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H.C. Bailey’s longer books are not so satisfactory as his shorter stories. All the characters are inclined to speak a special Baileyesque language of their own—a clear clipped jargon. This is effective in short doses as the atmosphere of the operating theatre. But the atmosphere of an operating theatre is essentially artificial—created deliberately for specific purposes. It cannot be prolonged into a picture of daily life. Some of the best of the Fortune stories show the deduction of a whole malignant growth from one small isolated incident. For instance, the discovery of a couple of withered leaves in a woman’s handbag, recognized by Mr. Fortune as Arctic Willow, cause him to inquire into an apparently satisfactory case of suicide.

  Fat, lazy, incredibly greedy (his delight in cream and jam for tea make tantalizing reading in war days!), underneath Fortune’s smiling exterior there is cold steel. Reggie Fortune is for Justice—merciless and inexorable justice. His pity and indignation are aroused by the victims—in execution he is as ruthless as his own knife.

  John Dickson Carr (or Carter Dickson, for they are one and the same) is a master magician. I believe that only those who write detective stories themselves can really appreciate his marvellous sleight of hand. For that is what it is—he is the supreme conjurer, the King of the Art of Misdirection. Each of his books is a brilliant, fantastic, quite impossible conjuring trick.

  “You watch my hands, ladies and gentlemen, you watch my sleeves, the hat is empty, nothing anywhere—Hey presto! A Rabbit!” He has, too, the gift of story telling, once you begin a book of his, you simply cannot put it down. As each chapter draws to a close, you see ahead a reasonable explanation, then, like Alice through the Looking Glass’s path, it seems to shake itself, and off it goes in a twist of fresh bewilderment. His characterization is not particularly good, his people talk in a way quite unlike life, his events are fantastic. It is all stagey—set behind footlights—but what a performance!

  Carr’s penchant is for the impossible situation. He starts with that—either with the familiar “closed room”, or “closed circle” or with, as in the “Arabian Nights Mystery”, a setting of pure fantasy, with a set of people behaving apparently like lunatics. Then with a shake of the kaleidoscope you get the reason of it, all is quite normal—and then fresh impossibilities, fresh rationalisations. For some people, the twists of the plot may be too complicated. He can certainly be accused of occasionally loading the dice, but that can be forgiven for the brilliance with which it is done. The clues to the truth are so slight as to be almost unfair: one little sentence slipped into the middle of a tense situation; a mention of a car radiator on p.30 that does not agree with the same car’s radiator on p.180. Do you notice it? Of course not! Your eyes are riveted on a suspicious circumstance which you think only you have spotted. Misdirection, again.

  A crowd of people are assembled round a dinner table in The Red Widow Murders. There is a sinister room in the house, nailed up for many years. Anyone who stays in it alone is found dead. A man goes in, locks himself in while the others wait outside. Every quarter of an hour they call to him and he replies—but when the door is opened the man is dead, in a room with locked shutters and no secret ways in or out—and, what is more, that man has been dead for over an hour. The impossible has happened! You never noticed a little descriptive phrase about the man at dinner; pale, nervous, eating nothing but soup … Your clue was there, in those four words.

  Dickson Carr’s detective is the beer drinking Dr. Fell, Carter Dickson’s sleuth is Sir Henry Merrivale, the “old man”, a former chief of Military Intelligence. I much prefer him of the two—but it is the actual unfolding of the story that is the real strength of Dickson Carr’s genius. He is a male Scheherazade—and certainly no cruel Empress could order his execution until she had heard the next instalment!

  Ngaio Marsh is another deservedly popular detective writer. Her style is amusing and her characterizations excellent. Surfeit of Lampreys was a delightful book, though perhaps one so enjoyed the Lamprey family that one rather forgot about the murder. Death in Ecstasy is a very clever picture of a little coterie of worshippers in a “New Religion” adroitly put over by the infamous Father Garnett. Artists in Crime is a good story of murder amongst a collection of painters. Both the atmosphere and the people are first rate.

