvas "El Nacimiento" by Manolito Espina, the mad painter.
Does Della have anything to do with the theft? And as it happens, Della Cookson
was also present at the crime scene. But she arrived after the mysterious
visitor had left.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">They learn that the phone call
they had heard Dr. Rees answer was from the Steenhouse home.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">At this point a close
investigation begins, which focuses on other personalities who appear and
disappear from time to time: Der Schangenmann (The Snake Man), Frieda Tanzer,
the actor Edgar Simmons. Until a second crime occurs, also in impossible
circumstances: a young man is found in an elevator, strangled, without anyone
being seen approaching it, or opening it.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">From here the action becomes
faster, other things happen until during a meeting with the suspects, the
killer is framed. And Spector will demonstrate how he managed to kill on both
occasions.</span></p>
<p class="MsoNormal" style="line-height: normal; text-align: center;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"><span style="color: red;"><b> THE END OF SPOILERS</b></span><br /></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The novel is gorgeous. And as
I've said before, each Great Locked Room always has a great put-on. However,
here the staging is not the fruit of the murderer's action alone to perpetrate
the crime and get away with it, but also of the combined but not calculated
action of interventions by other subjects that make it complex: the mysterious
visitor, followed by a another that comes from the garden of the villa and
follows it; the presence of Della Cookson; the room that seems closed from the
inside, door and windows, only that the windows previously closed from the
inside are opened and barred from the outside and then closed again from the
inside; the presence of an imposter who brings about a particular situation in
the story, which will have consequences upon the act of murder.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">However, few know that the
genesis of the title was not immediate: in fact, the first draft had a
different one: <i>Occam's Razor</i>. Now it is clear that if this first title
had been chosen, the reason would have been twofold: first of all, the razor is
the weapon used for the first crime, the one at the basis of the novel; and as
it is commonly known "Occam's Razor" is also a methodological
procedure which consists in giving a problem its simplest solution chosen among
some equally valid ones. But Tom Mead preferred to change it to <i>Death and
the Conjuror</i>, because as he revealed to me <i>"Otto Penzler didn't
like the original title, which is why I changed it"</i>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">It is divided into three
parts: <i>The Thief’s Tale, The Liar’s Tale, The Impostor Tale </i>and each of
the three parts contains a sentence dedicated to a great writer of the past. To
signify how much the novel is conceived, as happened many other times, as a
tribute to the greats of the past, and especially to John Dickson Carr. And it
is no coincidence that the inevitable dedication to his parents is followed by
that to Carr. Tom, however, does not look at Carr only as a tutelary deity of
the sub-genre, but also when he refers to it directly in history: in fact, not
only does the appearance of a mysterious visitor hidden by a coat and a hat
that hides him take us back to <i>The Hollow Man</i>, where there is a
mysterious visitor who visits Doctor Grimaud, who will be killed; but even the
references to Vampires (<i>The Vampire Trap</i>) are not ends in themselves,
but always tend to connect to Carr's most significant work. As if that weren't
enough, in the second part, there is also a disquisition of the Locked Room, as
happens in <i>The Hollow Man</i>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">When someone writes a work of
the Locked Room genre, he usually tends not only to put in everything
impossible he is capable of, but also sometimes to insert a characterizing
element, which is, par excellence, the Locked Room-Lecture. And when this
happens, it means that the novel is of special importance to the author.
However, in Tom's case, the disquisition is approached differently than in
Carr's novel and generally in the novels containing it. In fact, in <i>Death
and the Conjuror</i>, we do not attend a scholarly conference such as that of
Doctor Fell who rattles off all the cases up to that moment, but the
disquisition is addressed by adapting it strictly to the problems of the case
in progress, eliminating everything that cannot adapt and instead dwelling only
on what is the matter of the case.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">In the third part, however,
before the solution, here is another tribute to another Great of the genre: to
Ellery Queen. Because, even if briefly, Tom stops and launches a real Challenge
to the Reader, which should anticipate Spector's solution, identifying the
murderer. I identified it, before Spector did, and I must say that if it is
always difficult, if you really apply yourself, and you are very careful when
reading the novel, some assumption about who could be responsible, may not be
exactly farfetched . The crucial point for identifying the culprit is the
second impossible murder: because those who could not have been eliminated one
by one, unlikely as it may seem, the murderer can only be one person, according
to the famous aphorism of Conan Doyle : <i>"Once you eliminate the
impossible, whatever remains, no matter how improbable, must be the truth"</i>.
And since the second crime is the direct consequence of the first, it follows
that there can be only one murderer.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.ibs.it/images/9781804540886_0_536_0_75.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="536" height="384" src="https://www.ibs.it/images/9781804540886_0_536_0_75.jpg" width="384" /></a></div><br /><p></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">But the tributes don't end
there: in fact, the very figure of Joseph Spector is a tribute to another great
writer of impossible stories: Clayton Rawson. In fact, Spector's specularity
with Merlini is extremely evident. All the more so as Merlini in his stories
often plays innocent conjuring tricks, pulls rabbits out of hats and proposes
riddles of logic, so does Spector in the course of the novel, and in the end
proposes with the rigged cage of the canary, a metaphor that can adapt to the
novel: that is, if one wants, reality can be changed at will with a trick. Cage,
which, depending on how it is turned, causes the bird to be now there and now
not, because it is made up with mirrors, and in this it is once again
reminiscent of Carr: one of Colonel March's short stories, <i>The New Invisible
Man</i> in <i>Department of Queer Complaints</i>.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Anyone who might
think that it is only a deductive novel, however, would be misled: the
deductive part is predominant, but the psychological one also has its
importance: e.g. understanding how "El Nacimiento" was stolen and who
could have done it and for what reason, is not a trivial matter; so also what
Marcus Bowman, Lydia Rees' boyfriend, was hiding, which concerned another
person; and finally the reasoning to explain Weaver's conduct, and his memory
holes, which will then be the basis on which Spector will base his final
reasoning and explain the crimes.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The novel must be
read well and therefore takes his time; however it must be said that beyond the
time needed to read it well and dwell on the various steps of the cognitive
ladder that leads to the solution, the novel has different speeds: the first
and second parts are generally slow and the novel progresses with difficulty,
even because the disquisition on the Locked Room and the disquisitions on the
disorders of Doctor Rees' patients and that on The Snakeman, must be faced with
a firm and measured step; the third part, especially starting from <i>The Vampire
Trap</i>, instead becomes nothing short of frenetic, and the surprises follow
one another at a rapid pace, outlining a solution that gives us a glimpse of a
very different reality from what we thought was the one thought at first.</span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><b>Pietro De Palma </b><br /></span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-15581400094008972752022-11-13T15:51:00.001+01:002023-03-26T22:41:06.304+02:00Ellery Queen : Halfway House, 1936 <p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.ebayimg.com/images/g/16sAAOSwaoRhYbBS/s-l500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="395" height="500" src="https://i.ebayimg.com/images/g/16sAAOSwaoRhYbBS/s-l500.jpg" width="395"></a></div><br><p></p><p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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<![endif]--></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">Ellery Queen's novel that
ended </span><span lang="EN" style="font-family: "Times New Roman", serif;">the legendary first ten novels</span><span lang="EN-US" style="font-family: "Times New Roman", serif;">, <i>Halfway House</i>,<span> </span>is a novel that contains many interesting
things. Let's see why.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">First of all, the
introduction, always signed by the elusive criminal lawyer friend of Ellery
Queen (who also appears in Face to Face) provides a fact that otherwise we
would not have known: the title clearly differs from the scheme adopted for the
previous 9, but we do not know why. . In fact, J.J. McC. asks Ellery Queen:</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-margin-top-alt: auto;"><span style="font-size: medium;"><i><span lang="EN-US" style="font-family: "Times New Roman", serif;">“As one of Ellery Queen’s more
fanatical admirers I have long felt that if there was anything in this world
surer than death and its concomitant it was the perpetuity of his title-scheme.
From the Fall of 1929, when he wrote The Roman Hat Mystery, until last year,
when The Spanish Cape Mystery appeared, the artful sequence of his book-titles
has remained intact. I suppose it was their sheer repetition that made me
expect an unbroken line of similar titles ad infinitum . . . or at least a line
approaching infinity with the finite restrictions of terrestrial geography as
the only limit.<br>
And suddenly, like snow in July . . . Halfway House!<br>
“It’s your own fault,” I told Ellery, as soon as I could reach him after
hearing the news. “Studying those blasted plots of yours has trained me to ask
‘why’ to everything. Well—why?”<br>
Ellery seemed mildly surprised. “But what difference can it make, J.J.?”“I
suppose none; none of importance, anyway. </span></i><span lang="EN-US" style="font-family: "Times New Roman", serif;"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-size: medium;"><i><span lang="EN-US" style="font-family: "Times New Roman", serif;">…But look here, that’s not answering my question.”</span></i><span lang="EN-US" style="font-family: "Times New Roman", serif;"><br>
<i>“It’s extremely simple. Gea failed me.”</i><br>
<i>“Who failed you?” </i></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><i><span lang="EN-US" style="font-family: "Times New Roman", serif;">“Gea. Tellus Mater. Goddess of earth.”</span></i><span lang="EN-US" style="font-family: "Times New Roman", serif;"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><i><span lang="EN-US" style="font-family: "Times New Roman", serif;">“You mean you ran out of geographical
title-possibilities? Oh, come now, Ellery, that’s rubbish, and you know it.”<br>
“Smile when you say that.”<br>
“I wish you’d be serious! I’ve read the manuscript and I can’t for the life of
me understand why you didn’t name the book something like . . .well, say . . .
“ I gave it what is technically known as “the thing.” As a matter of fact, I’d
been thinking about it all the way up.<br>
But before I could spring it on him, he said: “You wouldn’t mean something like
The Swedish Match Mystery, now, would you?”<br>
“I swear,” I growled, “you’re the Devil himself. Well, what’s the matter with
that as a title? It’s right down your alley.”<br>
“But J.J.,” he murmured, “they weren’t Swedish matches.”<br>
…“The truth is—Ella Amity gave me the title, and it was so apt I couldn’t
refrain from using it.”<br>
…“What difference would it have made if the shack was in Newark, or
Elizabeth—if it was three-quarters of the way instead of halfway?”<br>
“Oh, don’t be so literal-minded,” he said impatiently. “As a matter of fact,
Trenton isn’t halfway between Philadelphia and New York. Ella’s phrase was
poetic license. I’m speaking in a figurative sense purely. From the logical
viewpoint what was the significance of the fact that the man was murdered at
the Halfway House, at the stopover, at the omphalos, at the place of
suspension? What logical question did it raise? Well, you know as well as I,
and you know how everything—”</span></i><span lang="EN-US" style="font-family: "Times New Roman", serif;"><br>
<br>
<br>
</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">The novel could therefore have been titled <i>The Sweedish Match Mystery</i>.
In reality, for the title to change, there is an underlying reason, and we will
see it in the commentary on the novel.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="center" class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;"><span style="font-size: medium;"><b><span lang="EN-US" style="color: red; font-family: "Times New Roman", serif;"> WARNING
: SPOILERS !!</span></b><span lang="EN-US" style="font-family: "Times New Roman", serif;"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">Ellery, passing through Trenton, on his way to New York, meets his friend,
the lawyer Bill Angell who convinces him to continue together, after he has
dealt with a matter with his brother-in-law Joe, who is waiting for him in the
evening in a place. Arriving there, a shack halfway between Philadelphia and
Trenton, Bill finds Joe agonizing, stabbed in the chest, but before he enters
the back door, he sees a Cadillac, parked in front of the front door, whizzing
in the opposite direction to him. , led by a beautiful woman. In the room,
shabby in decor, a coat stand with excellent quality jackets, curtains and a
very tasteful carpet, and a brand new studio set that should have been given
for their own birthday are out of tune. to Bill from Joe and Lucy Wilson. For
the rest, the scene is occupied by a lighted lamp on a table and a plate full
of burnt Swedish matches. Nothing else, except the murder weapon, still stained
with blood, which has a small charred cork on the tip.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">Bill immediately calls Ellery who inspects the environment, and marks the
gaudy oddities of that corpse, a man who, according to Bill, worked as a
jewelry salesman driving around in an old car, but who then wore tailored
clothes at the hands of the New York's most famous tailor, on Fifth Avenue, and
had in the garage (a shack nearby) a new sports car and even a boat, with which
he used to sail often, seen by people in the neighborhood, when his wife
appeared to be out for sell sample stuff. But the thing that most disturbs
Ellery, who continues to look at the corpse is the resemblance to a person he
had met some time before at a dinner in New York, a financier of the Jet-Set.
Called the police, commanded by De Jong, the first inspections are made, and
tire tracks observed that testify how a car has been there twice, as well as
another. Meanwhile Bill has found a precious stone on the carpet, probably
coming from a ring setting, possibly of the woman he saw escape, who could also
be the killer if not a witness. A figurine that once existed on a car's
radiator cap is also found out on the ground in the mud. From the
investigations, a car that would be missing that sticker, seems to be the one
driven by Joseph Wilson's wife, Lucy, who, however, would have had no reason to
kill her husband, especially since by all accounts she had been a happy couple
for ten years, too. if there were no children, even if witnesses affirm that
they saw the very car driven by a woman with a black veil, which however Lucy
never wore. A few hours after the murder, a dramatic truth emerges from other
investigations: the man killed in that shack, who was hiding in New York Joseph
Kent Gimball and was a well-known financier, had not only two identities, but
also two families: one a Philadelphia (wife Lucy) and one in New York (wife
Jessica Borden Gimball, daughter of well-known millionaire Jasper Borden).
Basically he was bigamous. The most disconcerting discovery will be given by
the new testamentary dispositions, announced by the businessman Grosvenor
Finch, a friend of the family, as well as the concessionaire of the National,
well-known American insurance company, according to which the beneficiary of
life insurance for a million dollars, would not be It was the best known wife,
but the least known, that is Lucy, who from subsequent investigations will
prove to have been the first of the two to have been married and therefore the
legal one.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">After repeated twists, including the arrest and second degree murder
conviction of Lucy Wilson, Ellery will solve the mystery, after the authors
have invited the reader to confront the solution that will be delivered,
through the Challenge to Reader. , bringing to justice a murderer who has
always remained in the shadows, and the solution will come from those twenty
burnt matches found in the plate next to the lamp.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="center" class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;"><span style="font-size: medium;"><b><span lang="EN-US" style="color: red; font-family: "Times New Roman", serif;">THE
END OF SPOILERS</span></b><span lang="EN-US" style="font-family: "Times New Roman", serif;"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">Let's see what are the peculiar characteristics of the novel, known and
not.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">First of all, as anticipated, with the title that does not follow a
predetermined pattern, Ellery Queen embarks on a new path: that of novels that
are less complex from a formal point of view, which do not aim at the striking
solution of a bizarre problem, but which instead, despite being always enough
complex, yield to a more refined prose (doesn't Ellery tell J.J. Mc. that the
title is a poetic license?) and to plots that instead focus on a more
well-rounded psychological characterization of the characters, as well as on peculiarities
typical of a more varied and not restricted only to those who can appreciate
the aesthetic qualities of a dandy follower of Philo Vance. Probably this
tendency to also pursue a different audience of readers, aiming to increase the
female one, responds to the need to distance oneself from a certain trend that
derives from Van Dine, who had traveled at the beginning because the fashion of
the time required it to impose itself. , to undertake more personal paths,
giving greater visibility to the talents and plots that gave weight to the
humanity of the stories. And this is exactly what happens in this novel.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">Although the problem is less complex, it is always compelling, but it also
embraces issues that have a very significant weight on human affairs: bigamy
for example, and the family tragedies not only of Lucy Wilson but also of the
Gimballs. And not surprisingly, the section of the five in which the novel is
articulated has a great human and narrative weight, preceded by an introduction
(<i>The Tragedy, The Trail, The Trial, The Trap, The Truth</i>) that sees the
bar Lucy accused of premeditated murder, in order to pocket the million
dollars, the battle in the courtroom, the witnesses called to testify,
including Andrea Gimball, daughter of Jessica's first bed (the one who lost the
precious stone in the shack halfway in which Joseph was found murdered,
"Joe"), and condemns her. The section that notes on the three women
involved, and on the brotherly love between Bill and Lucy and the carnal love
between Bill and Andrea, opens the way to those novels that will come after
this, in which Ellery also changes her physiognomy and her way of approaching,
becoming less snobbish and misanthropic and instead more sporty and at the same
time sensitive to female charm (Paula Paris the journalist who appears in the
so-called mini Hollywood cycle). It is essentially a further evolution of
Ellery's psychological profile that the most analysts had already observed:
from Ellery married and even with a very young child, who lives in the Tuscan
countryside, we had passed in the course of a few novels to an Ellery that he
had a very problematic relationship with women, loving more the brain problems
and the closeness of his father and the New York police; now we are witnessing a
further evolution of the character, who leaves his New York field of action in
general, and ventures into unfamiliar scenarios, characterized by a multitude
of characters and the description of the great American suburbs, nature, and of
the people, leaving forever or almost the father Richard Queen, the doctor
Samuel Prouty, Sergeant Velie, the chosen agents and all the very world from
Van Dine of the first novels. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">To these new characteristics that Ellery opens up to, and which can be
glimpsed with the desired change of title of the novels, abandoning the one
directly deriving from van Dine's novels, and which are obvious, are added the
more hidden, cryptic, but no less interesting ones. , indeed on a certain side,
even more: those deriving from the nature of the relationships between the two
cousins creators of the character, Frederick Dannay and Manfred Bennington
Lee, hidden behind the common pseudonym, which from some letters found much
later, it was found to be extremely thesis, conflicting, and that the two
united only in the drafting of the plots and in the writing first of the novels
and short stories and then of the radio plays. This internal struggle, aimed at
affirming who was actually hidden behind Ellery Queen, can be detected through
a metatextual analysis, giving value to hidden meanings, especially
numerological, relating to the Jewish nature of the two cousins (and always
present in rabbinic religious texts).</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Times New Roman", serif;">Affirming that you feel the need for a text that addresses once and for all
the symbolism present in Queen's work and often hidden, it must also be said
that someone has applied to it. </span></span></p>
<p></p><p></p><p><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p><p><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUmCPGD-CfupOP4MAnBE7QYS1EObPAx3yhlZTmGqD899NtpMnrXvaEb1QjVjztYkbZiUhzbFFUoGs1ngIMvgtHm3nXFO5DpeGICTrKzaRFhSyMqjr7Kd077HKpXtEF4PbfoDcjtnWBXVLi/s604/image002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="604" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUmCPGD-CfupOP4MAnBE7QYS1EObPAx3yhlZTmGqD899NtpMnrXvaEb1QjVjztYkbZiUhzbFFUoGs1ngIMvgtHm3nXFO5DpeGICTrKzaRFhSyMqjr7Kd077HKpXtEF4PbfoDcjtnWBXVLi/s320/image002.jpg" width="320"></a></div><span lang="EN-US" style="mso-ansi-language: EN-US;"></span><p></p><p></p><p><!--[if gte mso 9]><xml>
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UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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</p><p align="center" style="text-align: center;"><span style="font-size: medium;"><b><span lang="EN-US">Remi Schulz (bearded) photographed together
with French journalist and writer Bernard Werber</span></b><span lang="EN-US"></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">For example, Remi Schulz, a
French author, scholar of Hebrew literature and sensitive to the fascination of
enigmistic problems, especially numerological, who in his Quaternité Blog,
http://quaternite.blogspot.com/, often examined the work of Ellery Queen. And
in two excellent articles above all, disclosed in a section of the famous site
dedicated to the American novelist and investigator, "<i><u>Ellery Queen A
Web site on Deduction"</u></i> by my friend Kurt Sercu, the whole hidden
Queen theme is addressed (<a href="http://queen.spaceports.com/The_Other_Side_Schulz.html">http://queen.spaceports.com/The_Other_Side_Schulz.html</a>) </span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US"> </span></span></span></p><p><span style="font-family: times;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: times;">
</span><p><span style="font-family: times;"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.ebayimg.com/images/g/sN0AAOSwKVNYXNox/s-l500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="304" height="500" src="https://i.ebayimg.com/images/g/sN0AAOSwKVNYXNox/s-l500.jpg" width="304"></a></div><br><p></p><p><span style="font-family: times;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><p></p><p><!--[if gte mso 9]><xml>
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</span></p><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">As for the novel in
question, apart from the already known evidences regarding the name of Ellery
Queen (Ellery has a double L and Queen a double E), which put in the foreground
the theme of the two twins who would like to divide but cannot to do, and which
is evident above all in <i>The Twin Siamese Mystery</i>, there are numerous
hidden meanings already evident in the title (<i>Halfway House</i>, has a
double H as you can see) and in the name of the city in which the house is
located (<i>Trent's Town</i> , which has a double T, as the newspaper where
works Ella Amity, <i>Trenton Time</i>): always the theme of the double. Trenton
and his house (<i>Halfway House</i>) is halfway (almost) between Philadelphia
where Lucy lives and New York where Jessica lives. This is not exactly halfway
between the two journeys, but it is "gematrically". Remi Schulz
noticed that the relationship between cities is also numerological: in his
article "Naccipolis" (<a href="https://quaternite.blogspot.com/2011/09/naccipolis.html">https://quaternite.blogspot.com/2011/09/naccipolis.html</a>),
Remi observes that if we calculate the gematric value of New York, Philadelphia
and Trenton (Gematria is a science of Judaism that studies the words used in
the Hebrew language giving them a numerical value), provided that A = 1, B = 2,
C = 3, D = 4, E = 5, F = 6, G = 7, H = 8, I = 9, J = 10, K = 11, L = 12, M =
13, N = 14, O = 15, P = 16, Q = 17, R = 18, S = 19, T = 20, U = 21, V = 22, W =
23, X = 24, Y = 25, Z = 26, <b>PHILADELPHIA</b> is equal to 16 + 8 + 9 + 12 + 1
+ 4 + 5 + 12 + 16 + 8 + 9 + 1 = 101; <b>NEW YORK</b> is equal to 14 + 5 + 23 +
25 + 15 + 18 + 11 = 111; <b>TRENTON</b> is equal to 20 + 18 + 5 + 14 + 20 + 15
+ 14 = 106. And 106 is exactly halfway between 111 and 101: (111 + 101): 2 =
106. </span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span class="hps"><span lang="EN">But the theme of
the double is also present in the surnames of the two wives, married to a
bigamous man (as if to say two people linked to a single denominator: the two
cousins linked to the common pseudonym Ellery Queen): Angell and Gimball (both
have a double LL). Not only. Schulz points out that the two families Angell and
Borden are opposed to each other also by reason of some of their elements, which
are Bill Angell and Andrea Borden. Opposite also these, A-B (or 1-2) and B A
(2-1), form a Chiasm, essentially an X. The Cross of Saint Andrew is linked to
the X, and here there is also an Andrea . Another coincidence is that the X is
the 10 in Latin and the ns. novel is precisely the tenth.</span></span><span lang="EN-US"></span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span class="hps"><i><span lang="EN">However, the</span></i></span><i><span lang="EN"> <span class="hps">X</span>, in our case, it
may <span class="hpsatn">represent the "</span>two-faced" <span class="hps">of the 2</span> <span class="hps">cousins</span></span></i><span class="atn"><i><span lang="EN"></span></i></span><span class="atn"><i><span lang="EN">, their "</span></i></span><i><span lang="EN">double": in fact the <span class="hps">X, the</span>
<span class="hps">Greek</span> <span class="hps">letter</span> <span class="hps">CHI</span>,
<span class="hps">represents the</span> <span class="hps">chiasm</span>, which has
a <span class="hps">cross shape</span>: the elements <span class="hps">are arranged</span>
<span class="hps">opposite</span> <span class="hps">each other.</span><br>
The <span class="hps">one in the</span> <span class="hps">comparison</span> <span class="hps">of the other,</span> <span class="hps">so that what</span> <span class="hps">is</span> <span class="hps">in the lower left</span> <span class="hps">is
reflected</span> <span class="hps">in what is</span> <span class="hps">in the upper