  Then there is the master of alibis, Freeman Wills Crofts. Inspector French is a kindly painstaking man who accomplishes his results by sheer hard work. If you like alibis, then you will enjoy the efforts of Inspector French. The Cask, one of his earliest books, is a model of its kind. A cask arrives at a business firm in London and is found to contain the body of a young woman. From there on you trace the cask back to its sender and forward again—there seems no loop hole, no possible opportunity for the cask to have been opened and the body substituted for the original piece of statuary. Nevertheless, there is a flaw and at last, slowly worried out, the truth emerges.

  There are many other good detective writers—space forbids the mention of all of them. There is Michael Innes, a brilliant and witty writer. There is straightforward John Rhode with Dr. Priestley in charge. There is Gladys Mitchell with her fascinating Mrs. Bradley, ugly as a toad and armed with the latest up-to-date theories of psychology. And Austin Freeman’s books remain interesting examples of scientific methods of crime deduction.

  I have chosen out for fullest description those writers whom I myself admire most and consider at the top of their profession. No collection would be complete without the mention of Anthony Berkeley, founder of the Detective Club, although he has, alas, been silent for many years. But what delightful books he has written. Detection and crime at its wittiest—all his stories are amusing, intriguing, and he is a master of the final twist, the surprise dénouement. Roger Sheridan, the slightly fatuous novelist, is his detective, though Roger is not always allowed to shine. He remains always the gifted amateur—hit or miss—but whichever way it is, the entertainment is first class.

  And now, perhaps, a few words about myself. Since I have been writing detective stories for a quarter of a century and have some forty-odd novels to my credit, I may lay claim at least to being an industrious craftsman. A more aristocratic title was given to me by an American paper which dubbed me the “Duchess of Death”.

  I have enjoyed writing detective stories, and I think the austerity and stern discipline that goes to making a ‘tight’ detective plot is good for one’s thought processes. It is the kind of writing that does not permit loose or slipshod thinking. It all has to dovetail, to fit in as part of a carefully constructed whole. You must have your blueprint first, and it needs really constructive thinking to make a workmanlike job of it.

  Naturally one’s methods alter. I have become more interested as the years go on in the preliminaries of crime—the interplay of character upon character, the deep smouldering resentments and dissatisfactions that do not always come to the surface but which may suddenly explode into violence. I have written light-hearted murder stories, and serious crime stories, and technical extravaganzas like Ten Little Niggers [And Then There Were None]. I have laid a crime story in Ancient Egypt, and a murder play on a modern Nile steamer. I have had the conventional Body in the Library, and Bodies in Aeroplanes, and on Boats and in Trans-European Trains. Hercule Poirot has made quite a place for himself in the world and is regarded perhaps with more affection by outsiders than by his own creator! I would give one piece of advice to young detective writers. Be very careful what central character you create—you may have him with you for a very long time!

  CONTENTS

  Map

  Title Page

  Foreword: Ask a Detective Writer by Martin Edwards

  Preface: Detective Writers in England by Agatha Christie

  PART I

  DEATH AT HURSLEY LODGE

  BY JOHN RHODE

  PART II

  I. MRS. BRADLEY’S DILEMMA

  BY HELEN SIMPSON

  II. SIR JOHN TAKES HIS CUE

  BY GLADYS MITCHELL

 
III. LORD PETER’S PRIVY COUNSEL

  BY ANTHONY BERKELEY

  IV. THE CONCLUSIONS OF MR. ROGER SHERINGHAM.

  BY DOROTHY L. SAYERS

  PART III

  “IF YOU WANT TO KNOW—”

  BY MILWARD KENNEDY

  Final Note

  Footnotes

  Copyright

  About the Publisher

  INTRODUCTION TO PART I

  (a)

  “DEAR JOHN RHODE,

  “People ask me, when they find out (let me be honest, ‘when I tell them’) that I write detective stories, ‘Oh, how do you begin? Do you think of a Murder and then work it out, or do you think of a Solution and do it backwards?’ I suppose the question is inevitable; I have never discovered the answer.