right</span>, <span class="hps">and so on.</span> <span class="hps">Moreover, the</span>
<span class="hps">correspondence</span> <span class="hps">to</span> <span class="hps">chiasmus</span> <span class="hps">as a pair of</span> <span class="hps">opposed</span>,
<span class="hps">it is akin</span> <span class="hps">to that</span> <span class="hps">of the two</span> <span class="hps">mirror images</span> <span class="hps">according to a</span> <span class="hps">symmetrical axis</span>, <span class="hps">directed</span> <span class="hps">towards each other</span> <span class="hps">or both of</span> <span class="hps">which</span> <span class="hps">look
at the</span> <span class="hps">two opposite directions</span>, <span class="hps">a</span>
<span class="hps">two-faced</span> <span class="hps">which recalls</span> <span class="hps">the God</span> <span class="hpsatn">Janus (</span>the more <span class="hps">we note</span> <span class="hps">that if</span> we </span></i><i><span lang="EN-US">stylize </span></i><span class="hps"><i><span lang="EN">the representation</span></i></span><i><span lang="EN"> <span class="hps">of the god</span> <span class="hps">Janus</span>, <span class="hps">we</span> <span class="hps">obtain</span>
<span class="hps">a X.</span></span></i><span class="hps"><span lang="EN"> (<a href="https://deathcanread.blogspot.com/2012/08/the-double-common-denominator-in-twin.html">https://deathcanread.blogspot.com/2012/08/the-double-common-denominator-in-twin.html</a>)
</span></span><span lang="EN-US"></span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">The presence of the
numerological or gematric value of A and B as 1 and 2 is verifiable even then
it is said that Ellery meets Bill on 1/6 (which would also be the day Joe dies)
and 2 would be the day Bill's birthday. Another curiosity is given by the fact
that we have seen how often in Queen's novels, the numbers 10, 20, 5 chase each
other, as in our case. It is the consequence of the fact that Dannay, who was
the one who worked out the plot on which his cousin then acted, giving the
literary form, always tended to emphasize his participation.</span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">Dannay was born on October
20, 1905. Where does Halfway House hide this date? The chapters of the novel
are 5 (<i>The Tragedy, The Trail, The Trial, The Trap, The Truth</i>), the
words making up their titles are 10; and in addition, since all words begin
with T, we have a Tautogram which is made from the letter T, to which the value
20: 20-10-1905 is assigned gematrically.</span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">However Remi notes (<a href="http://perecqation.blogspot.com/2016/10/les-queen-maudits-2.html">http://perecqation.blogspot.com/2016/10/les-queen-maudits-2.html</a>)
how since the tenth word Truth has two T's in it, it is different from the
other 9 that precede it, and so it is by itself. Defining everything we could
say that the ten words with the different one, could be made with 9 + 1 which
is essentially the parable of the 9 novels all following the fixed title and
the one that stands out, the tenth, precisely Halfway House. The 9+1 theme is also in another thing: among 10 clues that lead to the murderer, 9 point to 2 person and it's the tenth (+1) that shows the good one.</span></span></span></p><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">In chap. 3, <i>The Trail</i>,
a man named Joseph <i>"Wilson, also known as Joseph Kent Gimball, in
Mercer County, State of New Jersey, on the night of Saturday, June the first,
1935 is said to be killed."</i> If we compare it to the dates of birth of
the two cousins, Dannay born on October 20, 1905 and cousin Mannay on January
11, 1905, we see how June 1, 1935, becomes the thirtieth anniversary of the average
birthday of the two cousins: in fact , and it is easily demonstrable, pen in
hand, from January 11th to October 20th there are 282 days, and coincidentally
the period of time between January 11th and June 1st date of Joe Gimball's
death is equal to 141 days, that is half of the time interval between the dates
of the two cousins' birthdays. But beyond that, in support of that this is no
mere coincidence, there is the fact that in <i>The Finishing Stroke</i>, there
are twins born on the night of 6/1/1905, and 6/1 is the reverse of 1/6.</span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">If we want to see well,
there is still more.</span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><i><span lang="EN-US">Halfway House</span></i><span lang="EN-US"> is the bridge between two lives,
where Joe Gimball felt without anything, not tied to Lucy or even to Jessica,
and the boat trips testified to his need to find himself sometimes alone, to
escape the fearful stress to which he was delivered, marrying two women and
living in two different cities, two different existences: always the 2 that
recurs in the novel. But if we see better, there is another curiosity that
emerges: even the two cousins had given their two existences to an invented
pseudonym, and until the release of Halfway House, no one suspected that they
were the creators of Ellery. Queen. Here is another reason to say how this
novel marks an ideal watershed even before <i>Calamity Town</i>: the reason was
probably the desire to leave behind a cliché that had already had its time,
because by now Van Dine was no longer what it was a time, and open up to new
experiences, while revealing that the two of them were the creators of Ellery,
and after all perhaps it was also a way to recreate around himself a certain
aura of mystery that arose overwhelmingly years earlier, also in relation to
the releases of the Dury Lane novels signed by Barnaby Ross, it had gradually
faded away. And so we can establish a parallel between the human story of the
two cousins and that of Joseph Kent Gimball: how the two existences and the
two hidden lives had come to light when Joseph Kent Gimball alias Joe Wilson
was killed, so the two The hidden lives of the two cousins come to light when
the novel Halfway House is published: <i>L'homme menant une double vie dans
Halfway House est assassiné il 1er juin 1935, 30e "anniversaire
moyen" des Queen</i>. This is the occasion of the sortie de ce roman que
les cousins ont dévoilé leur identité.</span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">Finally, there is another
subject in the novel that presents duality once again, and that is old Jasper
Borden, Jessica's father. it can be appreciated in the English text when its
hemiplagia is presented as 2 bodies united in one, one living and the other
dead: "<i>two bodies united, the one dead the other living".</i></span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">And there is still more to say
.. But to do that we would have to talk about other novels, such as <i>Double,
Double</i> or <i>The Finishing Stroke</i>.</span></span></span></p><span style="font-size: medium;"><span style="font-family: times;">
</span></span><p><span style="font-size: medium;"><span style="font-family: times;"><span lang="EN-US">We will resume the
discussion at the appropriate time.</span></span></span></p><span style="font-family: times;">
</span><p><span style="font-family: times;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: times;">
</span><p><span style="font-family: times;"><span style="font-size: large;"><b><span lang="EN-US">Pietro De Palma </span></b></span></span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com2tag:blogger.com,1999:blog-9100001220947256423.post-88407529512189669022022-10-30T17:40:00.002+01:002023-03-26T22:40:46.394+02:00Jon L Breen : The House of the Shrill Whispers <p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="http://www.philsp.com/data/images/e/ellery_queens_mystery_197208.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="557" data-original-width="397" height="557" src="http://www.philsp.com/data/images/e/ellery_queens_mystery_197208.jpg" width="397" /></a></div><br /><p></p><p> </p><p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Born in Alabama in
1943, Jon L. Breen is a historian of crime literature. For example, his is The
Fine Art of Murder: The Mystery Reader's Indispensable Companion, written with
Ed Gorman, Martin H. Greenberg, Larry Segriff, as well as numerous novels and
anthologies of short stories, especially Sherlockian apocryphals. He has also
written parodies about Van Dine, Ellery Queen, Agatha Christie and John Dickson
Carr. He won 2 Edgars, with biographical works: the first in 1982, with What
About Murder? A Guide to Books about Mystery and Detective Fiction; the second
in 1985, with Novel Verdicts: A Guide to Courtroom Fiction.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The parody we
present is called The House of Shrill Whispers, and already from the title it
denounces who is a parody.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Not only. The main
protagonist, the detective who should solve the puzzle, is called Sir Gideon
Merrimac, a private detective, whose name is a mix of Gideon Fell and Henry
Merrivale, who has a tendency in the name and in the way of presenting himself
of the protagonist, to refer to the typical bragging of Gascons. Not
surprisingly, Merrimac will not solve the case.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Millard Carstairs
is sitting in the train and looking at the legs of a beautiful young woman
sitting in front of him. When he learns, after breaking the ice with the young
woman, that she is Nancy Williston, of whom his friend Bill Clifton has told
him, he is all happy. And then the girl, knowing it, tells him something: that
is that uncle Margrove, who has four children including Bill and she who is an
adopted daughter, has arranged for his assets to be divided between Bill and
the girl, while the other three brothers, dissolute and greedy, Cavendish,
Jessica and Franklyn, were excluded. Now she is afraid that one of the three
wants to kill him; yet Uncle Margrove is not afraid that one of the three will
murder him, but someone who seems to be able to enter a house with windows and
doors locked from the inside, without leaving any traces. For this Bill called
Millard, just as Milalrd would like old Giddy to handle that case, that is
Gideon Merrimac, the greatest investigator in the world, not knowing that in
turn Clifton Margrove, just Merrimac called to shed light on the case and save
him. And in fact, a little while ago, on the train, in a bombastic and surreal
way, wedged between two train carriages, Merrimac himself, who from how he is
dressed and how he looks, looks like a photocopy of another Gideon much more
known.</span></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">“..Who else
was that fat and ruddy-cheeked? Who else wore two monocles, one in each eye,
over a bulbous Fieldsian nose, a full set of gold teeth, and a pristine-white
Colonel sanders goatee? Who else wore a black opera cape in the heat of July,
over purple-and-gold-checked tree-sized trousers, from one of whose pockets
protruded a flowered handkerchief into wich its proprietor periodically wheezed
with earth-shattering volume, sometimes causing his cape to flutter and reveal
a holstered antique dueling pistol hanging precariously onto his prodigious
belly?”.</span></i></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Just Merrimac
claims to have been called by Clifton Margrove to solve the case of a seductive
invisible killer who is ready to kill him. So Uncle Clifton not only barricaded
himself in a cottage in the middle of the garden, but he had fake snow
sprinkled all over the house, put 4 large floodlights that illuminate
everything from dusk to dawn, and hired numerous agents. of Pinkerton to make
the area even safer. Yet when Answorth, the 86-year-old butler, the only person
Margrove admits to his presence, sees them to accompany them in the gig to the
mansion, he informs them that their old uncle has been murdered. The fact is
that the only footprints in the fake snow are those of the butler and no one
else. Therefore it is logical to conclude that the murderer was either old
Answorth (but what reason would he have?) Or the ghost of Admiral Wilburforce
Cogsby, who visits The House of the Shrill Whispers in search of the spirit of
his beloved, dead woman. July 11, 1870, the nights of July 12. I say nights
because the admiral had created a family calendar in which July 11 was
suppressed and there were instead two July 12s. And on one of the two
consecutive nights of the 12th, the crime was committed, with an ancient pistol
that has disappeared.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The Pinkerton
agents can't explain how the killer got in, so much so that when Answorth went
to his master, they erased the old man's footprints so that other footprints
would be visible. Who was it of the 4 children who killed the father? Because a
ghost goes through walls but doesn't hold a gun.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">While Merrimac is
elaborating a theory, Carstairs also gets to work. By questioning those
present, he will find that the old butler had brought a baby elephant, that of
the master, to his master, because he felt alone. But the elephant has
disappeared from the cottage as well as the killer. Carstairs will find where
the animal has ended up, will avoid a second murder and will nail the murderer,
this time good-natured who in the end also renounces killing Carstairs as well
as the butler and is ready to surrender himself to the police, knowing that
there will be very few prisons in which he can stay.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The short story is
one of the best parodies I've read about Carr (I also remember Brittain's, but
Breen beats it). There is not only the tendency to make fun of the detective
(and also Carr), but also to create a small story that would have all the
characteristics and basic premises of a closed chamber, the craziest ever
created, and then solve it with a bluff. , which in a certain sense disappoints
the premises and expectations, but then looking back on it, not so much,
because based on the data entered, it creates an adequate even if surreal
solution.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The satire does
not only make fun of the solution, but also something else: in fact, Breen
enjoys mangling the names of Carrian characters. In addition to Sir Gideon
Merrimac, who is the mix of the names of the two most famous characters of
Carr, we find for example. the lawyer Butterick Parattler who immediately
reminded me of another lawyer, present in two adventures of Gideon Fell, the
lawyer Patrick Butler (<i>Below Suspicion</i> and <i>Patrick Butler for the Defense</i>)
woman sitting in a train compartment (who then fall in love), and there is also
<i>The Constant Suicides</i> which begins with a man and a woman sitting in a train
compartment falling in love. There would also be a Carstairs that has a part in
<i>The Red Widow Murders</i>, but oh well it may be a coincidence. Then there is the
elephant, which is not really an elephant, or rather is a man in the costume of
an elephant, walking on all fours, led from Answorth to Margrove Clifton.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Then there is the Locked Room, which would seem to be a quintessence of the closed rooms but in
reality it is not, and precisely the characteristic that denies the Locked Room
and which is that detail that Carr kept us that was never there in his novels,
here there is. So… what kind of locked chamber is that? Exactly, just what you
think. Which is also the reason for the motive, a surreal motive to say the
least, at the basis of the murder of Sir Clifton Margrove.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">And then there is
finally another surreal if not grotesque scene: Millard Carstairs,
investigating, ends up knocking down a shelf full of books in the servants'
room, in the basement of the Villa dei Long Sospiri, and whoever finds buried
by a mountain of old books? Answorth. The beauty is that the old books are old
detective books by old authors, past and dated: Hume, Wells and Hanshew. As if
to say that old Answorth had risked dying, overwhelmed not at least by valuable
books, but by old junk, which hardly anyone read anymore.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">So far we could
talk about an excellent parody tale by Breen, surreal and also quite hilarious.
However, what elevates this story and makes it a pearl, is another: it is the
dialogue that at a certain point takes place between Sir Gideon, Nancy Wilston
and Millard Carstairs. They are talking about the possibility that a
lighter-than-air winged killer (so as not to leave footprints) passes through
walls without leaving a trace. Nancy points out that no one has hypothesized
that the killer is winged, Merrimac states that she should not rule out such a
possibility and Millard explains to the girl that precisely this tendency not
to discard any hypothesis is the secret of Sir Gideon's success.</span></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">“You ain’t
just whistlin’ Dixie, honeychile,” old Giddy verified. “Old Giddy” Nancy probed
“are you English or Southern American?” “Does it matter? After all, I’m just a
character in a detective story and so are we all, so let’s get down to the
problem at hand without further palaver.” “Look,”Millard objected, “you may be
a character in a detective story, Old Giddy, but I’m real! Prick me and see if
I don’t bleed.” “A character in a detective story had jolly well better bleed,
son, or it won’t be much of a detective story. If were characters in a novel instead
of characters in a short story, I’d discourse with you at appropriate length
about the foolishness and absurdity of characters in fiction pretendin’ they’re
real. It leads to characterization ad verisimilitude and other elements that
stand in the way of a good story. But that is neither here nor there nor anywhere
else”.</span></i></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">In other words, at
some point, this parody tale becomes fantastic. And the moment is precisely
this dialogue, which would have nothing to do with the story, which is detached
from the story that is being told, and which causes the bewilderment of the
reader and therefore also mine (Todorov states that because there is the
fantastic tale there must be the bewilderment, the amazement of the reader),
because in the moment in which Merrimac operates, which coincides with the
brief moment in which someone reads his story, he knows very well that he is a
work of fiction and does not pretend to be real. And this is a situation that
has never, ever been faced, since nornally in any story, not just a detective
story, each of the characters, in the context of the story in which it is
inserted, lives as if it were real; in other words, the characters live
according to the story. Never before has a character been seen, who in the
moment in which he lives he knows that he is not real. In a certain sense, this
situation is the opposite of what is sometimes seen in certain novels, for
example <i>Nine Times Nine</i> by Anthony Boucher, where we read Fell would have
been a real character used from Carr for his purposes, or the first novel by
Derek Smith, where read “<i>Do you remember the Case of the Dead Magicians? A
spark of interest showed on the Inspector’s rugged face. “You mean that odd
affair in America, round about 1938? Yes, I remember. Homer Gavigan handled
that for the New York Police Department. Though I believe most of the credit
went to a man calling himself”-the Inspector’s voice held a high pitch of
unbelief-“the Great Merlini.”<br />
“That’s it. Merlini solved the mystery, then wrote up the case as a novel,
calling it Death From a Top Hat. He collaborated with Ross Harte-they used
‘Clayton Rawson’ as a pseudonym.” Lawrence digressed slightly. ” There have
been four Rawson books to date, though only three have been published in
England. More’s the pity. Every one is first rate”</i> (Derek Smith, <i>Whistle
Up The Devil</i>, chap. V pag.108).</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">A pearl by Jon L.
Breen.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16.0pt; line-height: 107%; mso-ansi-language: EN-US;">Pietro De
Palma</span></b></p><p class="MsoNormal"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16.0pt; line-height: 107%; mso-ansi-language: EN-US;">P.S.</span></b></p><p class="MsoNormal"><b>I publicly thank my great friend Luca Conti, editor of Jazz Music and
already a great Italian translator of contemporary American harboiled,
and the writer and editor Arthur Vidro, for helping me by giving me tips on how to find the
original sources, very difficult to find unless you own EQMM of August
1972, or "<i>Hair of the Sleuthhound</i>" volume in which Breen inserted
several of his stories including parodies, which Arthur told me about,
and then Luca told me where to find it.<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></b><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16.0pt; line-height: 107%; mso-ansi-language: EN-US;"></span></b></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-32938050838610325312022-10-23T23:22:00.001+02:002023-03-26T22:40:23.057+02:00Newton Gayle: The Sentry-Box Murder, 1935 <p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-0mkgxwa5Y04/TwZ15TE6s-I/AAAAAAAABCk/sud6jBDw1uw/s395/sentrybox.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="365" height="320" src="https://2.bp.blogspot.com/-0mkgxwa5Y04/TwZ15TE6s-I/AAAAAAAABCk/sud6jBDw1uw/s320/sentrybox.jpg" width="296" /></a></div><br /><p></p><p> <!--[if gte mso 9]><xml>
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</xml><![endif]--><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Newton Gayle is now a virtually forgotten author, but there was a time he
was very well known: the 1930s. Almost a century has passed since then, and no
one remembers Newton Gayle. Nevertheless…</span>
</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Newton Gayle was a pseudonym, used by a couple of writers (Muna Lee and
Maurice Guiness) for a series of five novels, also set in Puerto Rico. The
reason for this unusual location is that Lee was the wife of the Governor of
Puerto Rico, while the latter was an executive of Shell, one of 5 multinational
oil sisters, in Puerto Rico. The five novels, set in the USA, Great Britain and
Puerto Rico, had some success in their time, but after the fifth, the
partnership broke up, and each of the two authors chose their own path: Muna
Lee also wrote non-genre novels. detective, his partner instead wrote three in
the sixties, under the pseudonym of Mike Brewe.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Of the five novels written under the common pseudonym of Newton Gayle</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Death Follows a Formula (1935)</span></i></p><i>
</i><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The Sentry Box Murder (1935) aka Murder in the Haunted Sentry-Box</span></i></p><i>
</i><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Murder at 28:10 (1936)</span></i></p><i>
</i><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Death in the Glass (1937)</span></i></p><i>
</i><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Sinister Crag (1938)</span></i></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">ours is the second in the series and the first to be set in Puerto Rico.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p><p class="MsoNormal" style="line-height: normal; text-align: center;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"><span style="color: red;"><b>WARNING: SPOILERS </b></span><br /></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The Calypso ship owned by Lord Dampier is forced to stop in Puerto Rico to
refuel. On board among others are investigator Jim Greer and his friend Robin
Upwood, who will tell the story. In Puerto Rico, they find Richard Piper, a
former American diplomat and now Agent of the Atlantic Shipping Company, who,
with the help of his beautiful wife Kay, is responsible for guaranteeing a nice
vacation to the many tourists who land there every two weeks. This time there
is a varied company in which US Senator John Monarch, his wife Melita Avery
former actress, nephew Elmery Coulton, the well-known American businessman
Blaise Grassington, Fergus Mac Kelvie legal of Monarch, plus the American lady stand
out. Stella Tophet. Piper in addition to acting as Cicero around the island,
has prepared, as done on other occasions, a treasure hunt that will involve
them in the headquarters of the island's fortress, the Castle of San Felipe del
Morro, known as "El Morro", in San Juan de Puerto Rico: a series of
clues will be located in various parts of the fortress, including the dungeons,
the walkways of the patrol, and even the sentry box; each clue will provide the
key to find the next one, until reaching the end, first.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The treasure hunt takes place and everyone is involved, until it happens
that in the sentry box, watched by two soldiers, Monarch is found dead, shot in
the face: however, no one has seen the murderer come out, nor is it clear how
Monarch was killed. (or killed himself) because the gun is not found.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Directing the investigation is Greer who assists Colonel Oakley Chief of
Police.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">At first, the first to be accused is his friend and narrator Upwood,
because a lady, in the dungeons, at first glance attributes to him a voice that
spoke of a crime to be committed, but then later retracts the his statement.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Greer hears everyone, reconstructs the facts, sends requests for
information about the various members of the cruise to Washington; then he
finds a pack of three shirts, with something written on the cuffs, behind a
bush, near the party's residence, and reconstructs the fact that Monarch, the
night before the treasure hunt, was seen terrified coming out of that bush, and
then ask for a gun first from Mac Kelvie and then from Grassington, who became
friends during the cruise.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">What had he heard? Someone threatening him with death, with the voice of a
dead man, someone from a company that he had forced to fail and then had taken
his own life.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">To tell the truth, there is also the story of a ghost that manifests itself
in El Morro, and there are those who would like to attribute to a supernatural
cause, something that will then be rationally explained.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Greer will be able to figure out how Monarch was killed, and who killed
him, by practicing an almost perfect plan, after a whole series of people have
been discarded, "after being first observed in a special light".</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal" style="text-align: center;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><span style="color: red;"><b> The End of Spoilers</b></span><br /></span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc5r4W4wjgAL3iLppUdBy5Ho6lRzVYwbK-9uDGxDmE0m-dqwmlJ9-HZsksBGCNcfbr-fdUQzpg2-0Nb-fiANFJZUdujzR8IlZwuaSKc2mtarYib4asxz_dU4k43rwG6q6SrQtUtBlzgA1bgn8HecArOC_Lmc1qXUbyKnXjq6Kcqp21E62BKi6mZztN/s2249/portorico%20001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2249" data-original-width="1548" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc5r4W4wjgAL3iLppUdBy5Ho6lRzVYwbK-9uDGxDmE0m-dqwmlJ9-HZsksBGCNcfbr-fdUQzpg2-0Nb-fiANFJZUdujzR8IlZwuaSKc2mtarYib4asxz_dU4k43rwG6q6SrQtUtBlzgA1bgn8HecArOC_Lmc1qXUbyKnXjq6Kcqp21E62BKi6mZztN/s320/portorico%20001.jpg" width="220" /></a></div><br /><p></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The novel is a
little-known Locked Room, from 1935.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">In the John D. Carr
biography by Doug Greene, <i>The Man Who Explained Miracles, </i>there is no
reference to this novel, strangely I would say, because at the time it had some
success: sure, it could also be that Carr hadn't read it, but the reason could
be attributable to a series of evidences: in essence the method of killing is
not peculiar to this novel, if anything a procedure already seen in the
expression of one of the crimes in <i>The Greene Murder Case</i> is applied,
and not to chance can be said that the novel is in the wake of the Van Dine
School, because the same James Greer, seems to be a pale heir of Philo Vance,
even if he manages to come to the head of the mystery with rare sagacity, and
the investigator assisted by friend narrator, who helps the police chief, leads
directly to Philo Vance, Van Dine and Markham.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">And after all, if
we go back in time, precisely because of the mechanism used to kill, we can say
that the couple of writers have borrowed methods even further back in time,
those used in novels in which, for example, "the room killed ". So if
the murder weapon refers to other novels, the inventiveness in presenting it is
original, especially since its disappearance is explained by the crime itself.
If anything, having revealed it many pages before the solution removes the bite
and tension from the climax, which decays, being only increased in the final
closure.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Another fact that
could perhaps explain why Carr never mentioned him (despite Muna Lee was the
second American writer to join the Detection Club), can be explained by the
fact that the murder weapon, it is said in the novel, is difficult to carry. on
him, yet someone wears it; and although the sentry box is structured in a
certain way, presenting a circular chamber (the sentry box is the turret in
which the sentry finds shelter) and three loopholes placed in the semicircle of
the walls, it is not clear or explained how the murderer would soon have time
fixed the deadly device.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The pair of
authors, indeed, during the novel, invents many false leads, which lead the
reader to hypothesize that various subjects in turn may be the killers,
generating an interest that does not fail, up to presenting 4 possible turns in
the final solution in turn murders, perpetrators of 4 different situations that
enter the solution as a corollary, as regards ... the package of the three
shirts behind the bush, the gun disappeared on the ship, the false construction
of the page with compromising annotations, and the annotations on the floor
plan with the postcard of the sentry box of El Morro: one of these four
will be the killer. The least likely. And therefore the most surprising.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Beautiful novel
from the golden age of mystery!</span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><span style="font-size: large;"><b>Pietro De Palma </b></span><br /></span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-41986092239090905872022-10-05T20:12:00.001+02:002023-03-26T22:40:04.442+02:00Richard Connell : Murder at Sea, 1929<p> </p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://pictures.abebooks.com/inventory/md/md30871884933.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="300" height="381" src="https://pictures.abebooks.com/inventory/md/md30871884933.jpg" width="300" /></a></div><br /><p></p><p> </p><p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Richard Connell is a
virtually unknown name for anyone who reads detective fiction. The reason is
that he was not a prolific author of novels, and is instead known more for his
activity as a film and television screenwriter: it is no coincidence that he
wrote the screenplay of Frank Capra's <i>Meet John Doe</i>, for which he was
nominated for an Oscar. . In the narrative field, he wrote four novels, but
only one of these is of the detective genre, and it is the one in question.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">WARNING: SPOILERS !!!</span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><i>Murder at Sea</i>, sees
amateur detective Matthew Kelton in action who occasionally collaborates with
the police. Due to his health conditions, he decides to embark on the Pendragon
steamship to take a sea voyage to Bermuda where he can rest and heal. The
beauty is that, as soon as he embarked, and as soon as the ship began its
journey, he was disturbed by Captain Gavin who revealed to him how a stewart on
board, assigned to one of the cabins, found the body of the man who had taken
possession inside. of it, a certain Samuel Cleghorn, an important businessman
partner of a famous company that sells wholesale coffee, with a pulverized
skull. The presumable time of death should be 5pm or so, because at that time
the stewart had talked to Cleghorn and was therefore still alive. Kelton
instructed by the captain to unravel the skein before the ship arrives in
Bermuda, he must understand who after that hour (presumably at 5, 15-5,20 p.m. because
at 6 p.m. when the body was discovered, it already presented rigor mortis) may
have committed the murder. And then he begins his inquiries among the other
travelers, three of whom are teachers, there is such a Westervelt who is
elusive, and so is Varga, then there is Miss Imlay and Mr. Sangerson, Miss Royd
(lady of company) and Lady Esther Yate invalid, and finally Mr Mond, such a
talkative, who will be discovered after being treated in a psychiatric
hospital.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Kelton comes to find
himself in a real mess, because several travelers report that sparkling eyes
have stared at them in the dark, crazy eyes, only there is no one who has them;
yet the subject in question, he even dropped along the side of the ship to look
into a porthole at night. Someone then destroyed the ship's radios to isolate
it, and if not the same person, another stole expensive perfume bottles owned
by passengers from the cabins.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">In the course of the
story Kelton will learn that the victim, of whom no one knew the past, actually
before becoming rich, had been a farm tool trader in Yorkshire, by the name of
Jack Murdo and here he had met a girl whom he he was in love, only to abandon
her by stealing their son from her, and returning to America as Cleghorn, a
partner in a coffee sales company. This sad story of child kidnapping involves
three people on the ship, and in turn three of them and a fourth, linked by a
profound bond to one of the three, confess themselves to be the perpetrators of
the crime. Nevertheless Kelton, due to the incomplete accounts and which place
the action in times that do not coincide with those presupposed for the crime,
sets aside these four confessions, and after eliminating the owner of the
sparkling eyes, who has nothing to do with the crime, and having given a name
to the perfume thief, which has nothing to do with the crime, will succeed in a
surprising ending to indicate the murderer, despite the fact that all or almost
all the travelers only later have actually revealed useful details for the
investigations.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The End of Spoilers</span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The 1929 novel, <i>Murder
at Sea</i>, is not what a novel in the wake of Van Dine might seem at first
glance, because the detective has none of the typical characters of Philo
Vance. I would rather say he may have somehow followed the false lines of the
novels of Rufus King, another very famous author in those years, who set his
stories almost exclusively at sea. The plot is particularly rich in twists and
turns, and given the main activity of the writer, it would have lent itself
well to being the basis of a cinematographic film, because in addition to a
crime, in the novel there is a mixture of adventure, for an animal escaped from
the menagerie time before, hiding in the ship, and a whole series of
intertwined but absolutely misleading events, such as the perfume thief, the
radio destroyer, the presence of a policeman and a thief in disguise, and two
couples of lovers moreover connected to each other, and the hour of death which
is then understood not to be the actual one. The result is that the murderer is
none of those who had been the subject of the investigation, but another
person, who unlike what Van Dine says, does not appear in the action of the
novel, except for a tuft of hair that comes found in the victim's bathroom, and
although quoted extemporaneously in the novel, he literally falls from the sky
in the novel's finale.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.ibs.it/images/9788881546077_0_536_0_75.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="536" height="376" src="https://www.ibs.it/images/9788881546077_0_536_0_75.jpg" width="272" /></a></div><br /><p></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> Another oddity of the
novel is that if the murderer must have boarded before the ship took off and
then got off, how can Kelton trace him back, who has neither seen nor known
him? In fact, Kelton employs a certain Mr. Hong from Chinatown, who is his
privileged informant, at the head of an organization that sells secrets and
information; and it is to him that Kelton turns during the voyage to ask him,
via an auxiliary radio, about who knew Cleghorn and the various travelers of
the Pendragon. Therefore, the action of the novel cannot be said to be very
correct towards the reader, if the detective novel par excellence is the one in
which the reader can if he is good at competing with the protagonist of the
story in understanding who the culprit is: here this is absolutely impossible,
as only the detective has in his possession the crucial information that is
made available to the reader only in the solution.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The result is an
action-packed novel, written with a brilliant and stylistically very fluent
style, which can be read in one day, but which then, despite having solved the
various quids in an exhaustive manner, leaves no impression of being a novel
that leaves its mark , but more one that serves to distract.</span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><b>Pietro De Palma </b><br /></span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-52952760206360838412022-10-01T21:00:00.001+02:002023-03-26T22:39:42.189+02:00Helen McCloy : A Question of Time, 1971<p> </p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1350267842l/16086977.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="181" height="373" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1350267842l/16086977.jpg" width="225" /></a></div><br /><p></p><p></p><p><br /></p><p><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">
Warning : Spoilers !!!</span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Lisa is an orphan. Her parents
were an Italian woman (daughter of a noble), and Rupert Holland, son of
Sophronia Holland, heir to a wealthy American (Jewish?) Family. Raised in a
convent of nuns in Italy, the child arrives in New York. She does not know
anyone in America, yet she is joyfully awaited, especially by Amelia, Rupert's
sister, who is married to Hugh Hadueletti, son of the same age, Susan and Roly.</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Although Susan does everything
to bond with her, Lisa is grumpy: she only manages to bond with Roly, Susan's
brother, whom she falls in love with, reciprocated. Youthful loves,
adolescents: thirteen, fourteen year old boys. Susan in turn is in love with
Jim, a handsome, blond, tall friend of Roly, and Jim with her. From this group
are excluded the two twins Heron (a Jewish family too?), Pelléas and Mélisande,
children of the neighborhood, envious of the Holland, richer and more
fortunate, with whom the girl is in love not reciprocated, of Roly.</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">One fine day Amelia decides in
winter to take everyone ice skating on the lake, and Jim Bandloin, a
photography enthusiast, shoots an eight-minute film with the camera. The ending
is sad, and seems to anticipate what will later be learned with dismay: the
father of Lisa's mother, an Italian Prince, of the Urbani-Pavia family, has
tracked down his nephew, and wants her back to Italy. It is not as they are
thought to get their hands on the Holland estate, but only for family purposes.
So Lisa, especially to Amelia's displeasure, returns to Italy. But before she
returns, a very strange thing happens that will have repercussions years later:
the Holland house is more similar to a castle than to a villa. And a great
ballroom has a singular importance, in which on the two doors that enter it,
there are two paintings, one of which is by Goya, which depicts Saturn
devouring his children. By chance Lisa enters it, and immediately faints:
terrified, she claims to have already entered it and if she enters it again,
she will die. Sophronia's doctor, Dr. Neroni, an Italian American,
psychiatrist, claims that it is Déjà-Vu, that is a form of alteration of memory
(paramnesia), and cites the theories behind it. The fact is, that Lisa is part
of her and no one could ever know that after ten years, when she has become a
very beautiful girl, she returns to America, after the death of her Italian
grandfather.</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The returning Lisa, she
explains, remembers nothing, absolutely nothing, of the event that had
traumatized her ten years earlier: it is how her psyche had, if not removed the
memory, at least hidden, so much so that one wonders if it is the Lisa who had
arrived ten years earlier, or an impostor (perhaps her cousin Ginevra, who
seems to be quite similar). But she remembers Roly, and the two are still in
love, and she shows it. Amelia is happy, especially since her children will
have a cousin to deal with, now that she is widowed, since her husband who had
fled with another, died with his lover in flight. And the ballroom? It remained
that it was, only that no longer two entrance doors but only one, the one on
which the Goya hangs.</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"></span></p>
<p></p><p></p><p><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Mélisande is jealous
of Lisa because she too is in love with Roly. After so many years, Jim's film
is again shown, and then the two brothers, agree, one evening, they manage to
lock Lisa from the outside in the ballroom, throwing the key through a window
in the garden. . Lisa, who up to that moment remembered nothing of the scene
ten years ago, has a furious reaction and furiously bangs her fists on the door
for it to be reopened, but these vibrations only have the consequence of having
the Goya painting come off on her head, that falls, smashing her skull.</span>
</p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Accident? No.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgw9vCCDf1M4pFikblyrpRa49syQvNdPM8ixW1HlkNwRVAD53lWL93tm91Kyzvo1_lBlc1u5OJM4kc8dkACqoaEkPVHRLFMyC8VtgZLzzXXetRF6N4c4UgWh4-hQrnpA-1qXVh7-dULrteHXoJC67EnsldozWxIdh0EmO_m7-sXIaMnJFhSBhuLFpZ/s469/Mc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="469" data-original-width="306" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgw9vCCDf1M4pFikblyrpRa49syQvNdPM8ixW1HlkNwRVAD53lWL93tm91Kyzvo1_lBlc1u5OJM4kc8dkACqoaEkPVHRLFMyC8VtgZLzzXXetRF6N4c4UgWh4-hQrnpA-1qXVh7-dULrteHXoJC67EnsldozWxIdh0EmO_m7-sXIaMnJFhSBhuLFpZ/w234-h358/Mc.jpg" width="234" /></a></div><br /><p></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Captain Elliott,
having arrived on the spot, discovers, analyzing the scene of the accident,
that the iron wire that held the picture hanging, has been partly dissolved and
partly severed. And so it is murder, premeditated: someone had climbed into an
antique armchair, at night, twice, two weeks before and a few days before
death, and had clumsily operated on the wire.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">It won't be Captain
Elliott but Dr. Neroni (alter ego of the psychiatrist Basil Willing?) To nail
the diabolical killer, who had moved the twins as pawns, tried to kill the old
Sophronia in fear during the night, and killed Pelléas who had tried to
blackmail him.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Let's say right away
that this is a brilliant novel, whose equally brilliant solution adapts
wonderfully to the fame that McCloy enjoyed (and still enjoys today): a locked
room, absolutely outside the genres, which is linked to a plot in which still
once a psychic phenomenon, this time the Deja-Vu (do you remember How was the
Doppelganger in a Mirror?), has its basic importance, as well as a certain form
of hypnosis.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">There are so many
things I don't say, and if I did, you'd lose the pleasure of reading this
beautifully constructed jewel: the motive is hidden to the end - the ancient
Cui Prodest? - and the reader (the undersigned), following the events, wonders
several times about who it may be, taking into account that the twins were indictment
until the premeditated nature of the crime was discovered. But to no avail.
Could it be Mélisande? But how would she have done if she doesn't live in the
house? Yet only she has a clear motive: to kill Lisa for Roly's sake. The
problem is that there is also the real murderer whose motive is hidden until
the end: in this case, it is not precisely the motive that finds out, but three
fundamental clues: a modified copy of Goya's painting, in which Saturn has the
features of Lisa; a copy of the Memoirs of the Marquise de Créqui, in which a
story is quoted in which a painting provoked the insane fear of a girl who
later died in the same way as Lisa; and the little film shot ten years earlier,
which is, as absurd as it may seem, the murder weapon.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Helen McCloy
elaborates a plot of extraordinary impact, in which the Déja-Vu has the value
of creating tension and distracting the reader from the true trace, which, at
the same time, develops, creating on it a much more subtle plot, hidden however
until the last, which has its origin in another psychic phenomenon, the
strength of which was evaluated in the seventies, rightly included in hypnosis.
In other words, one of the reasons to signify the genius of this novel, is the locked
room, which in the time in which it is, does not arise from the presence of a
murderer "Vanished into Thin Air" as Carr said, but from a carefully
planned plan. studied, so that the victim himself causes his death.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">But in addition to
this, the genius of the novel lies in having trumpeted a certain truth, instead
operating exactly the opposite: it is always about time, A Question of Time,
but how it is used becomes fundamental to Neroni, for nail the killer.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Neroni will earn his
fame, for having taken the scene from Captain Elliott. But even more ... love.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Masterpiece not yet
worthily recognized, by a brilliant writer.</span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><b><span style="font-size: large;">Pietro De Palma</span> </b><br /></span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-674095248811239082022-09-24T15:13:00.004+02:002023-03-26T22:39:23.428+02:00Vernon Loder : The Shop Window Muders, 1930<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9aVPej-1RtUq-gVU1XmaIV5hfeE_pazG8Z3asQ_m0Fq5QOiXY94HLgGZb9fKwgauntY9nbHsb1SsTpnD1uN0YWvBJWvpL4LNBYJHlNM9xwD7XT_somaigLyqaV0Ak-kgzLJv8H6-uf5mkXxxKR04l_eEDaAMTimFZ22l7ECjP_lYoEjw9sOtDtfypMg/s320/Loder%20001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="206" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9aVPej-1RtUq-gVU1XmaIV5hfeE_pazG8Z3asQ_m0Fq5QOiXY94HLgGZb9fKwgauntY9nbHsb1SsTpnD1uN0YWvBJWvpL4LNBYJHlNM9xwD7XT_somaigLyqaV0Ak-kgzLJv8H6-uf5mkXxxKR04l_eEDaAMTimFZ22l7ECjP_lYoEjw9sOtDtfypMg/s320/Loder%20001.jpg" width="206" /></a></div><br /> <!--[if gte mso 9]><xml>
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<p class="MsoNoSpacing" style="text-align: center;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><b><span style="color: red;"> WARNING : SPOILERS !!!</span></b><br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Vernon
Loder was a pseudonym of John George Haslette Vahey (1881-1938), an Anglo-Irish
writer who also wrote as Henrietta Clandon, John Haslette, Anthony Lang, John
Mowbray and Walter Proudfoot. He worked as an architect before venturing into
creative writing. Vahey died on June 15, 1938. He was an extraordinarily
prolific author: he published 59 books in the period 1925-1938. His work as a
Loder was of high quality, as the Collins Crime Club was selective.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">With pseudonym of
Vernon Loder, John George Haslette Vahey pulished 22 novels:</span></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Mystery
at Stowe (1928)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Whose Hand?
(1929) (in USA come Between Twelve and One)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Vase
Mystery (1929)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Shop
Window Murders (1930)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Essex
Murders (1930) (in USA come The Death Pool) - con Ispettore Brews</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Death of an
Editor (1931) - con Ispettorer Brews</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Red Stain
(1931)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Death in the
Thicket (1932)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Death at the
Wheel (1933)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Suspicion
(1933)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Murder from
Three Angles (1934) - con Capo IspettoreChace</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Two Dead
(1934)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Death at the
Horse Show (1935) - con Capo Ispettore Chace</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Case of
the Dead Doctor (1935)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Ship of
Secrets (1936)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Deaf Mute
Murders (1936)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Little
Man Murders (1936)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Choose Your
Weapon (1937)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Men with
the Double Faces (1937) - con Donald Cairn</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">A Wolf in the
Fold (1938) - con Donald Cairn</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The Button in
the Plate (1938)</span></i></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Kill in the
Ring (1938)</span></i></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">The
novel opens in a very unusual way: the Loder Warehouses are warehouses that
have met with enormous success and a crowd of onlookers waits for them to open
every day. When the shutters are lifted, after a first moment of bewilderment
at the window dressing, you hear the first screams, when you see next to the
mannequins, two bodies that do not seem to be such, and that turn out to be
Tobias Mander, the owner , and Miss Tumour: the first killed with a gunshot
wound, the second with a knife.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Immediately
the investigations entrusted to Inspector Davenish proved difficult, due to the
enormous problematic nature of the evidence: strips of mud were found on the
roof, which seem to have been left by the wheels of a gyroplane; in an
elevator, consistent blood traces were found, under the carpet which is clean;
at night an engine noise was heard, but engines are in the workshops in the
warehouses; at the speaker station where the caretaker Mann is, it turns out
that the speakers have been disconnected due to a suitably cut wire; a Mauser
gun was found in front of the bodies, which fired but not the bullet that
killed Mander, and the bullet that killed him is not found; on the roof, after
careful investigations, in one of the sandbags used to brake the wheels of the
gyroplanes, a bullet is found, but which does not show any blood traces;
bruises were found on the Tumor's arms, as if she herself had been grabbed from
behind and pushed; a precious matchbox is found in the alley near the
warehouses, which belongs to Jameson Peden-Hythe son of Mrs. Peden-Hythe,
Mander's very wealthy financier; Jameson hated Mander; Webley, a mechanic,
proves to have been perhaps the inspirer of the Gyroplane, as well as Cane,
head of the department, from which Mander made huge profits; Robert Kephim,
director of the department stores, was engaged to Miss Tumour, who later turns
out to have also been in intimate contact with Mander, who in turn seems to
have made Mrs. Peden-Hythe infatuated with him, to the point of obtaining the
financing necessary to open the department stores; Miss Tumour's coat, hat, and
glove are missing; finally, it turns out that Mann had been Jameson
Peden-Hythe's attendant and had been recommended by him to the post of
caretaker; the coat and the hat, are found together with others equal in the
clothing departments of the warehouses.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Davenish,
after very long and full of obstacles investigations, will manage to find the
person responsible for the murder of the girl and the one for the murder of
Mander.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://grandestgame.files.wordpress.com/2022/01/loder-the-shop-window-murders-uk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="685" height="482" src="https://grandestgame.files.wordpress.com/2022/01/loder-the-shop-window-murders-uk.jpg" width="419" /></a></div><br /> <p></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">The
novel is a classic whodunnit, which is structured halfway between a procedural
and a detection novel, and in this case the protagonist is Davenish, Inspector
of Scotland Yard, who conducts the investigations, also helped by Melis, deputy
commissioner of Scotland Yard.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">Immediately,
the presentation of the murders in this novel already brings to mind another
novel of the same years, which presents a murder at the opening of the window:
The French Powder Mystery (1930) by Ellery Queen. The interesting thing is that
both novels, that of Ellery Queen and ours of Vernon Loder, are from 1930. Doug
Greene, questioned by me, revealed to me that Vernon Loder's novel had an
American edition, always in 1930. It would be necessary to see at this point
which of the two appeared first in the USA, to understand which was the
archetype and which the next: in my opinion, was published before the Loder e
then the novel by Queen, but <span style="mso-spacerun: yes;"> </span>it is
certain that, if the opening of the novel is similar, almost the same, the two
novels evolve differently in two whodunnit, absolutely different.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">For how
the novel proceeds, and for the pace, which is sometimes very bland, and also
for the enormous number of clues, even misleading, and for the high number of
true and false clues, the novel is exhausting, like well someone says. We can't
wait for the end to come to understand something, because the clues are so
many, and many have a double exit, one true and one false: it must be said that
Loder's narrative vein very often directs the reader to a track. false, only to
adjust the shot. It must therefore be acknowledged that the writer managed to
get to the bottom of the novel with an acceptable solution. The only quid that
is not explained and resolved is why Miss Tumour was killed: Loder through
Davenish proposes that it was carried out on impulse and not premeditated,
precisely by virtue of the use of the knife. However, it must also be
emphasized that all the clues, whether they turn into evidence or are false,
are available to the reader for months; despite this, the identification of the
culprit, even if it originates from a confession of guilt of the murderer, is
not based on a tangible basis, which can be the weapon used because according
to the murderer this has been hidden in a place where no one never would have
seen. And therefore, if the culprit, under psychological pressure, revealed
everything, if instead he had not revealed that he had a .32 caliber pistol, no
one could have blamed him. This is the only weak point of the story: Devenish
is convinced that the culprit must necessarily be a determined person, because
necessarily he should have had a gun, because others with his duties have it,
and therefore assumed that he had to have a gun, that's where the bullet that
killed Mander came from.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">All the
confusion of the clues derives from a precise design of the culprit, which
pursues two purposes: to throw dust in the face of those who must investigate,
and at the same time not to provide precise false leads to indict other
innocent people. </span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="mso-ansi-language: EN-US;">I may
be a fool, sir, and acted hasty—me being in</span><br role="presentation" />
<span role="presentation" style="transform: scaleX(1.00121);">such a funk and
getting the wind up proper when I saw the masked man come</span><br role="presentation" />
<span role="presentation" style="transform: scaleX(1.0501);">up in the lift—but I
did not want an innocent person had up for what I had</span><br role="presentation" />
<span role="presentation" style="transform: scaleX(1.00915);">done accident-like.
It seemed to me the only thing was to make everything as</span><br role="presentation" />
<span role="presentation" style="transform: scaleX(1.00245);">confusing as
possible so no one would be proved guilty.’</span></i><span lang="EN-US" style="mso-ansi-language: EN-US;"> (Chapter 25)</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">In
short, he is not a bad killer. Which would seem an oxymoron. But then it will
be seen that he is not.</span></p>
<p class="MsoNoSpacing"><b><span style="font-size: 14pt;">Pietro De Palma</span></b></p>
<p class="MsoNoSpacing">P.S.</p>
<p class="MsoNoSpacing"><span lang="EN-US" style="mso-ansi-language: EN-US;">The
gyroplane, on which a lot of the novel rotates, it is good to say, is a vehicle
with a large propeller above it, which can only fly forward, like an airplane,
but being very light, it must be used in the absence of wind, which otherwise
could condition its tightness. It is the forerunner of the helicopter, which
however lacks the rear rotor; when it starts it does not climb vertically like
a helicopter, but leaps forward, like a locust. </span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-6573997496384258902022-08-15T19:52:00.002+02:002022-08-15T19:53:14.023+02:00A look at the major crime criticism texts in English, French and Italian (in my opinion)<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/I/514kdCM9HIL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="330" height="313" src="https://m.media-amazon.com/images/I/514kdCM9HIL.jpg" width="207" /></a><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">The recent purchase of three volumes of
crime criticism, which I have longed to own for many years, prompted me to
write this unusual article on my blog on the most important critical studies
concerning Crime Fiction.</span></span>
</div><p class="MsoNoSpacing" style="text-align: left;"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Generally, in my opinion, three different
stages in the knowledge of an author can be identified:</span></span></p>
<p class="MsoNoSpacing" style="text-align: left;"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">the first is that which concerns his
works, without whose knowledge one cannot proceed; the second more specialized
concerns the biographical treatment of the authors that can explain certain
choices, while the third even more specialized concerns the aesthetics of the
works - or what the author sometimes wanted to say when writing a certain work
and concerns what I call metacritic - or even super-specialized studies on
certain topics covered by an author. I will skip over the first, which concerns
the list of works by each author and also the anthologies edited by some
scholars, and I will focus on the critical studies relating to the second and
third stages, which I know and therefore can speak of.I'll start with Douglas
Greene. </span></span></p>
<p class="MsoNoSpacing"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Douglas Greene, Emeritus Professor of
History of the Tudor Period and Elizabeth I, at Old Dominion University, is
known not so much for his critical history studies as for the Carr Biography, <i>The
Man Who Explained Miracles</i>, to which he refers. It is a transformation of
the title of Carr's successful anthology, <i>The Men Who Explained Miracles</i>,
from 1963, which contains various stories focused on three Carrian
investigators: Doctor Fell, Sir Henry Merrivale and Colonel March. Douglas's
volume, published in 1995, was nominated for an Edgar in 1996 along with <i>Savage
Art: A Biography of Jim Thompson</i>, by Roberto Polito, which instead won it
(among other things, a beautiful, very detailed study). Otherwise very
detailed, full of news and references to all Carrian production (including the
lost early tales, which are gradually re-evaluated), otherwise Doug's text is a
must that every Carr enthusiast must have.</span></span></p>
<p class="MsoNoSpacing"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><br /></span></span></p><p class="MsoNoSpacing"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-eu.ssl-images-amazon.com/images/I/414WkBBWnFL._SX342_SY445_QL70_ML2_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="287" height="311" src="https://images-eu.ssl-images-amazon.com/images/I/414WkBBWnFL._SX342_SY445_QL70_ML2_.jpg" width="201" /></a></div><br /><p></p><p class="MsoNoSpacing"><span class="d2edcug0"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">After Doug, here's Martin Edwards: from an
unlucky Edgar nominated to a lucky one. Martin Edwards, successful British
writer of Mysteries and Thrillers, and editor of the famous series of novels
"British Library Crime Classics", in which he has published many of
his anthologies of GAD short stories, also has to try his hand at critical
studies: <i>The Golden Age of Murder</i> dedicated to the Detection Club, a
famous group of British writers (founded in 1930 by Anthony Berkeley and
Dorothy L. Sayers, Agatha Christie and Freeman Wills Crofts), of which he is
currently president, was published in 2015, and the year after the Edgar won.
It is a study, very pleasant to read, in which he talks extensively about the
Detection Club and the writers who were part of it, with a truly exceptional
anecdote (also the photos reproduced are beautiful). Martin following this
critical study, published one in 2017 on Dorothy Sayers, <i>Taking Detective
Stories Seriously: The collective crime reviews of Dorothy L. Sayers</i>.
Basically it is a text that collects the reviews of Dorothy Sayers prepared for
the Sunday Times from 1933 to 1935, of detective novels of the time. The list
of reviews is introduced by a superb introduction by Martin that clarifies the
nature and value of the reviews, which outline a kind of history of the genre
for the years under review. Also from 2017, is <i>The Story of Classic Crime in
100 Books</i>, published in the successful series of the "British Library
Crime Classics" and which deals with a literary history of detective
fiction of the first half of the twentieth century, mainly based on authors
whose various carefully selected stories. In 2020 his fourth study was
released: <i>Howdunit: A Masterclass in Crime Writing by Members of the
Detection Club</i>, winner of the H.R.F. Keating Award for Best Biography /
Critic Book Relating to Detective Fiction and nominated for Edgar Allen Poe and
Macavity Awards. It is essentially a series of advice from English historical
authors not only of mystery but also of spy, on how to write a good detective
novel, which Martin has selected and presented. Finally in 2022, his fifth
study recently came out, <i>The Life of Crime: Detecting the History of
Mysteries and their Creators</i>, which outlines a history of the genre and the
known and unknown writers who interpreted it. It is a sort of very detailed
story of detective fiction, which in my opinion is structured like the famous
S.S. Mike Grost's Van Dine School, and in various distinct sections, which
feature a diverse array of writers united by writers. Very pleasant and
captivating in presentation, and extremely detailed. I predict that this work
will also win important awards in the detective narrative sector.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Leaving
Doug and Martin, one cannot fail to mention the most important study on Ellery
Queen.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-eu.ssl-images-amazon.com/images/I/516BYgqIwkL._SX342_SY445_QL70_ML2_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="309" height="344" src="https://images-eu.ssl-images-amazon.com/images/I/516BYgqIwkL._SX342_SY445_QL70_ML2_.jpg" width="239" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">It
was signed in 1974 by Francis M. Nevins, professor at St. Louis University: <i>Royal
Bloodline: Ellery Queen, Author and Detective</i>. The critical essay the
following year won the Edgar. In the essay, Nevins outlines the guidelines for
understanding Queen's work, and therefore there are numerous spoilers of the
works cited. In it, especially between the two cousins, importance is given to
Dannay's ancestry in inventing the plot of the stories, with everything that is
contained therein. However, the exaggerated importance given to Dannay
convinced Nevins over the years, in the light of more accurate studies on Queen's
work, to give greater visibility to the work of his other cousin Mannay.
Therefore, a few years ago, the first essay was revised, enriched with
contributions by Nevins himself and other material, and re-edited in another
definitive work, Ellery Queen: <i>The Art of Detection.</i> It should be
mentioned that Nevins in 1989 won another Edgar for a critical essay published
the year before in Cornell Woolrich: <i>First You Dream, Then You Die</i>. In
it Nevins explored Woolrich's work, restoring the author's truthfulness of his
life, and eliminating all that had been attributed to him as legendary.
However, it is not a biography, as one might think.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/I/51G1jcIvSHL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="348" height="385" src="https://m.media-amazon.com/images/I/51G1jcIvSHL.jpg" width="268" /></a></div><br /> <p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Still
on the Ellery Queen side, another important critical study can be recorded: <i>Blood
Relations: The Selected Letters of Ellery Queen, 1947-1950</i>, by Joseph
Goodrich. Published in 2012, it is an acute study, on the tensions and
relations between the two cousins, through the analysis of many letters that
they exchanged, in their apotheosis period, the one in which masterpieces such
as Cat of Many Tails, Ten Days Wonder and Origin of Evil, of which they speak,
also narrating their genesis in a certain sense.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/41De0a-JZvL._SX331_BO1,204,203,200_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="377" src="https://images-na.ssl-images-amazon.com/images/I/41De0a-JZvL._SX331_BO1,204,203,200_.jpg" width="252" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Finally,
the only exception in this roundup is <i>The Tragedy of Errors & Others:
With Essays and Tributes to Recognize Ellery Queen's Seventieth Anniversary</i>,
a volume published in 1999 by Crippen & Landru, which contains the plot
written by Dannay for the latest novel. of Queen ever published “containing all
the hallmarks of the greatest Queen novels — the dying message, the succession
of false solutions before the astonishing truth is revealed, and scrupulous
fair play to the reader. And the theme is one that Queen had been developing
for many years: the manipulation of events in a world going mad by people who
aspire to the power of gods ". While it is essentially a novel, it also contains
the six hitherto uncollected Ellery Queen short stories and has various
contributions from friends and relatives. And therefore it is one of the most
important Queen books published after their death</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Other very important essays on
important authors are:</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/710G4KRFEyL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="525" height="438" src="https://images-na.ssl-images-amazon.com/images/I/710G4KRFEyL.jpg" width="287" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">first
of all the two, one after the other by John Curran, on Agatha Christie (<i>Agatha
Christie's Secret Notebooks: Fifty Years of Mysteries in the Making</i>, 2009;
and <i>Agatha Christie's Complete Secret Notebooks: Stories and Secrets of
Murder in the Making</i>, 2010) . In them Curran outlines the genesis of all
Christian works, starting with the discovery of the famous seventy-three
notebooks in which Agatha Christie reported annotations, projects for novels
and theatrical dramas, drawings found in the library of the ancient Greenway
House, where Agatha Christie spent twenty years , made public only after the
disappearance, in 2004, of his daughter Rosalind. Very important for all fans.
The second of the two essays entered the final five of the Edgars, although not
winning it. However, they have won other important awards, including the
Macavity</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><br /></span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/41ra4mRXG2L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="274" height="333" src="https://images-na.ssl-images-amazon.com/images/I/41ra4mRXG2L.jpg" width="228" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">David
Whittle's essay, <i>Bruce Montgomery / Edmund Crispin: A Life in Music and
Books</i>. Published in 2007. In it Whittle outlines on a double track, the
life of Bruce Montgomery, composer and organist, and that of Edmund Crispin,
novelist, and the analysis of his works. Very interesting, also and above all
because it sheds light on the work of a great British mystery novelist, of whom
little was known, and also on his life as a composer. There are interviews with
people and friends who knew him, and his early retirement from the stage and
abandonment of creative writing is analyzed, also in the light of his health problems,
osteoporosis and alcoholism.</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/51A8aJIwUBL._SX348_BO1,204,203,200_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="350" height="392" src="https://images-na.ssl-images-amazon.com/images/I/51A8aJIwUBL._SX348_BO1,204,203,200_.jpg" width="275" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Then there’s the essay written
by Curtis Evans, <i>Masters of the Humdrum Mystery</i>. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Published in 2012,
the essay analyzes the works of three great GAD novelists: Cecil John Charles
Street (aka John Rhode / Miles Burton), Freeman Will Crofts and Alfred Walter
Stewart (J.J. Connington) and in general the British Detective Novel from 1920 to
1961. Very very interesting, also and above all for the analysis of the three
authors to whom no one or almost no one had before Curt, paid attention: each
of the three authors is reserved a part, but among them the preponderant one is
the first, the one dedicated in Rhode, also and above all for the immense
production of the same, which is analyzed succinctly but also with rare acuity,
in almost 100 pages. Three appendices follow with the three complete
productions of the three writers, plus an insert dedicated to Crofts'
contribution to <i>The Floting Admiral</i>, 1931; and <i>Double Death</i>,
1939.</span>
</p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Another
very accurate essay study, written as a tribute to an illustrious compatriot,
is that of Joanne Drayton on Ngaio Marsh: <i>Ngaio Marsh. Her Life in Crime</i>,
released in 2008.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Finally,
we cannot fail to mention the two essays by Jeffrey Marks:</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">the
first dedicated to Craig Rice (2001), <i>Who Was That Lady? Craig Rice: Queen
of the Screwball Mystery</i>, and second to Anthony Boucher (2008): <i>Anthony
Boucher: A Biobibliography</i>.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-eu.ssl-images-amazon.com/images/I/51xcYLUurxL._SY264_BO1,204,203,200_QL40_ML2_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="178" height="309" src="https://images-eu.ssl-images-amazon.com/images/I/51xcYLUurxL._SY264_BO1,204,203,200_QL40_ML2_.jpg" width="207" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Two
essays, very acute: the first nominated for Edgars, Macavity etc .. is an
experimental study on one of the queens of black comedy, halfway between
Mystery and Hard Boiled, while the second is a study of the character Boucher
through 4 different perspectives: staff, author, editor and critic.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">A
very specialized study of poisons used as a murder weapon in Agatha Christie's
novels is <i>A is for arsenic. The poisons of Agatha Christie</i> (2015) by
Kathryn Harkup. It is a very meticulous and technical essay, which informs in a
very specific way about poisons and their action, listing them in relation to
their placement in Christie's novels and short stories: eg. hexerine is said to
be used in Crooked House and Curtain only and then we move on to the
explanation of what the poisonous substance is used and what effects it causes.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/711H7eHIzHL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="521" height="491" src="https://images-na.ssl-images-amazon.com/images/I/711H7eHIzHL.jpg" width="320" /></a><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></div><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></div></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><br /></span></div></span><p></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Then there are collections of
short essays in the form of paragraphs to form treatises regarding Crime
fiction. One of them that comes to mind is for example <i>A Companion to Crime
Fiction </i>(2010), edited from Charles J. Rzepka & Lee Horsley</span></span> <br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://pictures.abebooks.com/isbn/9788804337614-it.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="303" height="387" src="https://pictures.abebooks.com/isbn/9788804337614-it.jpg" width="235" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">On the Italian front, we
mention only one, but very interesting, out of print for many years, published
by Mondadori in 1990, by Giuseppe Fiori & Luigi Calcerano: <i>Guida alla lettura di Agatha Christie (=A guide to
reading by Agatha Christie)</i>. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt;">This is an extraordinarily interesting
essay, among other things written very well, very learned, with precise
observations and precise comparisons that outline an extremely in-depth work
carried out on the sources not only referring to Christie but also to the
detective genre in general, detectable in the Note. The result is an all-round,
accomplished and fascinating perspective of Agatha Christie.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Among
the essays concerning the history of the genre, I emphasize:</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">first
of all the dated but very important, <i>Bloody Murder - From the Detective
Story to the Crime Novel: A History </i>(1972) (US title: <i>Mortal
Consequences</i>), a second revised edition of which came out in 1985, a third
revised edition in 1992, and a fourth in 1994, by Julian Symmons. Its
importance as a history of the genre from the mid-nineteenth century to the end
of the twentieth century, goes hand in hand with the fluidity of the discourse
and acting as an accredited source both to the neophyte, who knows little or
nothing about the works and their authors, and to the enthusiast, and finally
to the critic and collector, also citing neglected works, but which
nevertheless, according to the author's judgment, have a certain importance.
The essay earned a 1973 Special Edgar Award.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/81vQ4wfmmhL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="515" height="521" src="https://images-na.ssl-images-amazon.com/images/I/81vQ4wfmmhL.jpg" width="335" /></a></div><br /> <p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Then
there is a curious but very interesting essay by Ernest Mandel, the most
important Marxist and Trotskyist theorist of the second half of the twentieth
century, which analyzes the History of the Detective Genre, from a Marxist and
social perspective: <i>Delightful Murder: A Social History of the Crime Story</i>.
Published in 1984, the essay examines much of the production. Not being an
expert on the detective genre, he is not so much suitable for people who love
the genre, as for those who, through reading genre literature, want to rise to
ideas and concepts concerning the class struggle, the bourgeoisie and
capitalism, in the novel. detective.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/91kCK1n+R8L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="500" height="590" src="https://images-na.ssl-images-amazon.com/images/I/91kCK1n+R8L.jpg" width="369" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Very
interesting is a critical essay by Bill Pronzini, a great novelist, versed
(like Martin Edwards) in the criticism of the genre: <i>Son of Gun in Cheek: An
Affectionate Guide to More of the "Worst" in Mystery Fiction</i>, is
a series of novels ugly, unlikely, highly original, by established authors such
as Henry S. Keeler or Ed McBain or Joseph Wambaugh and many others, whose
unsuccessful works are examined, gutted and even cut short. Pronzini's style is
always very enjoyable, and therefore the reading is very stimulating. For
example, I found among the horrors of him, a very funny novel for its bizarre
plot, which I reviewed years ago, <i>Murder of a Mystery Writer</i> by Eric
Heath (1955).</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">The
essay is the evolution of a previous essay, from 1982, entitled <i>Gun in Cheek</i>,
in which Pronzini analyzed plots bordering on the impossible, unlikely
characterizations and the most futile he had read. In <i>Son of Gun in Cheek: An
Affectionate Guide to More of the "Worst" in Mystery Fiction</i>
there are not only mentioned novels and short stories, but also B and C series
films, Pulp magazines and everything that was ugly in the eyes of Pronzini to
the highest degree or unlikely and therefore likely to be cited. He won the
Macavity Prize in 1988. There is another essay, which more than essay, is a
Guide to 1001 between summaries of plots, reviews, and biographies of authors
of detective and espionage novels: <i>1001 Midnights: The Aficionado's Guide to
Mystery and Detective Fiction</i> by Bill Pronzini & Marcia Muller,
published in 1986.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">There
is a bit of everything, but seasoned with the humor and irreverent vein of
Pronzini and his wife Marcia Muller, who do not necessarily consecrate established
works, but affirm the opposite. A guide therefore in some ways unpredictable.
This won the Macavity award in 1987.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/317GkqJ4EIL._SY291_BO1,204,203,200_QL40_ML2_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="196" height="293" src="https://images-na.ssl-images-amazon.com/images/I/317GkqJ4EIL._SY291_BO1,204,203,200_QL40_ML2_.jpg" width="196" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">On
genres, one cannot fail to mention the bible of Locked Rooms and Impossible
Crimes, by Robert Adey. Released in 1992 and soon sold out, <i>Locked Room
Murders and Other Impossible Crimes: A Comprehensive Bibliography</i> was a
landmark work of its kind as it listed most of the novels and short stories
that over time had been centered around the Locked Room and Impossible Crimes
genre. providing each title "the specialty contemplated".</span>
</p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">After
Adey's death, in 2018, John Pugmire with the collaboration of Adey's wife,
published a second edition, revised and corrected, in which he added a series
of works that had escaped the first original edition, including graphic novels.
, films, TV series. Nonetheless, headlines have escaped. For example, I have
identified one (and reported to Pugmire) by J.J. Connington (<i>In Whose Dim
Shadow</i>, 1935), a small masterpiece unknown to most, which has escaped its
reissue. </span></p><p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">A supplement to
the second revised edition of Bob Adey's work was also published in December
2019, this time edited not by John Pugmire but by Brian Skupin.</span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.mylri.com/wp-content/uploads/2019/12/LRM-Supplement-200x300.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="200" height="339" src="https://www.mylri.com/wp-content/uploads/2019/12/LRM-Supplement-200x300.jpeg" width="226" /></a></div><br /><p></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt;">On
this same shore, are also some studies by Roland Lacourbe</span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/51RWWWF5DNL._SX336_BO1,204,203,200_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="338" height="360" src="https://images-na.ssl-images-amazon.com/images/I/51RWWWF5DNL._SX336_BO1,204,203,200_.jpg" width="257" /></a></div> <p></p><p class="MsoNoSpacing"><span style="font-family: times;"><span lang="EN-US" style="font-size: 12pt;">First of all <i>99 Chambres
closes: guide de lecture du crime impossible</i>, published in 1991 with the
collaboration of Robert Adey, which proposes a selection of 99 novels of Locked
Rooms and Impossible Crimes for him, with 99 solutions and also very
meritorious anthologies of short stories , entrusted to masters of the genre,
and the two points of view of Adey and Lacourbe on the genre. </span><span style="font-size: 12pt;">It is very
interesting above all because it proposes the Francophone point of view
compared to Adey's Anglo-Saxon one, and cites a series of novels otherwise
unknown to most, but published in France and Belgium.</span></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><br /></span></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://assets.lulu.com/cover_thumbs/1/4/14mjrz57-front-shortedge-384.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="384" height="392" src="https://assets.lulu.com/cover_thumbs/1/4/14mjrz57-front-shortedge-384.jpg" width="302" /></a></div><br /><p></p><p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">And
finally <i>1001 Chambres Closes by Roland Lacourbe, Vincent Bourgeois, Philippe
Fooz, Michel Soupart: guide de lecture du crime impossible</i>, published in
2013. The guide lists more than 1100 works (660 novels and 500 short stories)
written by hundreds of language authors Anglo-Saxon, French-speaking, Italian
and Japanese. It represents a sort of very broad response to Adey's work by the
only one capable of standing beside him, and perhaps even surpassing him, also
and above all for having published almost all of Carr in French, including
Grand Guignol, the long story that is the base for It Walks By Night, which
Doug is now about to republish in English. This huge anthology was followed by
a second part that analyzed cartoons, films and TV series: <i>1001 Chambres
Closes - Annexes</i>, published in 2014.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Still
in the Francophone language, among the most important critical contributions,
we include first of all those of Thomas Narcejac (who together with Pierre
Boileau, constituted one of the most famous associations of detective fiction
of the second half of the twentieth century):</span></p>
<p class="MsoNoSpacing"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Esthétique
du roman policier</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">,
1947: Narcejac analyzes detective literature above all by analyzing that
specific to Pierre Boileau. It was precisely this study that fostered knowledge
of the counterpart and favored the establishment of the Boilaeu-Narcejac
partnership.</span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></i></p><p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://images-na.ssl-images-amazon.com/images/I/31PLtkjo+fL._SX388_BO1,204,203,200_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="390" height="386" src="https://images-na.ssl-images-amazon.com/images/I/31PLtkjo+fL._SX388_BO1,204,203,200_.jpg" width="302" /></a></i></div><i><br /></i><p></p><p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> La Fin d'un Bluff. Essai sur
le Roman policier noir américain</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> 1949: it
is a pamphlet of criticism, also quite determined to the genre. It earned him a
controversy with the director of the Série Noir, Marcel Duhamel.</span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Le Roman Policier</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">, 1964: one of the best contributions to the genre. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt;">It is not so much
a descriptive book, but rather it is a critical one. </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Not at home the pair of authors identifies the mechanism of Suspence
through the one-to-one relationship Reader - Victim - Murderer, with all its
various facets.</span></p>
<p class="MsoNoSpacing"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Une
machine a lire: le roman policier</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">, 1975: Narcejac, examines the detective
genre from its origins and comparing it with field numbers (Religion,
Economics, Politics, Literature) demonstrates how it has become such an
important representation of our daily life.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Furthermore, in addition to <i>La
double mort de Frédéric Belot</i>, a formidable deductive novel by Claude
Aveline, a <i>Double note sur le roman policier</i>, written by a leading
intellectual like Aveline, was published by the same, a leading French
intellectual of the French left. , with the aim of clearing the police
literature considered a literary sub-genre in France (but also in Italy), hit
the mark and made the Aveine novels become literary cases: ... </span><span style="font-family: "Times New Roman",serif; font-size: 12pt;">"Il n'y pas
de romans nobles belonging aux Belles- Lettres (qui en décide?) Et de romans
moins nobles parmi lesquels on range selon the arbitrator habituel romans
populaires, d'aventure, romans policiers ”.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Another
story of crime fiction in France is that of David Platten, <i>The Pleasures of
Crime. Reading Modern French Crime Fiction</i> (2011). However, it is a patchy
examination. Treats the major contemporary authors (Vargas etc.) and some of
the past (Simenon, Very ..) but forgets many others (Vindry, Boca, Meirs, etcc).</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Times New Roman",serif; font-size: 16pt;">Pietro
De Palma</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com1tag:blogger.com,1999:blog-9100001220947256423.post-82287366146887786252022-07-16T12:58:00.003+02:002022-08-15T19:56:00.559+02:00WRITING DOWN A LIST OF LOCKED ROOMS<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8GhnQRYKL-7a0l5KCawqYC0FmrXXKHLpC7lGndyBW0Grwo6Ej4dTo4a_dfD5b5jYlrASaILWNSJ_x4j8vSyiSpzMWouaVKkzOdGJY6hKUvxcZr2692uT1PJh7cyoVUA68HJBEsvWiCjMD/s393/plant2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="393" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8GhnQRYKL-7a0l5KCawqYC0FmrXXKHLpC7lGndyBW0Grwo6Ej4dTo4a_dfD5b5jYlrASaILWNSJ_x4j8vSyiSpzMWouaVKkzOdGJY6hKUvxcZr2692uT1PJh7cyoVUA68HJBEsvWiCjMD/s320/plant2.png" width="320" /></a></div><br /><p></p><p><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Many people have already tried their hand at the tantalizing game of
elaborating a list of Locked Rooms, the best ones according to their taste and
knowledge, and from the comparison between the various lists, some firm points
emerge that it will be worth considering.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: red;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">First point: The Carr Problem</span></b></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">John Dickson Carr is humanly considered the greatest and unsurpassed Master
of <a name="_Hlk108864749">Locked Rooms</a>, the one who sounded out the genre
by inventing novels with the most absurd and electrifying situations. So, come
on, anyone who wants to draw up a list of Locked Rooms, cannot fail to confront
Carr. Especially since he was not only a specialist, but a great novelist, with
a great narrative technique, and with breathtaking descriptions and
atmospheres, which, due to their density, lent themselves well to being
dramatized on the radio. So a great writer, who can give you serious headaches. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">For what reason? For one above all: if the list will include Carr, of
course it will have to be copious, far exceeding the number 50; if, on the
other hand, one wanted to prepare an essential one, in my opinion one would
have to exclude a priori Carr, who is a separate case. In fact, creating a
list, in which to insert one or two of Carr's novels would not only be an
understatement but also unfair, because each great Locked Room of him is a
speech in itself, which deserves to be remembered. Moreover, it has happened
that in the case of a very famous list, that of Lacourbe, for a sort of
national chauvinism or national pride that we want to define it in this way,
six seven novels by Carr have been contrasted with six seven by Halter.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: red;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Second Point: The Halter Problem</span></b></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Now here, we touch on a controversial point, because Paul Halter is the
greatest writer of <a name="_Hlk108864967">Locked Rooms</a>, after Carr and
Hoch (the greatest in the genre of short stories), and therefore lends himself
well to being remembered and perhaps compared. This touches me even more,
because in the past I made an interview with Paul, whose friendship I enjoy,
and therefore I find it somewhat problematic to talk about it: But since I have
already experienced the discourse elsewhere, and I have discussed it with him (
in French, of course), I don't see why I shouldn't repeat it here: for me the
greatest is Carr, without a shadow of a doubt, and he is unsurpassed for one
very simple aspect, namely the fact that he was a well-rounded writer, the
whose novels had not only very complicated problems, but also great atmospheres
and great killers, that is, the psychological nature of the perpetrator was
very well analyzed. In Paul's novels, on the other hand, if virtuosity in
itself reaches absolutely unusual peaks, perhaps even higher than Carr, it
loses a lot in the characterization of the characters, because very often his
characters are either psychically ill or are women or boys, there are no that
is, well-curated characterizations of murderers except in exceptional cases,
even if the atmospheres are also well developed. It is a bit the same thing
that could be said, obviously in smaller areas, for Clayton Rawson, a writer
who, as an illusionist he was, has created some extraordinary examples of Locked
Rooms, including the absolute best brain breaker in my opinion. together with <i>The
Hollow Man</i> , that is <i>Death from the Top Hat</i>: in fact, even though he
is a master of insoluble problems, he is lacking in something: in his case in
atmospheres, which are rather cold.Lacourbe, on the other hand, in his list of 99 Chambers (which are actually
more) places the two in a sort of confrontation, limiting the consideration of
the others in some way. In his case, then, there is an exorbitant presence of
French classics, to the detriment of the Anglo-Saxon ones, and the almost
absence of Chambers elaborated by writers of other nationalities: for example.
there is nothing of Italian.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: red;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Third Point: the Country Problem</span></b></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">This is also another controversial point: in fact in a list that respects
itself, and as impartial as possible, both French and Anglo-Saxon literature
should be present, because the French in the 1930s created some extraordinary
examples that are however very little considered in the Anglo-Saxon world due
to the lack of translations, which John Pugmire is doing little by little, but
an isolated case. And so if Hoch's list does not present even one, Lacourbe's
list presents many, perhaps too many.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: red;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Fourth Point: the Language Problem</span></b></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">A further point should then be examined: is it right to draw up one that
contains all the best rooms ever, or only the best ones translated into the
language of the nation in which you live? Well, I would be inclined to indicate briefly one that is absolutely, and
in which the novels are cited not on the basis of a ranking that would be
inappropriate for the presence of Carr's novels compared to the less numerous
other writers, novels of Carr who would inevitably end up with higher votes
than others, but to a list of titles, all equally important.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: red;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Difference between
Locked Room and Impossible Crime</span></b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">A further reason for
reasoning concerns what is meant by </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Locked Rooms</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">: commonly, by </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Locked Rooms</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">
we sometimes also mean the so-called Impossible Crime. In fact, many authors
consider the two terms to be essentially comparable. For me, on the other hand,
these are two distinct things, due to the elements they contain: the crime that
is impossible in itself, although it often takes the form of a sleight of hand
or an illusion (see <i>Lord of the Sorcerers</i></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">for example, or <i>The Emperor's Snuff-box</i>), it is not a real Locked
Room: in fact, for one to rightly speak of a Locked Room, it is necessary that
there is not only a well-marked temporal element (which perhaps can exist alone
in the Impossible Crime: eg. <i>Tour de Force</i> by Christianna Brand) but
also space: I would say almost above all space. That is, it is necessary that
there is a well-defined space, in which a murder or a disappearance of
something took place, without the conditions for which someone could have gone
out: therefore we will have a room closed by door and windows, with
inaccessible chimneys. and without trap doors and secret doors; or a house
surrounded by intact snow, or a crime that took place on a beach with sand
without footprints around it. Or it must have happened outside in front of the
eyes of those present without anyone having seen the killer (<i>The Black
Spectacles</i>). Or it even happened in the rain, without there being wet
footprints (in a novel by De Angelis).</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Following Lacourbe's
false line, which mind you I deeply respect, perhaps even for having published
all of Carr's radio plays in French, I could draw up my own list in which to
include Italian novels as well; however, like Lacourbe's list, mine too would
end up being chauvinistic, as it would end up that an Italian list, with even
Italian novels, would end up excluding novels of other nationalities, perhaps
more deserving.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">So in the end, not
drawing up a list of 100 novels, like Lacourbe, but trying to remedy his moles
and aiming to be as super partes as possible, I will draw up my essential and
essential list of 25 (+ 1) novels, only with Locked Rooms, and not with Crimes
Impossible, in which I will go against many common thoughts, including an
Italian novel (translated into English by Igor Longo, and published by Locked
Rooms International)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Considering the Master
to be a unique and unrepeatable case, I will put his novels in the head, and
then to follow, distinguished according to the alphabetical order, those of
other novelists</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">I know that every
reader who will read this list will have to object and present their own
inclusions while excluding some novels I have included. However, I tried to be
as impartial as possible, and nevertheless I have to justify some sensational
exclusions:</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></i></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Times New Roman",serif; font-size: 14pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">LIST OF THE BEST 25 LOCKED
ROOMS (+1), ABSOLUTELY:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">John Dickson CARR : <i>The Hollow Man & The Juda’s Window</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Clayton RAWSON: </span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Death from a Top Hat</span></i><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Christianna BRAND : <i>Death of Jezebel</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Paul HALTER : <i><span style="mso-font-kerning: 18.0pt;">La Quatriéme Porte</span></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;">Derek SMITH : <i>Whistle Up The Devil</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;">Pierre BOILEAU : </span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">L’assassin vient les mains vides</span></i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Edgar WALLACE: <i>The
Clue of the New Pin</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">S.S. Van DINE : <i>The
Kennel Murder Case</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Leo BRUCE: <i>Case for
Three Detectives</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Alan GREEN: <i>What a
Body!</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Charles ASHTON: Dance
for A Dead Uncle</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Peter SHAFFER : The <i>Woman
in the Wardrobe</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Seishi YOKOMIZO: Honjin
Satsujin Jiken</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Keigo HIGASHINO: Hakuba
Sansō Satsujin Jiken</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Peter LOVESEY : <i>Bloodhounds</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Anthony BOUCHER: <i>Nine
Times Nine</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Anthony WYNNE: <i>The Case of the Gold Coins</i><b> </b></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">John RHODE: <i>Invisible
Weapons</i> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Alexis GENSOUL &
Charles GRENIER: <i>La Mort vient de nulle part</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Edmund CRISPIN: <i>The
Moving Toyshop</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Anthony BERKELEY : <i>The
Layton Court Mystery</i> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: Calibri;">Franco VAILATI: <i>Il mistero dell’Idrovolante
</i>(</span><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;">The Flying Boat Mystery</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;">)</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: Calibri;">Yukito AYATSUJI: <i>Jukkakukan no Satsujin</i></span><i><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">J.J. CONNINGTON :<i> </i></span><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><i>In Whose Dim
Shadow</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Ulf <span style="mso-spacerun: yes;"> </span>DURLING : <i>Gammal Ost</i> (<i>Hard Cheese</i>)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Rim of the Pit</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> by TALBOT: as I wrote
in an article of mine several years ago (taken up and made his own in one of
his theses by an Italian scholar, without citing me), although the novel is
beautiful, it has a very big flaw: that of inserting apparently impossible
things, explaining them not in an exhaustive way and often climbing on mirrors
(as Halter sometimes does); for the rest I refer to my article: <a href="http://deathcanread.blogspot.com/2017/06/hake-talbot-rim-of-pit-1944.html">http://deathcanread.blogspot.com/2017/06/hake-talbot-rim-of-pit-1944.html</a>
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">The Chinese Orange
Mystery</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> by Ellery Queen: it
is not a Locked Room, as it would seem, but an impossible crime: the reason is
that the chamber is not closed, but open.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Invisible Green</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> by John Sladek, I
personally did not like it, because the solution is too far-fetched even if it
is magnificent: the best solutions are those that seem crazy and then come down
to nothing or almost nothing and that can be simply replicated. I liked <i>Black
Aura</i></span><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">by Sladek, even if the solution is too complex
there. And above all, a masterpiece is the short story <i>By an Unknown Hand</i>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">Tom inserts <i>Mr
Splitfoot</i>, by Helen McCloy probably for the sound effect, not knowing that,
however, the same was invented in exactly the same way (and therefore I would
speak of derivation) by Charles Ashton (I wrote it in the related article). In
the same way I do not insert a novel that I liked very much like The Gilded Fly
by Edmund Crispin, because the solution derives (I don't know whether
deliberately or not) from the novel I have quoted by Gensoul & Grenier.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">The Tokyo Zodiac
Murders</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> by Soji Shimada, is
not mentioned, because despite being one of the most beautiful novels I have
ever read, for the delusional fantasy, its locked room is nothing special,
referring to the one invented by other authors.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">One final reflection.
I was undecided whether to include among Italian locked room writers, the Vailati
novel or De Angelis novel: De Angelis's is much more novel than Vailati's,
which focuses only on the Locked Room, but while in “L’ Albergo delle Tre Rose”
(<i>The Hotel of the Three Roses</i>) the Locked Room, despite being there, it
is only one of the three crimes, and is not even mentioned as such by De
Angelis obviously not interested in the impossible crime in itself, in other
case (</span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;">The Flying Boat Mystery</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 18.0pt;">) t</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;">he whole novel is based on the crime and the solution
is phantasmagoric, a sleight of hand.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16pt; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri;"> </span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="font-family: "Times New Roman",serif; font-size: 16pt; mso-fareast-font-family: Calibri;">Pietro De Palma</span></b></p>
<p></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com8tag:blogger.com,1999:blog-9100001220947256423.post-64308652723284977632022-06-13T14:55:00.002+02:002023-03-26T22:38:57.196+02:00John Dickson Carr : The Diamond Pentacle, 1939 (from Merrivale, March and Murder, 1991)<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIl2CumODCpz5LfLV7_u_VvPiT5Zxcm-BBPLf2spXtCnL_VcEvPHDEDdSmbnFc0qIAvUOSRiRdOYDhchUeUcWymGU_Szz61AK45PYTbD0Sqwl7ADWpoEc8N5O_itjCRprG7AegGr9fspNICeDwGBCvSBJ7b0t898keHVYK3eP5mMah8CYOQxuQ4zEc/s1018/Merrivale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1018" data-original-width="676" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIl2CumODCpz5LfLV7_u_VvPiT5Zxcm-BBPLf2spXtCnL_VcEvPHDEDdSmbnFc0qIAvUOSRiRdOYDhchUeUcWymGU_Szz61AK45PYTbD0Sqwl7ADWpoEc8N5O_itjCRprG7AegGr9fspNICeDwGBCvSBJ7b0t898keHVYK3eP5mMah8CYOQxuQ4zEc/w298-h449/Merrivale.jpg" width="298" /></a></div><br /><p></p><p> </p><p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><i><span lang="EN-US">The Diamond Pentacle</span></i><span lang="EN-US"> is among Carr's best
short stories ever.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">It dates back to 1939, a period characterized by
intense production, both for novels (<i>The Problem of the Wire Cage</i> and <i>The
Black Spectacles</i>, with Doctor Fell, <i>The Reader is Warned</i> with
Merrivale and <i>Drop to His Death</i>, written together with John Rhode,
without a fixed character), and short stories (<i>New murders for old,</i> <i>Strictly
diplomatic</i>, <i>Harem Scarem</i>).</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">It was published under the pseudonym Carter Dickson,
in the Times on November 15, 1939. It was later included in the <i>March
Merrivale and Murder</i> collection, which, edited by Douglas G. Green - dates
back to 1991 - costs $ 193 .. used. I had the opportunity to read the story
thanks first to Doug, but the scan in some parts was unreadable, and then
thanks to Arthur Vidro.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">The story is not about a murder or an injury, but in
any case something absolutely impossible if not explained with the common
reasoning: that is, how someone can enter a locked room from the inside, leave
tangible evidence that he has entered, and leave it.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US"> </span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><b><span lang="EN-US" style="color: red; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></b></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><b><span style="color: red; mso-fareast-language: IT;">WARNING: SPOILERS !!!</span></b></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><b><span style="color: red; mso-fareast-language: IT;"> </span></b></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">In essence, the plot is summed up in this: Dick Mason
and Sheila Lake spend a week together in Broadlawns, the Bart Lake estate. They
have known each other for about a month and they fell in love. She doesn't know
exactly what he does. On more than one occasion he has shown interest in his
speeches, especially recently, for the jewels that are stored in the wall safe
in Sheila's room and in particular the Pentacle of Diamonds, donated by Uncle
Bart to Aunt Martha. Even if the girl believes that the young man's worries
about a possible theft are absolutely useless, because the safe is of the
latest type, and what's more she always locks it from behind, and in the house
besides her and Dick, there is Major and Mrs. Prentice, however the skirmishes
go on. Dick is not fully convinced of the goodness of Aunt Martha's invitation,
who has never been able to see him, despite the fact that Uncle Bart immediately
sympathized with him. Sheila begins to have some suspicions towards Dick, who
at some point bets with her that if he will prove to her that he can get into
her bedroom during the night, even though she locks herself from the inside,
she will take the steps to transfer. the jewelry in a safer place. The fact is
that what the young man predicted happens promptly. The next day, another
complication also happens: Agnes Prentice tells her husband (they are friends
of Uncle Bart and Aunt Martha) of how she discovered that Bart has hired
high-ranking detectives to find out who Dick actually is. So when the hosts
return from Scotland and Major Prentice picks them up at the station, he
reports the situation to the landlord and then they decide to confront the young
man and the girl who doesn't answer the calls. When they enter the young
woman's bedroom, they find her in a negligee while the clothes of him, are
still wet. Cornered, Dick will tell another story, which concerns the
subtraction of the Pentacle, yes, but not done by him, and in his defense he
will tell the facts as they went, he will demonstrate them and so with a
certain happy ending, (his and girl) ends the story. It is not known how Uncle
Bart and Aunt Marta behaved.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US"> </span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><b><span lang="EN-US" style="color: red; mso-ansi-language: EN-US; mso-fareast-language: IT;">THE
END OF THE SPOILERS</span></b></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><b><span lang="EN-US" style="color: red; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></b></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">I kept quiet about so many things.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">First of all, Carr's story, twenty pages, is
delightful.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">There is Carr's usual way, old romantic, when he has
to talk about the relationship of an engaged couple: there are skirmishes, the
young man and the young woman have met and have been flirting for a month
already, and he already wants to put things together. clear about the
possibility of keeping the girl (after less than a month!). There is the
embarrassing situation when they discover them in the girl's bedroom, locked
from the inside, with her in a negligee that lets you see something and he is
not at all embarrassed even if with damp clothes on, as if at night he had gone
out without an umbrella .</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">Carr, with his usual style, succeeds from the very
first pages, with Dick's allusions to a possible theft, with his allusions to
the famous escapologist Mephisto, with his repeated request to transfer the
Pentacle from the very secure safe to another hiding place, to instill doubt in
Sheila (and the reader) that Dick is a jewelry thief. Except then, with one of
his usual pirouettes, to overturn everything, providing the explanation of his
fears about the Pentacle and why he did not want him to continue to stay in
Sheila's room, to want to protect her. From what I am not saying, because then
I would take away the pleasure of the average reader to find out.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">Obviously, the Pentacle of diamonds in the safe is not
there. Dick has it, but he's not a thief.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">Let's leave out the rest, to make some notes on the
story itself.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">In that 1939, in the context of the four written
stories, this is the most detective one, in the strict sense: <i>Harem Scarem</i>
is an adventurous tale, <i>Strictly Diplomatic</i> has a plot that pertains to
espionage, and <i>New murders for old </i>is finally a tale of the supernatural
. <i>Strictly Diplomatic</i> would also have an impossible situation, but
between it and <i>The Diamond Pentacle</i>, the pearl is the latter in my
opinion: first of all for how it bases the story to explain the lack of the
Pentacle from the super-safe safe; why Aunt Martha, while not digesting the
young man, invited him in the absence of her and her husband to their house;
and how Dick explains after explaining everything else, that gem about how he
managed to break into a door hermetically closed from the inside, entering the
room and then leaving, closing it behind him.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">The
solution is absolutely extraordinary, but in a certain sense it loses its boom
effect if the reader has already read all of Carr's novels: I say this because,
as happened other times in Carr, the solutions and plots of some stories become
the basis for the creation of novels. And here too, the solution of the locked
room of <i>The Diamond Pentacle</i> will be found years later in the explanation
of the third impossible suicide in <i>The Case of the Constant Suicides</i>, as
it is: not only in the explanation, but also in the object with which here
Dick, the murderer there, will have made possible the impossible closure of a
room from the inside. Here, if we want, the impossibility is double, because in
addition to having closed the door behind him, Dick first opened it. Since the
trick to close the door is the same, carried out with the same tools, Carr
systematically excluded the story from his anthologies.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">In my
opinion there would also be another gem: when Dick Mason justifies himself in
front of Bartholomew Lake and Major Prentice, telling his truth which is almost
the opposite of what he was charged up to that moment, he exclaims<i>: I've
made a remarkable ass of myself, ”he said. "I’ve been the world’s most
whacking fool; but now, by thunder and Long John Silver, there are limits!
"(</i>page 14). When he swears in recalling Long John Silver, it may have
been because he points out a person's ambiguous conduct. Long John Silver, I
remember, is the pirate with the wooden leg and the parrot perched on his
shoulder, from Treasure Island, by Stevenson.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">Ultimately,
whoever manages to find the story, and has the novel to read, will have to
decide which one to read first.</span></span></span></p><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US">But not reading
this story, it's a real… crime!</span></span></span></p><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US"> </span></span></span></p><p class="MsoNoSpacing"><span style="font-family: verdana;"><span style="font-size: small;"><span lang="EN-US"><b>Pietro De Palma</b> <br /></span></span></span></p>
Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-46048026327859945922022-05-30T16:19:00.006+02:002023-03-26T22:38:35.179+02:00John Dickson Carr : The Legend of the Cane in the Dark, 1927( from The Halverfordian) and its evolution into The Man Who Was Dead, 1935 and New Murders for Old, 1939<p> </p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUvLpK5wPpNp50PNEDWx1MaGIFYlPOMWFB--hQ7LKjayly2RsdnnwT-hPf-M6aBF2t9-YgoXliceEi004lD-6wssGan9VxoX0Kc8KTUJflU4WRmzusD9xgZxCTr-VmmTMc5x4oerAsaEZC-qkvUVSbhNeQ-dzBRrsNba8EoqO0B3e8RvS4uZiErBW/s346/doom.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="231" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUvLpK5wPpNp50PNEDWx1MaGIFYlPOMWFB--hQ7LKjayly2RsdnnwT-hPf-M6aBF2t9-YgoXliceEi004lD-6wssGan9VxoX0Kc8KTUJflU4WRmzusD9xgZxCTr-VmmTMc5x4oerAsaEZC-qkvUVSbhNeQ-dzBRrsNba8EoqO0B3e8RvS4uZiErBW/w250-h374/doom.jpg" width="250" /></a></div><br /><p></p><p><br /></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">As many know, John Dickson Carr, while studying at Halverfordian College
in Pennsylvania, wrote numerous short stories in the College magazine of which
he was editor, <i>The Halfervordian</i>. In the context of the magazine, the
stories are almost always exposed in the course of meetings between some
characters, of which the main ones will also appear later in novels: this is
the case, for example. by Bencolin and Sir John Landevorne. Among the stories
enunciated in the Haverfordian stories there are the 4 of
Bencolin collected later in <i>The Door To Doom</i>, but also other stories.
This is the case in particular of a story, starring another of the characters
who find themselves reunited by Sir John Landevorne, the freelance journalist
and writer Stoneman Wood.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">This story was later taken up several times by Carr, to testify how he
probably intended to fully exploit the tragic and supernatural aura of the
story. However, we note how the three drafts differ, even considerably, in
relation to the use that the story had to be made of.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRr217m3Hil8OGbDIkl31fgY_gcn5cef7EbMCccBBDpbHePAcKdXnYEZmMeWJ9CXUJIk1NT13bRzUEms1Zft0RweyD_DvkC-ImZpe_PVE9TPLL_XD5R4B58C74HJAprPvxMkNzvBcaz98VjMZ6GF09MfRr3W7K8t019XjRglh4qy_O3dOYaWzLr3ZZ/s694/The%20cane.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="694" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRr217m3Hil8OGbDIkl31fgY_gcn5cef7EbMCccBBDpbHePAcKdXnYEZmMeWJ9CXUJIk1NT13bRzUEms1Zft0RweyD_DvkC-ImZpe_PVE9TPLL_XD5R4B58C74HJAprPvxMkNzvBcaz98VjMZ6GF09MfRr3W7K8t019XjRglh4qy_O3dOYaWzLr3ZZ/w416-h247/The%20cane.jpg" width="416" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">The first draft dates back to March 1927: in this case, part of the
Haverfordian's New Canterbury Tales is the short story "<i>The Legend of
The Cane in the Dark</i>". Given the unavailability of the story in
publications, I will specify its content.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">WARNING : SPOILERS
!!!</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Mr Stoneman Wood is a freelance writer and journalist. He and cousin
Stephen are the sole heirs of Uncle Stoneman's fortune. After a trip to Canada,
during which Wood was close to being killed by the guide who had mistaken him
for a moose, he returns home, just to read in a newspaper that he himself died
of a heart attack.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Once off the train, he sets off for home, but as he walks he hears the
sound of a stick behind him: he turns and sees a tall figure wrapped in a black
coat. And where he walks there is always this disturbing presence behind him
with a walking stick, until he can't stand it anymore and runs towards the
house, chased by the figure. He arrives in his room closes, but he smells a
disgusting sweet smell, and in the dark touches a series of flowers. When he
turns on the light again, the figure is there in front of the door asking him
why there is a dead person in his bed. Wood, pulls the sheet away and sees
someone who has been dead for some time who looks just like him.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Not understanding anything anymore, he throws himself out of the room in
search of cousin Stephen, and if any of his family members appear outside the
door of his room, for example. Aunt Miranda immediately closes it again in
terror because she sees a ghost in him. When he finally finds his cousin
Stephen, he takes the gun and points it at him, and he would also fire, if
something behind Wood did not terrify him, to the point of convincing him to
confess that he tried to have his cousin killed, to take possession of his
fortune. which they inherited from their uncle, who died some time before, who
always had a black coat and a cane with him.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">After the cousin confessed - not only the attempt to kill his brother by
means of a false guide, but also to have killed the double by simulating a
heart attack, something certified by a doctor procured by Stephen himself (if
he is a doctor and not just an impostor), in the absence of a family doctor,
the otherworldly being - like Don Giovanni's Guest of Stone - leaves the scene,
proud of having accomplished his mission: to protect his nephew from the greedy
cousin he was looking for to kill him and have made sure that he confessed his
guilt: in fact you can hear his footsteps that go down the stairs and then the
shadow leaves the house.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">THE END OF SPOILERS</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">When will Carr pick up the story and on what occasion? Eight years
later, in 1935, Carr had the opportunity to sell the story to one of the magazines
that published very strong stories, the <i>Dime Mystery Magazine</i> (which
published tales of terror from 1932 to 1950. Its founder and editor, Harry
Steeger, was deeply influenced by the Grand Guignol Theater in Paris, which
offered shows based on stories of terror). In the thirties there were several
American pulp magazines, which published stories with a very strong plot, which
were based on various genres, from Sci-Fi, to Fantasy, from Western to Crime
Fiction: they were magazines with sensationalist covers, with very bright
colors. </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386270005l/19213271.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="318" height="454" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386270005l/19213271.jpg" width="318" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Carr, who in 1935 was already "a name" among the new writers,
thought it best to derive something from that story he had published eight
years earlier, and which lent itself very well to being dramatized, appearing
however under a pseudonym (John Dixon Carr ): a man who learns that he is dead,
is chased by a supernatural creature, who thinks it is a real threat to him and
who instead in the epilogue discovers that he was dead for others, who has
returned from the afterlife only to to prevent a real villain from killing him.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Thus was born <i>The Man Who Was Dead</i>, then later reunited with
other short stories, radio plays and essays by Carr in <i>The Door To Doom</i>.
Of the three versions of the same story, according to many (and for me too),
this is the best of the three: those who want to read it must get the volume <i>The
Door To Doom</i>.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">SPOILERS</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Nicholas Lessing is a writer who suddenly became very rich, having
inherited the fortune of an uncle he never met: he had previously fought in the
First World War where he had suffered serious damage to his lungs from
breathing asphyxiating gas. So the personal doctor had seriously advised him a
trip by ship to Africa, where he would have to stay some time, to breathe pure
air first while sailing and then on the African continent, so that he could
heal.</span><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> When he returns, eager to hug his fiancée Judith again, he gets off the
steamer, takes the train to Waterloo station, and reads in the copy of the
newspaper he bought, that he, Nicholas Lessing, died on March 15, the day
before, for a chronic pleurisy, which would have been cured if instead of
remaining in London, he had gone on the journey that his doctor had advised
him, to breathe fresh air after a voyage at sea. How is it possible? He is
alive and well! He then hurries back home, but loses his taxi and is therefore
forced to use the subway, the one that his uncle from whom he had inherited,
had defined "the road in the middle of hell". And so already when he
makes the ticket, following the error of the conductor who made two, he begins
to suspect that behind him there is someone or something threatening. Something
that becomes more acute as he walks through the tunnels in search of the train,
and which reaches the climax when already inside the car, he feels something or
someone who, as if by scratching with his knuckles, tries to open the door of
the car, but in vain. When the subway train arrives at Charing Cross, Lessing
changes trains and is finally safe to be alone. Yet when the train enters a
tunnel, he hears a noise as if something has entered through a window, and a
strange smell. Then someone terrified enters his compartment who speaks of a
very high presence, of someone blind who inspired terror, and begs him to go
away with him.</span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Lessing returns home, which would later be the home of his uncle who
died a year earlier, Douglas Lessing, to hug his girlfriend, who he had read in
the article, had witnessed his death, along with his brother Stephen Lessing,
and aunt Ann Handerson. He comes back thinking about who is following him and
for what reason. When he enters his house, he smells of closed air, carpets and
curtains and a sickening smell of flowers. Then he enters his room in the dark,
and almost bumps into what he thinks is a table and which then realizes that it
is a coffin, which contains the corpse of him, of a Nicholas Lessing, just like
him. He runs away and goes to his aunt who sees him as a being from hell and
locks herself in his room. The only one who believes him is his Judith. But in
the meantime, the being who chases him has managed to climb the stairs: you can
hear the stick that he holds, which touches the steps. Nicholas goes to his
brother and finds him outside the door of his room, who looks at him with a mad
expression of fear, not so much for him as for being behind Nicholas, a being
from the Underworld for him, who throw on him. The two face off in the room
which is locked from the inside and then a shot. When Nicholas Lessing breaks
down the door, Stephen is dying from the bullet that shot himself in the chest
and punctured the lung. He will confess that ...</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">THE END OF SPOILERS</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">In this story the uncle is not called Stoneman but Lessing, Douglas
Lessing. He changes the name, but the story is always the same, so even here
and in the third version that we will reconstruct later, the spirit of the
Underworld is the Man of Stone. And in this story more than in the other days,
there are many allusions to the Underworld.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">The story <i>The Man Who Was Dead</i>, which is an authentic masterpiece
of the supernatural, is structured in a very articulated way, so that the
supernatural origin of being, who is then the dead uncle, is remarked in an
obsessive way, by degrees. : first, Lessing thinks that something must have
happened to the conductor, if he issued two tickets, as if he and
"another" were together; and that this someone must have impressed
the conductor if he looked at him a certain way, although Nicholas isn't quite
sure of that. This state of doubt leaves room for a feeling of apprehension as
he ventures into the subway tunnels, which had been defined some time before by
his dead uncle, Douglas Lessing, "<i>Halfway to Hell</i>": it is as
if the encounter with the supernatural creature, it was realized just when
Nicholas enters and then ventures into the subway, a hellish way; and that same
noise that terrifies him so much, that is, of knuckles and nails scraping the
doors of the train as if trying to open them (don't the nails have demons?)
ceases only when the train leaves for its final destination, and exits from
underground. And when Nicholas hears a strange noise and perceives a strange
smell? When the train enters another tunnel, another hellish corridor. The
smell, which we can associate with a feeling of nauseating, sends us back to
death: and it is a further step, to testify of what nature it is the being that
follows it. Lessing will smell that sickening smell when he returns to his
house, which was later that of his tycoon uncle. The same smell that in the
third story will bind us to the olfactory sensation of moldy fur, that of the
overcoat of the dead uncle. When he enters the house, he finds a double of him
in a coffin. But in that figure so close to him, he finds the elements to
disagree with that false truth proclaimed: the fellow soldier he had met in the
war who looked like him like a drop of water.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Also in this second story, an important element that makes the story
haunting is the noise of something dragged on the ground: a stick, which we had
seen in the first story to be central. Here, the clothing is given by a
shapeless overcoat and a grungy hat, almost as if it were a scarecrow. The
greatcoat that was the black coat of the first story and the moldy fur coat of
the last.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Why does the conductor talk about a blind being, and then the terrified
passenger in the train adds to the dose, speaking of him as a very tall and
blind figure? Not because you don't see, but because you wear glasses that let
you glimpse that behind there are only two orbits you want: wasn't it death
represented by a being with a skull face and wearing either a hooded robe or
some ramshackle dress? Here in the orbits, when the being reveals itself to its
brother, mad with fear, there are cobwebs, and from them yellow-black spiders
fall. Death reveals what the task he is there for: she wants Stephen, she wants
to take him with her. Stephen is a damned. He is alive, and he will be dead.
And that he is damned, he fears it. Because? Because when Lessing walks into
the room and crushes a big black spider that testifies that death has passed
from there, his terrified brother begs him to reveal that that being is not the
demon he thinks, but only an actor paid to have him fall into. mistake and
betrayed himself. Because he fears meeting him again, in hell.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Once again, the noise of the stick brings the supernatural being back to
the center of the problem: he has not gone away, he is leaving, but he will not
go completely as long as Stephen is still alive. He leaves at dawn, because
then Stephen dies. Not by chance at dawn, when the light comes out. Death
returns in the darkness: a very tall figure is seen, carrying an old overcoat
and a rickety hat under his arm, walking towards where? The subway, a road that
according to old Douglas Lessing was the “<i>Halfway to Hell</i>”. When Stephen
dies, that is, evil is defeated, and death returns to the Underworld, good
triumphs: at that moment Nicholas embraces both Judith who had believed in him,
and who as her aunt, did not. recognized. And the contrast that is typical of a
Carrian supernatural story disappears: everyday life, opposed to an unreal
reality, the Natural opposed to the Supernatural. That is, we return to a
situation prior to the one in which the supernatural had peeped out.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">But that it is a supernatural, fantastic story, the contrast that we
read at the beginning of the story also testifies, when Nicholas Lessing
recalls in the hushed rooms of his club, the Naughts-and-Crosses Club, how it
all began: he introduces a reasonable doubt that everything has happened, when
he mentions that everything manifested while he was tired from the journey, it
was raining and it was night, all elements that contrast with the light of day,
when we are rested and see things in the right light. But it is precisely the
contrast between the hushed and safe life of the Club and the future of things
that contrast with it, which produces the striking contrast that introduces
Carr's supernatural stories. Doglas G. Greene, who introduces the stories,
rightly states that the same places are where Carter Dickson will place the beginning
of <i>The Plague Court Murders</i>. After all, it is that perception of
something wrong, of astonishment, of doubt, which produces the fantastic, and
which Todorov rationalized in his famous essay.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">We note that in the three stories, respectively in that of 1927, in this
one of 1935 and in that of 1939, the name of the protagonist is always
different: in the first it is Wood Stoneman, in the second Nicholas Lessing, in
the third Anthony Marvell, while a curious thing is the name of the villain, it
is always the same: Stephen; only the relationship of kinship changes: in the
first story he is a cousin, while in the second and third he is brother. The
uncle also changes: in the first he is Stoneman, in the second he is Douglas
Lessing, in the third he is the founder Jim Marvell. The other characters may
or may not be there. It is obvious that the figure of the bad relative, in the
second and third stories, is sharpened in wickedness: a brother who kills
another brother for reasons of greed makes more impression than a cousin.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Together with the name that changes and that represents the dead uncle,
the objects that represent him also change and that have a visual, olfactory
and sound importance: the stick that makes a characteristic noise in the first
story; the stick, which also makes noise, and the hat and coat in ramshackle as
they appear in the second; the fur that smells of rotten, in the third.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://pictures.abebooks.com/inventory/30213923391.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="580" height="508" src="https://pictures.abebooks.com/inventory/30213923391.jpg" width="368" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">After having published the basic story changing its connotations and
name in 1935, Carr took it up once again, adapting it this time for the
magazine "Illustrated London News", on the occasion of Christmas 1939
and entitled it <i>New Murders for Old</i> ; however the story was reprinted on
another occasion under the title <i>The One Real Horror</i>. The first edition,
the English one, with the first title mentioned, <i>New Murders for Old</i> was
then reprinted in the "<i>Department of Queer Complaints</i>"
collection the following year, 1940.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">SPOILERS</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">The story is that of the heir to a luxury hotel chain that went down the
drain, founded by the old Jim Marvell. Inherited from his nephew Anthony, a
young man devoted to a brilliant career as a mathematician and forced instead
by the last will of his uncle who loved him, to take care of his hotels, instead
of selling them and making as much as possible, as his brother Stephen, a
surgeon, would have done. is applied to it, "mind and body"
tirelessly, so that after two years of hard work and self-denial, risking
nervous exhaustion, he manages not only to save them from failure but even to
bring them to a sensational activity, to make them a destination for all the
rich people who want a luxurious vacation.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">But the setbacks are nervous in nature. And so despite him, he agrees to
also give up the company of his girlfriend Judith Gates, a girl of humble
origins, and to take a cruise that will keep him away from home for six months.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">However, as soon as he embarked, his misadventures began: entering the
cabin, he no longer found the baggage that he had left with his brother
Stephen. Having reported the matter to the Purser, he hears the reply that it
is he who gave the order just before unloading his luggage, directly, to the
Purser himself. Tony doesn't know what to do and begins to doubt himself, his
own mental clarity. He orders them to go get the bags, but then when he gets
back into the cabin, he finds a pistol with bullets in the magazine on the
mattress of the bed. He is increasingly confused, but instead of throwing it
away from the porthole into the sea, he takes it with him. He even doubts that
it is actually his. And he is increasingly convinced that he himself is the
cause of his troubles: a conscious part of him is haunted by an unconscious
one. Nothing happens once the ship has left port, except for one thing that
makes him question his mental abilities: he has the impression on more than one
occasion that old Uncle Jim is spying on him, tucked up in his old coat with an
old-fashioned fur collar: the fact is that Jim Marvell is dead and gone.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">After about six months of absence, perfectly recovered and feeling full
of his mental faculties, he decides to return home. But here in the train that
is taking him back, in his compartment he finds a newspaper of the day before
that talks about his death by suicide. Recovering from his surprise, he
apprehensively discovers that it cannot be a fake: the article is too detailed,
the people are those of his family, the places are those of his ancestral home.
Tony doesn't know what to fish for, he even begins to doubt he's Tony Marvell.
Meanwhile, there is someone on the train who does not lose sight of him, a
person with an old-fashioned fur collar.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Tony tries to get into the cab, and here the guy is behind him. It's
snowing. The taxi would arrive at its destination and above all he would be
able to sow that unwanted visitor once and for all, but the taxi has an
accident having had to avoid at the last moment a man covered by a heavy coat
with a fur collar.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Tony gets out of the car and lo and behold, his unwanted companion is
behind him. He accelerates the pace and the same. Tony runs, but also the one
behind him. Tony has the house keys, he is about to open the door but they
escape him. When he succeeds, that vaguely familiar figure is behind him.
Seized by terror he tries to react by trying to grab the gun but it falls. He
takes refuge upstairs and enters his room. He turns on the lights and notices
that someone is lying in his bed, covered by a sheet. He conquers fear,
discovers the sheet and finds himself another Tony Marvell.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Shocked, he turns and sees his brother Stephen talking to him but while
this happens, the figure that haunted him is there. Stephen screams, screams,
one hand, that of being locks Tony in his room in the company of his double,
and then, after another cry for help from Stephen, after the housekeeper has
rushed in time to see the door of Stephen's room close, here is a gunshot: Stephen
is found killed with a gunshot to the head.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">And the killer? Volatilized: the windows were bolted. No one was present
inside when they opened the door, and outside was the housekeeper who swears
that no one, absolutely no one has entered. To testify that there might be
someone there, just a faint smell of moldy fur.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">The story ends as it began: the CID superintendent told Tony's story to
his girlfriend Judith. Tony is free from any suspicion and he owes it above all
to the fact that he has been locked in his room. Stephen is dead. Suicide, is
the final verdict. No one was in that room and no one could have left it. But
why would he ever kill himself? And who was Tony's double? But was he really
Tony, Tony Marvell?</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">THE END OF SPOILERS</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Of the three versions of the same story, the second is the longest and
the most terrifying: it is normal for Carr to amend the most terrifying
passages, for a re-edition with another title, for a Christmas edition.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Already in the first lines you begin to sense the horror of the story:
Sir Heargraves, Superintendent of the CID, is telling a story to another person
and they are in a room: the identity of the person is unknown and will be
revealed only at the end, because if it were revealed immediately, it would
remove some suspense from the story. Plus Sir Hargraves alludes to a
"thing" that was there on the bed. Mind you: he is talking about a
"thing". Then Carr writes that the air had a faintly sweet smell.
Sweetish! When this meaning is used in a detective novel, a mystery, the
reference is always to the decomposition of a body: putrefaction gives rise to
nauseating and sweetish scents.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">The way in which Carr introduces the story already has the touch of
genius in it: it's cold and snowing outside, but inside the atmosphere is
suffocating, and there is still a touch of sweetness. When he talks about
something about the bed, it reminds me of a Talbot novel. Surely this calling
the body on the bed "what" is a direct reference to that other
"thing", on the bed of another bedroom, in <i>The Hangman's Handyman.</i></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Hake Talbot's novel is from 1942. Talbot and Carr were friends: it is
well known. At least it seems strange to me, and I underline it, that
characters appearing in Talbot's novel are present in this story which is
earlier.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">What Do I mean? That it could also be that Talbot took things from Carr,
from this Carr, despite the fact that he had claimed that his main inspiration
was the Melville Davisson Post of the stories of Uncle Abner: both texts speak
of an impossible murder, in in both cases a supernatural situation enters into
it (only that in Carr it could be true, in Talbot it is shown that it was not
in reality), in both cases there is a double that is a double (in Carr's story
it is true, in the novel of Talbot no), in both cases there is recourse to the
theme of the putrefaction of bodies post mortem (in Talbot it is the cause of
the problem: a curse aimed at making a body rot in a short time; in Carr the
effect: the double killed himself a few days earlier); in both cases we speak
of a "thing" lying on the bed and covered by the sheet (in Carr we
speak of thing, a term also used by Talbot; Talbot adds that it looked like a
"slug").</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Also this time, the previous story of Le Fanu has its fundamental
importance, just as Jim Marvell is also here The Man of Stone from the first
story. If in Carr's tale, the narrow marking of the mysterious figure in an
old-fashioned fur-collared coat would seem to be an omen, or at least an
expression of an evil power (and the connection to Le Fanu is glaring), Carr
revolutionizes the whole, because if Tony fears that stalking because he thinks
he wants to somehow make an attempt on his life, in reality the figure just
wants to save him. Uncle Jim loved him and therefore would not have wanted him
dead even when he was dead. Instead, it is as if his suffocating presence were
the only move to guarantee Tony to stay alive: in fact, he was already the
victim, not knowing it, of an unsuccessful attempt at "perfect crime"
only because an unsuitable killer was chosen. to the role because unable to
kill.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">It would have been a perfect murder if Tony Marvell had disappeared
after getting on the ship, and another Tony Marvell exactly like him had
materialized in his place, as it would have been a perfect crime if "The
Iron Mask" had replaced him. Louis XIV, condemning him in his place to an
ancestral imprisonment in the Bastille). And the connection to the second story
is immediate if we think of the double in charge of replacing him at his home.
Instead Stephen's perfect murder if you don't believe the suicide theory (why
would he scream and why would he lock Tony's bedroom door from the outside, why
surely the housekeeper didn't? ), it certainly is, but accomplished by a living
dead, by his uncle who woke up from eternal sleep.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Just Roberto Sonaglia (translator of the story into Italian), gives me
the opportunity to underline another character of this story that resides not
only in its having a supernatural double ending, but also in being a Gothic
story. In this regard, Sonaglia wrote an article on the Gothic in Carr,
published - as an appendix to G.M. 1821 of 1983, in which the unpublished Carr <i>He
Wouldn't Kill Patience</i> was published - together with two articles by
Boncompagni and one by Lippi. Here is a short extract that also applies to the
story in question:</span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">“Carr does even more; proposing a particular dimension of the
mysterious, developed at the time by Gaston Leroux, he even plays on the
existence / nonexistence of the supernatural, an artifice much more suited to
our shrewd minds that ideally smile at ghosts and, however, do not yet know
whether to believe or less to a metaphysical reality. This elegant game, as in
the neo-gothic, presents all the symptoms of an aesthetic taste biophile,
retracing the path traced by the classic ghost story where the spirit, with its
incorporeality, already moves the index from the carnal to the impalpable, from
the horror to the mystery."</span></i></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Roberto Sonaglia thought is clearly acceptable, and it is applicable -
also for what I have said - when for example it insinuates that the figure
hiding behind a plant on the ocean liner, is the old Jim Marvel, or rather his
ghost, indicated by one detail, the old-fashioned fur collar of the coat old
Jim used; or when this figure insinuates that he is present on the train, that
he follows Tony to the taxi that will take him home, that she is the one that
makes the taxi skid so that Tony arrives home not immediately so that he, the
undead can tail him , steal the gun and then kill. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">However, the story in addition to the gothic and supernatural characters
that can happen are complementary (for example the old austere, dark house,
with noises and creaks, and a ghost or in any case a living dead, are two
clearly combinable subjects), also has the fantastic one. In fact, the way as
it leaves the reader, alternatively viable, the path of the impossible murder
carried out by a being who enters the room and then literally vanishes there
without a trace or that of suicide just as unlikely knowing the victim
(traceable for example in the two other stories cited and in the novel <i>The
Burning Court</i>), causes the reader to be interested in the kind of
estrangement Todorov talks about in his essay on the fantastic.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Reflecting at this point on all three stories, it can be said that the
first tells the bare facts, while the second and third enrich it with the
impossibility that was not foreseen in the one of 1937. In addition, the second
and third, markedly underline the supernatural character of the story, and
enrich it with elements not present if not hidden in the first: eg. the
tension. In the second and third, but especially in the second, the tension is
increased to spasmodic levels in the subway, in dark and not crowded places,
where tension is the consequence of the fear of being reached by something that
is not known, and that wants at all costs reach you. It is therefore a tension
created by also resorting to psychological expedients. Furthermore, Carr
creates here a story that has many points of contact with Horror, and if you
see well, beyond the editorial destination of the second story, the first
already possesses these stylistic features, which he shares with many other
works, contained in <i>The Hafervordian</i> and also in some novels with
Bencolin, such <i>as It Walks By Night, Castle Skull </i>and <i>The Waxworks
Murder (aka The Corpse in the Waxworks).</i></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">Finally, the second and third versions of the story are much more
justicialist than the first version, as they focus on the condemnation that is
not only human but also and above all otherworldly of the offender, who when he
is killed by the supernatural creature or kills himself , it is as if he is
forever condemned to damnation.</span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;">PIETRO DE PALMA <br /></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-size: 14pt; mso-ansi-language: EN-US;"> </span></p>
Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-8001380165031822862022-05-23T13:58:00.006+02:002023-03-26T22:38:14.187+02:00WILLIAM HEIDENFELD: The Unpleasantness at the Stooges Club , 1953 from " Les meilleures histoires de chambres closes"<p><br /></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1175641907l/541371._SX318_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="441" data-original-width="318" height="441" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1175641907l/541371._SX318_.jpg" width="318" /></a></div><br /><p></p><p> </p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Before talking about this
unsuspected story, and I would also say extraordinary story, a real surprise, I
would like to spend a few words to name its author, who was not known at all
for literary activity, but for another one, related only to logic: the passion
for chess.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">W. Heidenfeld, was born in
Berlin in 1911, from a Jewish family. In the 1930s he emigrated to South Africa
and won the national chess championship eight times there.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">In 1957 he moved to Ireland,
after visiting it in 1955, and there he applied for citizenship. He
participated in a European championship and numerous Olympics, representing
Ireland. He never accepted the title of International Master, despite having
beaten world chess champions a few times. He did more activities than a chess
player: he was a journalist, and also a writer of specialized texts for the
game of chess. He also developed and wrote books on crosswords. However, very
few know that he also wrote short stories: 4 to be exact (also published on
EQMM), including a Sherlockian pastiche.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Among the 4 stories, one
deserves to be transferred. Roland Lacourbe did it in one of his anthology,
dedicated to Crimes in Closed Rooms, and now we talk about it.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">The one in question is
originally called The Unpleasantness at the Stooges Club and is from 1954. It
is what can be defined as a parody of the genre, as well as being a writing in
which the Jewish writer for once makes evil die on paper for antonomasia, for
every Jew like him, and who therefore also possesses a biting spirit. The title
is in turn a reference to a 1928 novel by Dorothy Sayers, <i>The Unpleasantness
at the Bellona Club</i>.</span></p>
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</span></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">In essence, in this novel, not
one but numerous literary investigators act, who have always had the part of
"seconds", of helpers, who have often unwittingly helped the most
famous investigators of whom they have been the shoulder: thus we find Dr.
Watson, as well as “the narrator of the deeds of the knight Auguste Dupin who
is anonymous in the stories of Edgar Poe”, the captain Hastings shoulder to
Poirot and the inspector Parker always surpassed by Lord Peter Wimsey in the
novels of Dorothy L. Sayers; we also meet Nikki Porter, Ellery Queen's
secretary and confidant (especially in radio dramas) and Mr. Ricardo who is the
assistant of Inspector Gabriel Hanaud of the Sûreté.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Why exactly "The
Seconds"? Because the best known investigators, whose "second"
are the shoulder, are all traveling to India, on a ship that carries only them,
called "Investigation" for a congress that will bring them together.
Here, then, that, lacking the most named, it will be their second, to try to
solve a crime, which occurred in one of the country estates of the "Shining
Seconds Club".</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">It was cap. Hastings who,
walking in this estate, found a cottage and here, from a window, peering
inside, saw that in one of the rooms, lay the body of a completely naked man,
with a gunshot wound on his chest, a man with yellowish skin, a curious little
mustache and a fringe of hair falling over one eye. Why had the mysterious
murderer managed to leave the corpse of a man, killed elsewhere, because there
was not the slightest trace of blood in the room and on the floor, as well as
missing the bullet, which penetrated to the heart and came out of the back , in
a room hermetically closed from the inside by latches and various locks, and
whose windows were locked with bars and grates?</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">All major seconds move, and
everyone has their say. All the more so since the murder seems to be a
challenge: in fact the room, which is a study, has the walls covered with mystery
books, and many of these deal with the enigma of the Locked Room, in a room in
which it was carried out. once a crime from a locked room. Beyond the locks and
bars that close the door and the windows, even the fireplace in which someone
has previously lit a fire, is in turn a literary reference, because it alludes
to the famous fireplace of </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">The <i>Murders in the Rue Morgue</i></span><i><span face=""Calibri",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"> </span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">by E.A. Poe in which Dupin operates for the first time. However, in this
case, a fire was lit in the fireplace, and no one knows why, just to make it
clear that the smoke came out of the chimney. But that nothing else could have
come out of it, even if it were a dwarf, given the smallness of the flue.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">So how did the killer come
out?</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">At that point, Inspector
Parker, cites the famous Locked-Room Lecture by Doctor Fell of Carr,
enunciating all the possible methods that the murderer could have followed to
carry out his crime, just to get to the point of eliminating them all. . And
since no one manages to reach the slightest result, the case closes without a
possible solution and over time is forgotten.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Only years later does a letter
to Doctor Watson arrive by a boy, in which the killer reveals how he managed to
kill: first of all he reveals the identity of the man, completely naked and
hairless, with only one gunshot wound. He is the German dictator Adolf Hitler,
who escaped from the Reichsbunker and entered England illegally. He tried to
make him an ally, but since the aims of that one were not his own, so he
preferred to eliminate him in a more civilized manner than the other had done
during his existence: he simply knocked him down. And why did he hide it in a
room closed from the inside? To mock the "illustrious idiots" (among
whom obviously Watson also inserts) who, trying to solve the problem in the
manner of their most illustrious traveling "friends", have neglected
to consider the most obvious trick.</span></p>
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</span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Obviously I will not tell you who ever tried to
befriend Hitler and then kill him, nor how he managed to get out of the room
hermetically closed by numerous latches and whose windows were impenetrable.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"><a href="https://images-na.ssl-images-amazon.com/images/I/41E9LklQsjL._SR600%2C315_PIWhiteStrip%2CBottomLeft%2C0%2C35_SCLZZZZZZZ_FMpng_BG255%2C255%2C255.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="600" height="350" src="https://images-na.ssl-images-amazon.com/images/I/41E9LklQsjL._SR600%2C315_PIWhiteStrip%2CBottomLeft%2C0%2C35_SCLZZZZZZZ_FMpng_BG255%2C255%2C255.jpg" width="600" /></a></span></div><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">He will only say that the story is a true beauty.
Not only for the parody, which nevertheless reveals the writer's love for the
genre, but also certain precognitions not just: imagining that the Führer may
have fled to England - like H. Hesse - when the story was being shot that he
was murdered in Bunker (still running, but at the same time there have been
several investigations, including an American one that investigated the escape
of many Nazi bigwigs to Argentina, Paraguay and Chile at the end of the war and
in the early 1950s), reveals a remarkable fantasy and even having him killed in
a locked room from the inside, is certainly a challenge to the intellect, but
it also reveals a kind of personal revenge, of a Jew who at least ideally takes
a kind of personal revenge, by having evil killed for antonomasia for every
Jew, leaving him completely naked and removing his mustache. However, the basic
question remains: how did the murderer get out? In this, Heidenfield has
invented a ploy to the limit and certainly almost fantastic, but which is beyond
Carr's Locked-Room Lecture, and he did so also anticipating a novel (of July
1965) whose solution is certainly taken from his story, especially since it was
published on EQMM in February 1953: the novel of 60s is "A Room To Die
In". And if that novel, being a Queenian apocryphal, is not known to
everyone, let's imagine if this story can be known, which is only present in
Lacourbe's anthology, <i>Les meilleures histoires de chambres closes.</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Moreover, beyond the realization of the locked
room, which should be applicable at any time, while here one can only think
that it was made not by a man but by an organization as more people should have
been engaged to make the trick, the story, which wants to be a joke, succeeds
in its intent, delivering a stratagem that is also in a certain sense a
mockery, to a parody and Sherlockian pastiche tale, which is in turn a mockery.
But very well written, and it deserved publication on an EQMM.</span></p><p> </p><p><b><span style="font-size: large;">Pietro De Palma</span></b> <br /></p><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> <br /></span></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-29182683812300814502022-04-09T10:36:00.003+02:002023-03-26T22:37:37.243+02:00Harry Stephen Keeler : The Fourth King, 1929<p> </p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizjMxMJ4rcInBMENbHn8GI8ixK1Ils9BVCYCzlICyt0r53wqW0N6FUhao1PpEGHJCcyoxSpRx60OQoRau0L77qevuxPdpr5a8v1rLL4_vr9MgL89G6uNWtFNTDr9Rv050f8y6Y718gUb3cI-Q6oQWYK7nPvbDwjgpM8jAJKOOoWqbZcjwfQhxEfQRM/s500/named.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizjMxMJ4rcInBMENbHn8GI8ixK1Ils9BVCYCzlICyt0r53wqW0N6FUhao1PpEGHJCcyoxSpRx60OQoRau0L77qevuxPdpr5a8v1rLL4_vr9MgL89G6uNWtFNTDr9Rv050f8y6Y718gUb3cI-Q6oQWYK7nPvbDwjgpM8jAJKOOoWqbZcjwfQhxEfQRM/w536-h403/named.jpg" width="536" /></a></div><br /><p></p><p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
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</p><p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The Fourth King</span></i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">, is the answer to an intriguing plot. The story takes place in Chicago
in 1929, but it is not, as the place and time might make it seem, a story of
gangsters, in short, hardboiled. No. It is a story with a classic plot, very
... I would say.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">WARNING: SPOILERS !!!</span></b></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">A long article is published in a
Chicago financial weekly, accompanied by photographs of thirteen kings of
finance. After a short time, three of them receive a deck of French cards each
marked, from which kings are missing: from the first one is missing, from the
second two, from the third three. The missing kings are directly related to the
deaths of those to whom the deck was sent: one died poisoned, another by
drowning, the third by accident. Nothing suggests, however, that the origin of
death could be other. One fine day a letter arrives, accompanied by a pack of
French cards marked, like those sent to the other three, to a wealthy Chicago
industrialist, J. Hamilton Eaves, who, however, had not been indicated in the
13. The industrialist, of the </span><span class="q4iawc"><span lang="EN" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN;">National Industrial Insurance Company</span></span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span>, is advocating the sale of a new device, called a
"dictatograph", a complex tape machine, a kind of telegraph, which
allows the dictation of something, for example a business letter, to be poured
onto tape, making it more ' quick and easy paperwork, and eliminating the
presence of a stenographer. He acquired the rights to sell the invention from a
certain Shanks, who died, leaving heir to a sick brother, unable to compete
with the cunning of the industrialist. In reality, contrary to what Shanks
thinks, the invention is a bluff, a red herring, and this is what Eaves and his
employee, the technical designer Fowell, are convinced of, who is also involved
in demonstrations of the machinery. and who knows its material limits, and who
in turn is the inventor of a certain type of phonograph record, destined to
make a fortune later on, but still of an unknown purpose.</p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Eaves, increasingly worried as he
has received a threatening letter, calls Fowell and proposes a singular plan to
overcome the one who threatens him with death: he asks his employee to take his
place and go to his house, while he, Eaves, will wait for the blackmailer in
his office, determined to expose him. At stake, for which Fowell accepts, is
the return of a certain signed statement in which Fowell accuses himself of the
theft of $ 5,100 in stocks and shares, contained in a sealed envelope, which
disappeared from the double combination safe. Eaves that only he, the secretary
and Eaves himself know. Eaves could not have been because the theft made it
impossible for him to complete a project that would have earned him well over <span style="mso-spacerun: yes;"> </span>$5,000, and therefore, thinks Fowell, who
knows he was not, could only have been the secretary he is in love, whose
mother was cheated by Eaves, and who therefore would well have had reason to
take revenge. However, the plan does not go through as it should have done: in
fact, while Fowell takes the place of his boss at his house and spends the
night with Eaves' stepson. He, Eaves is killed. Just Fowell, who went to the
office will find him the next morning, killed with a switchblade. A detail that
will have its importance is that the box of mints that Fowell had left is
almost completely finished and smells like mint not from the telephone receiver
located in the Eaves office that can receive but not telephone, but another
device.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Fowell knows that Eaves has
locked his self-guilt plea in the safe, the combination of which was changed by
Eaves after the theft, and therefore is virtually inaccessible unless they
break into the safe. What a surprise then, when it is found in the pockets of
the deceased! And made public by the police. His status as a thief may,
however, fail, because his beauty, whom he got in trouble for, knows
everything, and therefore could testify to the police, that one day she had
seen, in Eaves' room, after the lunch break. , a fake telephone worker fumbling
at the safe: he was a dangerous burglar and thief, who had made other similar
strokes. But this time too Fate seems to throw another trick at the poor
employee: in fact, his beauty is found drowned. But when she has now lost all
hope, her girlfriend materializes in front of her: instead of her she is dead,
indeed, it seems she was murdered, her friend of hers, engaged in turn to
Eaves' stepson, Pettibon .</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Pettibon also tries to lure
Fowell: in exchange for the destruction of the famous letter, and the
withdrawal of the theft charge, Fowell will have to try to convince Shanks about
the paucity of the invention in order to grant him its definitive use, in
exchange for a few pennies. But this has no effect, despite Fowell having tried
in every possible way to convince the recalcitrant Shanks, and therefore
Pettibon does not return the message. At this point Fowell decides to improvise
himself as a detective, to get to the head of the matter and save himself: he goes
to rummage through the documents in his boss's office and discovers a
suspicious obligation and a letter to a non-existent Jeggs. The suspicious
paper, headed to a chemical instrumentation company, will lead him to the trail
of a former great Russian chemist transplanted to America. Hence another series
of vicissitudes up to the end.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">THE END OF THE SPOILERS</span></b><b><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Excellent novel by Keeler, <i>The
Fourth King</i>, shuns any schematic classification: for example, it does not
belong, like many other novels of the time, to the false line of Vandinian
novels, but pursues its own design, albeit very bizarre. If we want, the
investigation is of the classic type, and the detective is not an esthete, or a
bored rich man or a policeman or a scholar or a man of letters, but a person
who improvises himself to escape an unjust accusation and to more to an unjust
sentence. In a certain sense, it is very similar to certain novels by Mignon
Eberhart, in which there is a damsel in danger who improvises herself as a
detective or for whom someone takes action; here too there is the person in
danger, but it is a man (Fowell) even if the woman in danger exists: only for a
moment, because almost immediately the death of Avery is reversed in the death
of Roslyn Van Etten, the friendly heiress by Avery. But why would the killer
kill the woman? The solution can be found in the nature of the plot of Keeler's
novels.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">In fact, Keeler, born in 1890 as
Agatha Christie, enjoyed a fair popularity in the 30s, but then with the war
and post-conflict events, dying in the 60s in complete oblivion, from which he
was redeemed following a series of articles by Francis Nevins Jr., the critic
who would become most famous after the conquest of the Edgard for the
publication of important essays on Ellery Queen.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The fact is that Keeler is the
strangest writer who ever lived; and also the most surreal. His imagination was
the most delusional that was possible: examples are his novels, in which
horror, deformity, physical anomaly, dementia, coincidence, chance, are re-evaluated
in detective literature, which inherited pour always the exactness of the
Sherlockian mathematical deduction. In this, Keeler's approach is still a sort
of revolution, a reaction to the established schemes. Probably the plots so
absurdly conceived, with demented or freak elements and full of circus
monstrosities, or imaginative solutions but to the highest degree, must have
disconcerted the masses, accustomed to quite other novels. The fact is that
Keeler's plots, so bizarre, so full of red herrings, false, double and triple
identities, coincidences, fit well into the fiction and society of the 1930s,
carefree and frivolous, which did not imagine the horrors of war in a few
years. So Keeler's horrors, deformities, insanities (interned in a marriage by
his mother, after he graduated in electronic engineering) fit well into the
context. But in a few years they would be overtaken by much more horrors, and
so the streak of surreal madness would no longer be adaptable to a world that
grew too quickly and much more leaden.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Coincidences were part of his
system: the plots of his novels leave little to description, because they are
as dense as ever and indeed full of false clues and traces that seem of no use
but which will instead lead to the capture of the culprit.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Also in this novel there is that
structure of the plot, which Keeler invented calling it "webwork", a
spider web novel:</span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">“It was in fact the so-called“
spider web narrative structure ”, based on complex, convoluted and engineering
diagrams that took the place in his preliminary notes of the more banal
schematic scales. Keeler's art in fact vented into intertwining implausible and
apparently inexplicable stories with other equally unlikely stories and
apparently devoid of any connection with the central framework of the story.
The author's dizzying ability lay in knotting all the threads of the plot at
the end to create a phantasmagoric web of facts or KoinKidenze, as the author
himself ironically nicknamed them, able to explain the inexplicable and stun
facts and elucidations. even the most fussy and demanding reader. Double or
triple identities, unlikely acknowledgments, multiple person substitutions thus
dominated, in a singular and kaleidoscopic theater or fair of the absurd, which
ultimately had the purpose of creating an ironic and very singular comédie
humaine</span></i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> "(Preface by Igor Longo in <i>The Marceau Case</i>
by Harry S. Keeler - Shake Editions, Milan, 2009, pp. 8-9).</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">In fact, there are several
coincidences in <i>The Fourth King</i> too: the American heiress, Pettibon's
fiancée, is a friend of Avery; Avery's trip to Roslyn's place is canceled due
to a novelty; the heiress takes her stepfather's car that had been rigged to
release the gas; the killer manages to block the mechanism with an old rusty
nail, placed near the pedal of the car; the girl thinks it's an old nail and
she throws it away, they restart the trap that clicks and kills it; the dead
girl has the same wide eyes as the other person; the label that leads to the
whole chain of events, which Fowell sees on a marked deck of cards, is taken
from the envelope containing the checks and shares that Pettibon gives to the
Russian paying him for silence, of which Fowell remembers because it contained
his drawings; and so on.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The characters of Keeler's Romans
are never intensely described but barely hinted at: in fact they have no <span style="mso-spacerun: yes;"> </span>other nature than the mechanical one, they are
puppets placed there to justify the plots of Fate, all that harvest of
coincidences and causal facts that determine the strange trend of the plot.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The ending, in line with Keeler's
others, is something unexpected: all the threads connect in solving the puzzle.</span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"><b>Pietro De Palma </b><br /></span></p>
Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-51952709495063868002022-04-07T16:44:00.001+02:002023-03-26T22:36:40.538+02:00Alan Green : They Died Laughing, 1952<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDKfTA7TuZoU4Vh8yKC9pjSkuLRkGhRi_-r7qEoSyIraeJxh7WQARFzJIUWwel6vDDF0GLmPAB5hixDcm7mUxoo-d1CSKbFyoKBdseXgz41cLb1RCNTSiNSi-rlfux05EJYKmm92WeQTpkp1flctDW8jp-jCaQaAoOhpOnJVNJwCxm_WtXZGe4Sx6/s1317/Essi.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1317" data-original-width="804" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDKfTA7TuZoU4Vh8yKC9pjSkuLRkGhRi_-r7qEoSyIraeJxh7WQARFzJIUWwel6vDDF0GLmPAB5hixDcm7mUxoo-d1CSKbFyoKBdseXgz41cLb1RCNTSiNSi-rlfux05EJYKmm92WeQTpkp1flctDW8jp-jCaQaAoOhpOnJVNJwCxm_WtXZGe4Sx6/w228-h374/Essi.JPG" width="228" /></a></div><br /><p></p><p><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Surely after a prodigious debut
like that of Green's first novel, which deserved the conquest of Edgar for the
best debut novel, it would have been difficult for anyone to repeat themselves
at the same levels. Indeed, the underlying verve of <i>They Died Laughing</i>, published in 1952, is the same: brilliant prose. It
is certainly difficult, in itself, to be able to blend a brilliant style and
comic verve with crime! The result is a black comedy, very black, which
ridicules the glossy world of comedians of the twenties, thirties and forties,
with their substratum of ineffable vices.</span><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
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</p><p class="MsoNoSpacing" style="text-align: center;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"><span style="color: red;"><b>WARNING: SPOILERS !!! </b></span><br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">“<i>They Died Laughing</i>” deals
with a crime that takes place in the context of a television recording of a
trio of comic actors, very famous until the Great Depression of 1929, who since
then had had ups and downs, to the point of seizing the opportunities given by
the diffusion of TV at the American public, agreeing to work in the pay of
commercial firms, in real sketches.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The trio is formed by Junior
Watkins, Elroy Schneider, and Baby Blue. To the two men who already work in
pairs, when you add the woman, success is at home. Of the three, however, the
star is Junior: everything revolves around him. For a long time, Junior has
even had an affair that everyone knows about with Babe, and even her husband Bo
Llewellyn, a former circus athlete, who doesn't give a damn about his wife being
in love with the manager, because it's all over for a long time the two spouses
are together as a couple, but it's just a screen, even if they respect each
other and still love each other.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">One fine day, the advertising
agent of the firm "Dormer, Porter, Hormer & Plant", that is, Mr.
Hormer, who acts on behalf of the Glassay Grocer, who pays them for their
television sketches, finances a new one, which it will have to take place at
the well-known "St. Bernard" hotel. Actually, the television shooting
was an idea of </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">John Hugo, grandson of Arthur Hutch, that whoever had the good fortune
to read Alan Green's first novel, <i>What a Body!</i> in 1949, he has already
met. In fact in this second novel, some of the characters of the first recur: Arthur
Hutch is the owner of the hotel, being the brother-in-law of that Merlin
Broadstone, who obsessed with diet and beauty of the body had created a SPA of
high level on an island, as well as being the owner of many hotels, he was
later murdered, and he, Hutch had become the main heir, being the husband of
his sister) had also been the one who he had resolved the matter, yet leaving
all the credit to that clumsy inspector John Hugo who had fallen in love with
his niece; later, Hugo had also married her, and retired from the police, he
had become Hutch's main collaborator in the management of the Hotel. Hugo
basically dealt with advertising: he had invented the gimmick of the Saint
Bernard dogs who brought a flask of liquor for the use of the Hotel's customers,
and now he had proposed to have the television comic trio exhibit, right in the
spaces of the Hotel in the middle to the snow, to sponsor its winter
activities.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">After filming has started, the
crime suddenly takes place: Elroy Schneider, warns Huth and Hormer that she has
seen through the window, Watkins dead, in his bedroom, locked from the inside;
the strange thing is that Watkins was claustrophobic and therefore he would
never lock himself in. They break down the door, because in fact the door is
closed from the inside, and they find him sunk in an armchair with a bullet
hole in the forehead, without any ticket and above all without a weapon. There
would also be a way out, but it is a window at the top that communicates with
the corridor, but it is also closed.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Almost simultaneously with the
discovery of the body, under the door of the vice president of Glassay,
Hulburt, a sheet is slipped on which communicates how Watkins had been seen
passionately kissing Francy Wilson, a singer and actress with whom he is in
love. Watkins was indeed an unrepentant Don Giovanni: in the past Wilson had
obtained a job from him, of which he however took a large part of the salary,
and moreover she had had to have sex with him to obtain it and be able to pay
the debts of housing. He also took unpaid leave with Elroy's and Celeste's
daughter, Gloria Ann. And then there was the romantic relationship with Babe
Blue. Basically, no one would have had reason to kill Watkins, because with him
the greatest form of income would have disappeared and the trio would have
dissolved, and therefore only the passionate motive appears, even if this too
deflates.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Everything will make sense after
the second death occurs: that of Elroy, who apparently committed suicide, with
a .38 caliber pistol among those used during the sketches to shoot at the
cards. In fact, on the forehead of the victim, in addition to the bullet hole,
there will also be a sign, given by the wick of an exploded blank cartridge,
like those used in all the shots of the sketches. Why a blank cartridge other
than the real one?</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjpMo06ufEvJCHqoMrWVdfvuXCacWOI_VQ3LXDrMZei0J0dGBI-777NGb_Q5cXV661nm-YJeVd5tDGoumfa7gwQr9p0V_rQ1ypjkRCGadCjZTOrmCNDjaCR6If96_-Lt0ObHWJMif_RGI7oErixupTXIDHhin67tVdF89jGI3F6wT9G2wigQrw47x8/s2448/Alan1%20001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="1688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjpMo06ufEvJCHqoMrWVdfvuXCacWOI_VQ3LXDrMZei0J0dGBI-777NGb_Q5cXV661nm-YJeVd5tDGoumfa7gwQr9p0V_rQ1ypjkRCGadCjZTOrmCNDjaCR6If96_-Lt0ObHWJMif_RGI7oErixupTXIDHhin67tVdF89jGI3F6wT9G2wigQrw47x8/s320/Alan1%20001.jpg" width="221" /></a></div><br /><p></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The reconstruction of Hutch will
once again be the overturning of his nephew's theses, and the following will
also assume importance: the contents of tampered blanks, owned by the late
Watkins; the health conditions of Babe Blue; a sign stolen from the hotel
theater; an attempted robbery in Watkins' room; Watkins' movements in the
train, taken to get to St. Bernard. It goes without saying that the killer will
come unexpectedly at the end.</span></p>
<p class="MsoNoSpacing" style="text-align: center;"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"><span style="color: red;"><b>THE END OF THE SPOILERS </b></span><br /></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Green is always very biting in
his social criticism: after all, the trio of comedians, with their husbands,
with their lovers, with their vices, with their weaknesses, express the golden
world of American cinema and television of that period, following the Great
Depression of 1929.</span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">From the point of view of the
structure of the detective novel, while not reaching the heights of the first
(whose solution was close in complexity and virtuosity to those of Carr), the
solution of this second novel is based on an overturning of what is said about
two single crimes, so much so that the solution of the first crime and the
framing of the fugitive from the room locked from the inside, automatically
leads to the solution of the second death, but not in the sense that one would
expect.</span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Very interesting is the question
faced with the blank cartridges, and the action of the wick, to overturn an
argument made up to that moment, as well as the burglary noticed on some
cartridges, to manually remove the mechanically inserted wick, empty them of
black powder and fill them with heroin. The trafficking and use of heroin is
therefore another subplot in addition to that of Watkins' gallant adventures,
which however does not load the novel with the typical atmospheres of the
hardboiled novel, because essentially the traffic, limited to the troupe, finds
its origin in personal events painful,</span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">In itself, once explained, the locked
room solution is trivial; nevertheless, the novel, which up to half has little
rhythm, in the last twenty thirty pages, acquires a considerable one, to the
point of nailing a clever but also compassionate murderer.</span>
</p><p class="MsoNoSpacing"><b><span style="font-size: large;"><span style="font-family: verdana;"><span>Pietro
De Palma</span></span></span></b>
</p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-30654746403152488222022-04-03T21:52:00.003+02:002022-04-03T21:59:39.419+02:00Ngaio Marsh : Scales of Justice, 1955 <p> </p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://live.staticflickr.com/2727/4271343175_c66e862568_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="416" height="640" src="https://live.staticflickr.com/2727/4271343175_c66e862568_z.jpg" width="416" /></a></div><br /><p></p><p> </p><p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Scales of Justice</span></i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> by Ngaio Marsh is a novel of 1955, and is the eighteenth with Roderick
Alleyn, the son of a lady, brother of a baronet, a nobleman who preferred the
slow climb of a mistreated but great profession to a diplomatic career: that of
the policeman. A noble policeman. There was another, "son" of another
of the 4 Crime Queens, Dorothy Sayers: Lord Peter Whimsey. But that is a
nobleman who improvises himself as a detective, partly out of snobbery and
partly out of passion; here, on the other hand, we have a nobleman who has
chosen, as a job, to be a policeman: starting from the ranks, as a simple
Inspector. In this novel we find him Chief Inspector, followed like a shadow by
his "help" Inspector Brer Fox.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The interesting note is that we
find him operating in a fairytale landscape, in a corner of the old British
feudal world, in which four families, the Cartarette, the Syce, the Lacklander
and Danberry-Phinn, heirs of their traditional blazons for centuries, they are
united, more or less firmly. The event that irremediably brings them into
contact is the death of the old Sir Harold Lacklander, a very active and highly
prestigious ambassador during the Second World War. Before dying he left the
burdensome task of publishing his memoirs to his friend, Colonel Cartarette:
burdensome above all because the theme of the death of the scion of one of the
four noble families, the young Ludovic Danberry-Phinn, will certainly be
addressed. he had worked with Sir Harold during the war, getting involved in a
leak that had led the Nazis to win the English competition, that is of a
hostile power, in the management of a certain affair of a neutral country: his
suicide had followed . Now Sir Harold probably wanted posthumously to
rehabilitate his memory. But how?</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Everyone fears this extreme will
of the old man. Mainly the close family of Sir Harold who fear the worst, that
is to be directly involved and to pay the dishonor of the death of young
Ludovic with the dishonor of someone else.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">It is clear that they try to
persuade the old Cartarette not to pronounce himself and not to publish the
controversial seventh chapter; but the colonel is in one piece, and even if he
is threatened with the breakup of the engagement between his daughter Rose and
Mark Lacklander, the son of George Lacklander, Harold's eldest son and now a
baronet, he does not break down and hold on.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">However, he first wants to talk
to Octavius </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Danberry-Phinn,
Ludovic's father, who after the tragedy of his son lost himself, also losing
his wife and living with a myriad of cats: he has a passion for trout fishing
as well as Cartarette, and they often quarrel because the Lacklanders,
essentially owners of Swevenings, a small town, have rented to their two
friends the stretches of the Chyne, the river that flows through its meadows,
whose waters are full of trout. The two are mainly adversaries, both wanting to
catch “The Old Friend”, a trout of exceptional weight, over two kilos, which is
the damnation of the fishermen.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">In the late afternoon that the
Colonel has to talk about the manuscript to Octavius, and then to Sir Harold's
widow, and then go fishing, the unexpected happens: Nurse Kettle, who lives on
the same property Danberry-Phin inhabits, skirting the Chyne near the spot
where they go to fish for trout, near some weeping willows, finds the dead
colonel, murdered.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">After investigations and
reconstructions, Alleyn will find the killer he killed for abject reasons and
also wore clothes and shoes not his own to blame others. The last scene is one
of love between Nurse Kettle and Captain Syce: the captain promises to her not
to drink more whiskey and to be worthy of her love for her.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Meanwhile, let's say that among
all the novels read by Marsh so far, this is a great masterpiece: I don't know
if The absolute masterpiece, but certainly one of his best works. Ngaio,
creates a large fresco of the English landed province, talking about four
aristocratic families, with an extremely sophisticated writing, but which is
very easy to read, and a psychological introspection that leaves little to
chance, managing to wonderfully characterize each character. It is an extremely
classic whodunnit, a very well-defined formal story, which is very, very much
reminiscent of the typical British crime fiction novels of the 1930s and 1940s
(in a sense it is an "out of time" novel, like if for Marsh there had
not been the War, and the abandonment of the classic whodunnit, even if the
Second World War enters the history of smear), set in rural villages, where the
military, the reverend, the ladies of good society who participate in social
events for charity, the baronet are always subjects who are the masters: in
some ways this is Marsh's novel that is closest to those of Agatha Christie.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The novel is chock full of
descriptions, and we know that descriptions are Nagio Marsh's trump card: when she
describes a corner of paradise, you can be sure that sooner or later something
dramatic will happen. Here even, it would seem that the bad omen is contained
in a song, a very melancholy motif associated with a romantic vision: two young
people united in an unequivocal gaze. The tune is “</span><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Come away, come away, death, <span style="mso-spacerun: yes;"> </span>And in sad cypress let me be laid.</span></i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> <i>Fly away, fly away, breath; <span style="mso-spacerun: yes;"> </span>I am slain by a fair cruel maid. My shroud of
white, stuck all with yew, <span style="mso-spacerun: yes;"> </span>O, prepare
it! My part of death, no one so true Did share it” </i>(from </span><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Twelfth Night </span></i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">by William
Shakespeare).</span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> </span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">After all, the marriage between love and death is always present: in
this novel it is particularly so. Where there is love or there would seem to
be, there is always a wrong note: there is in the union between Kitty and
Captain Syce in the past of the two, there is in the union of Kitty with
George, of Syce with Kettle, of Kitty with Cartarette, by Mark and Rose.</span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsEsvPwbMhMRvz4wTOn3p8f0EXKIimYDmtJac-CVrz7ZqjsMl2kpQT2z_Z7gcijbySuRqyrcLJHzaA34SZ2SjR-73Us4lt2WmLOuwOTKNhyphenhyphenxexQ0DYIakNfMK0mkhkYjSbhZg_2aP8tWbN/s400/scaglie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="245" height="439" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsEsvPwbMhMRvz4wTOn3p8f0EXKIimYDmtJac-CVrz7ZqjsMl2kpQT2z_Z7gcijbySuRqyrcLJHzaA34SZ2SjR-73Us4lt2WmLOuwOTKNhyphenhyphenxexQ0DYIakNfMK0mkhkYjSbhZg_2aP8tWbN/w269-h439/scaglie.jpg" width="269" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">I would also make a distinction
regarding the sexual identity of the characters: male characters, austere, are
always unlucky or cursed: Cartarette, a symbol of a past world, is murdered;
Octavius </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">is emotionally
devastated by losing his son and wife; Syce is also emotionally devastated,
having lost his beloved wife to one of his comrades in arms, and moreover he is
semi alcoholic; Harold, remorseful of something from the past; George, lost in
his extreme vanity, and in the empty defense of a noble prestige, is
underestimated by everyone, even his mother. The female characters, on the
other hand, are winners: Kettle is the nurse who always bets on something
positive; Rose is a woman who would seem helpless because she is romantic but
is instead strong in defending her love for her; Kitty is a strong femme
fatale; and also very strong is Lady Lacklander, determined to defend her
kingdom to the bitter end and the memory of her husband and her family, by all
means. If we turn Brer Fox too, Alleyn's shadow is unfortunate, because he
makes a half-idea about the nurse in the course of the novel, but then realizes
that it is a vain hope. The only strong and successful male character is
Alleryn. And some of her subordinates, for example. Sergeant Oliphant of the
County Police. I I don't know if this difference between male and female
characters, and the winning characterization of female ones, is ultimately due
to the fact that Ngaio Marsh was a lesbian.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">As always, Ngaio manages to
direct a composite orchestra of characters, each with their own personality,
managing to make everyone suspect something hidden, as well as what is being
affirmed. And this is her extreme virtuosity: she has control of the macroform,
which, for example, is lacking in many of her other British colleagues and
especially in French novels. And so she invents an extremely complex plot,
because it is the result of three subplots, which like three parallel waves
with a sinusoid effect, continuously intertwine and interface, throwing the
reader into complete amazement. Frankly, the trout thrown there raises the
suspicion that fishing has little to do with the death of the colonel; and does
the revelation of old Sir Harold's memoirs also come into reality with the
crime? But if we get these two subplots out of the way, what are we left with?
An investigation like many others, but in which the motives seem to be
extremely limited if not absent. And then, here the two subplots return, and it
is precisely some of their consequences that shed light on a solar but hidden
motive, and to frame a truly despicable murderer: evil, envious, lustful,
slothful, angry. It can be said that at least 5 of the 7 deadly sins are in his
cords. That he kills, disguises himself to indict others, and gain a different
advantage. Who despises other people's behavior, hiding a truly disarming
emotional and spiritual misery.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">What remains, until the end, is
the suspicion that the same nurse Kettle and the same Captain Syce, who it is
understood that they are cultivating an affair, are truly innocent and
unrelated to the turbulence of events, or somehow they too become part of it. .
The captain actually enters it, but in passing, only because his behavior has a
decisive importance in the events that happen.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">The structure of the novel is
circular: in fact it begins where it ends. It begins with the nurse observing
the curves of the hills, and the Chyne flowing between them, and the homes of
the four ancient families of the place, and at the same time observing the map
that she would like to complete, which would become like the one for visiting a
certain tourist attraction; and it ends, with Captain Syce realizing what his
nurse craved: a figured map.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">It is the gift of an announced
engagement, between two people each with his age and his history, each of which
gives the other a little of his attention and his esteem: the captain does not
take into account the social condition of the nurse, but look ahead; the nurse
does not look at the condition of alcoholism as a form of depression, of the
captain but she wants to see in him the ability to want to stop on the slope of
the end, and instead of resuming the climb. This time with her by her side.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">There is also in Marsh's novel,
and it is very clear, a sort of revaluation of the small landed nobility, that
social part that has held the intertwining of the basic values </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"></span><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">of society in its hands for centuries: it makes a
mockery of them, but only to better define the forces of reaction, to make the
best subjects spring the will to start over and in any case to give an example
to those who are not of noble birth like them. One of the subjects that comes
out best from the novel's weaving is the old Octavius: considered a half
madman, upset by the death of his son and later of his wife, he vented his pain
in love for cats and fishing. But even if he had, humanly speaking, to have a
human resentment towards the Lacklander neighbors, he instead forgives, because
he wanted his son, a candid soul, who did not betray, but was only negligent,
and also when everyone should being against the Lacklanders, he holds out his
hand. It is the old Lady, at the end of the novel, who, mindful of something
that had broken one day, tightens hers to Octavius's, strengthening a bond,
defrauded by betrayal and subsequently strengthened by the esteem and help of
the vassal to her. man. It is a bit as if the lord recognized a vassal's merit
and promoted him to social status.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">And it is also how Ngaio Marsh,
New Zealander forever, would affirm with conviction: <i>God Save the Queen!</i></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Masterpiece.<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"><span style="font-size: medium;"><b>Pietro De Palma</b></span><br /></span></span></p>Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0tag:blogger.com,1999:blog-9100001220947256423.post-13508856110817724232022-03-29T10:07:00.002+02:002022-04-03T22:00:42.310+02:00Roger Scarlett : The Back Bay Murders (1930)<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/413YXIyUbJL._SX363_BO1,204,203,200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="365" height="318" src="https://images-na.ssl-images-amazon.com/images/I/413YXIyUbJL._SX363_BO1,204,203,200_.jpg" width="233" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">Roger
Scarlett is a pseudonym behind which there were two writers, a 4-handed couple
like Ellery Queen. The writers were called Dorothy Blair (1903-1975) and Evelyn
Page (1902-1976). They had not grown up together as one might easily guess, but
in two quite different places. In fact, the first, originally from Montana,
even though her parents came from Massachussets, had graduated from the State
of New York; the second came from Philadelphia, Pennsylvania. The two girls met
by the same publisher “<i>Houghton Mifflin, based in Boston's Back Bay, where
the two women met. The couple left Houghton, Mifflin in 1929</i> ”to create
their own character and business name Roger Scarlett. After some time spent
writing their 5 novels together, the couple retired to a remote farm in
Abington, Connecticut, where they lived together for 50 years (they were a
lesbian couple, like Curtis confirmed to me).</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The 5
novels in question, written and published from 1930 to 1933 are:</span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The
Beacon Hill Murders (1930)</span></i></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The Back
Bay Murders (1930)</span></i></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">Cat's Paw
(1931)</span></i></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">Murder
Among the Angells (1932)</span></i></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">In the
First Degree (1933)</span></i></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">WARNING: SPOILERS !!!</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The Back
Bay Murders</span></i><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> (1930)
essentially speaks of a series of murders in a pensioner, that of Mrs. Quincy.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">At first,
a strange thing occurs: someone smears the walls and floor of the room occupied
by Prendergast, a very excitable young man who lives with his mother, with
substance of the same color as blood, probably ketchup. Then a few days later,
the thing repeats itself only that it is blood to smear the floor, as
Prendersast is killed. And a white feather is found under Prendergast's body.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The
investigations are difficult: all the pensioners, occupying rooms on the second
and third floors of the building, give depositions which show how essentially
no one could have committed the crime, except one person who had gone to see
the blind Weed, Alvin Hyde . This person, it must be said, introduces himself
to Sergeant Moran who supports Inspector Norton Kane, and gives evidence denying
his responsibilities like the others. When Kane realizes that it may have been
just him, and the police search the apartment he lives in, they find an
envelope with the words "Exhibit A" in a drawer and inside the
blood-smeared knife that was used to kill Prendergast. In a closet, also the
suit that the suspect wore in front of Sergeant Moran.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">However,
the police do not issue the search order for Hyde, as Kane is sure to be the
person living in Quincy's house, who assumed Hyde's identity through disguise.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The
investigations are progressing, but they do not produce appreciable results.
Kane elaborates a series of accusatory hypotheses, also based on the gift of a
piano roll that Hyde had given to Weed, but while focusing attention on a
series of characters, it is not possible to identify the right one.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">The
investigations take another turn, after the second crime, that of Mrs. Quincy,
found dead from a puncture on the arm, in her bedroom, connected by a door to
the living room where her husband was staying and through another to the
corridor of the house. The husband states that his wife died around 10.30 pm
when he normally went to bed: he heard a loud noise, ran, and found his wife
dead.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">All the
other occupants of the house say the same thing, even if they are frightened.
Near the place of death, four of the retirees were playing bridge: Lovejoy,
Vincent, Wainwright, and Dr. Spinelli. Kane speculates that the culprit may be
Wainwright (who would be Hyde) who was absent from the table for a moment and
allegedly killed the woman. However since the poison is cyanide, which acts
immediately, and not after several minutes, he could not be and this hypothesis
falls completely when the cat Sheeba of Weed, who has always purred with Hyde,
does not purr near Wainwright .</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">Then he
returns to the starting point. Or rather no. Because Quincy was killed because
she had discovered one thing: green glass fragments found in her pocket,
initially connected to a spectacle lens or a monocle, then they were instead
connected to something else. Quincy had revealed that the night before the
Prendergast murder, when she went to open the door for Hyde, he had stumbled
and heard the sound of glass breaking so much that he thought at first that the
panel had broken. top of the front door. Only later, a pocket watch left guilty
on a piece of furniture with broken glass had directed her to the true identity
of Hyde, thus signing his death sentence. After a final fireworks display in
which three different people are suspected, Kane will be able to identify the
right one, not before she commits suicide. And he will also explain how that
white feather fits into the solution and identification of the motive for the
murder of Prendergast.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span lang="EN-US" style="color: red; font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">THE END OF THE SPOILERS</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">I
immediately say that the novel did not immediately fascinate me: in fact, I
read the first 100 pages in almost a month. Perhaps the style, perhaps the
testimonies, perhaps even the expectation of an impossible crime that hadn't
occurred, held me back for a long time, so much so that I had started reading
another book. The fact is that I noticed some strange things.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.dustjackets.com/pictures/2944.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="800" height="263" src="https://www.dustjackets.com/pictures/2944.jpg" width="628" /></a></div><br /><p></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">I do not
know if the layout of the novel is the original one or if the maps on pages
76-77 were originally inserted elsewhere: the fact is that placed in this
position they take away a lot of the surprise effect. In fact, if you insert
some maps in which the occupants' rooms are drawn and Hyde's is not among
those, a reader quite accustomed to the subtleties of a mystery immediately
understands that if the investigations are directed towards Hyde and Hyde does
not live in the house. , and nevertheless some plans of the house are inserted,
it is evident that Hyde is another person. And this when Kane has not yet
expressed his doubts that Hyde is in fact the second identity of an occupant of
the house.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">Beyond
this, the rhythm of the narrative acquires considerable weight and speed only
after the second crime, which is an impossible crime. Indeed, by conception, it
anticipates by many years a very famous one by Agatha Christie, and by a few
years one by Vindry. However, there is a certain underlying naivety: using
hydrogen cyanide as a weapon, if it is true that it has its undoubted efficacy,
nevertheless exposes to a question above the lines that is not considered (nor
is obviously answered: how Did the killer get it? Hydrocyanic acid is not easy
to find, as it was at the time for example arsenic used to kill mice, as even
at that time it was a commodity that only perhaps pharmacists could deal with
In fact, for some time I suspected Spinelli, before turning to the real killer,
about thirty pages before the explanation.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">However,
it must be said that, for the average reader, the identification is very
problematic since the game of the parts is developed with skill and very
intelligently: the tension, except for the detail I mentioned above, never
decreases starting from the second crime, even because various accusatory
hypotheses are proposed, one followed by another, addressing Wainwright,
Lovejoy, Spinelli, and even Weed (in case he is a false blind man, since he
retracts when Kane is about to strike his forehead with a ruler) , all
supported by their own cause.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: IT;">To me,
however, basically there is only one doubt left: in the mysteries, except
perhaps those of Fantomas or Arsene Lupine, the disguise is almost never used.
Here a person, it turns out that for years he has built a double identity, also
going to live in another house (a bit like the Inspector Belot of Aveline), but
he has the nerve to be seen by the mistress of house who receives him in the
house as Hyde, but who knows him under another identity, or to introduce
himself to Moran and then be seen by the narrator, that is the lawyer
Underwood, without all these people realizing that he is others. However, what
strangely comes to me is not so much the disguise (and here also the change of
some facial features), but the change of the voice: it is possible that all
people have never noticed the voice, or it too was changed ? It seems that only
I noticed it, since in the novel it is not mentioned at all.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">By setting, the conception of the
novel and its characters leads us towards the Van Dine novel: the couple of the
two authors were certainly very influenced by Van Dine, who over time was the
master in America. Not surprisingly, the main characters can be superimposed on
the Van Dine characters: Philo Vance here is Norton Kane, S.S. Van Dine is
Underwood, Judge Markham is Sergeant Moran, although there is not the amateur
super-detective but the detective cop, according to a rib also born from Van
Dine, but powered by Abbot and Daly King. Kane, however, although deriving from
Philo Vance, is not a faithful clone, and takes the attitudes of Sherlock
Holmes: in fact only S.H. he would go on all fours with the magnifying glass to
find something that others missed. Well, Kane gets on all fours with a broom
and shovel to collect any glass fragments from the watch. However, certain
details bring us back to Philo Vance's encyclopedic culture: eg. the somatic
characters of cats, and the differentiations within the same breed of Persian
cats.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Good novel, appreciated also and
above all by fans of Van Dine.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Verdana",sans-serif; font-size: 14.0pt; mso-ansi-language: EN-US;">Pietro De Palma</span></b></p>
Pietro De Palmahttp://www.blogger.com/profile/06051060020493340331noreply@blogger.com0