  “At the moment I’m in a peculiar position: I’ve thought of a title—’ Ask a Policeman.’ That ought to suggest a nice murder, surely? You know, with Cabinet Ministers, and Papal Nuncios, and Libraries, and all the rest of it.

  “But the queer thing is, the title does nothing of the sort—to me: how does it strike you?

  “Yours ever,

  “MILWARD KENNEDY.”

  (b)

  “DEAR MILWARD KENNEDY,

  “Yes, I know. I have never answered the question myself. I have come to the conclusion that writing detective stories is just like any other vice. The deed is done without one’s having any clear knowledge of the temptation which led up to it. But I must confess that I usually start with something more comprehensive than a title.

  “I suppose your veiled suggestion is that I supply a plot to fit your title. But, honestly, to my simple mind ‘Ask a Policeman’ suggests the pawning of a watch—or are you too young to remember the old song?—rather than your galaxy of celebrities. Besides, I have never met a Papal Nuncio. I shouldn’t know what to say to him if I did. But I have seen an Archbishop—in the distance. And once I used to hold awestruck conversations with a Cabinet Minister, whose powers of invective I have always admired.

  “So here is your plot. As you will see, you have a choice of many Policemen to interrogate as to its solution.

  “Yours,

  “JOHN RHODE.”

  PART I

  DEATH AT HURSLEY LODGE

  BY JOHN RHODE

  IT was impossible to tell, from the Home Secretary’s expression, exactly how the news had affected him. He was a big, heavy man, who looked much more like a country farmer than a Minister of the Crown. Punch was fond of caricaturing him in breeches and gaiters, with a pitchfork over his shoulder. You might have expected his position in the Cabinet to have been Minister of Agriculture.

  But those who knew Sir Philip Brackenthorpe were well aware that a very keen brain was at work beneath his rather bucolic exterior. And that that brain was particularly active at this precise moment the Commissioner of Metropolitan Police had no doubt. The two were alone together in Sir Philip’s private room at the Home Office. Through the open windows came the muffled roar of the traffic in Whitehall, the only sound to break the silence which had followed the Commissioner’s terse statement.

  “Comstock!” exclaimed Sir Philip at last, “The man lived on sensation, and it is only fitting that his death should provide the greatest sensation of all. Yes, you’re quite right, Hampton. I shall have to have all the facts at first hand. This business is bound to come up when the Cabinet meets to-morrow. Who have you got there?”

  “Rather a crowd, I’m afraid, sir,” replied Sir Henry Hampton, “I don’t know whether you’ll care to see them all—”

  “I’ll see anybody who’s got anything relevant to say about the affair. But, mind, I want evidence, and not speculation. But, before we start, I should like to see Littleton, since he’ll be primarily responsible for the investigations. He came here with you, of course?”

  Hampton’s tall, gaunt frame imperceptibly stiffened. The question had been asked a good deal earlier than he had anticipated. It was devilish awkward, for Sir Philip was not the sort of person who could be put off with evasions. “Littleton was not in his office when the message came through to Scotland Yard just now, I’m sorry to say,” he replied simply.

  No use going into details, thought Hampton. Littleton, the Assistant Commissioner in charge of the Criminal Investigation Department, might be expected to return at any minute now. He would find a message telling him to come at once to the Home Office. And then, as Hampton reflected grimly, he could tell his own story. And, if the amazing rumour which had reached the Commissioner as to his whereabouts was true, his story might prove particularly interesting.

  Sir Philip must have guessed that Hampton was withholding something from him. “You are responsible for your own Department,” he said, with a touch of severity. “You will naturally give Littleton such instructions as you consider necessary. But I want to impress upon you that the death of a man like Comstock is not an everyday event. It will require, shall we say, special methods of investigation. And that for many reasons, which I need scarcely point out to you.”

  From the far-away expression of his eyes, it seemed that Sir Philip was mentally addressing a larger and more important audience. Hampton wondered idly whether it was the Cabinet or the House of Commons that he was thinking of. The murder—if it was murder—of a man like Lord Comstock was an event of world-wide importance. The newspapers controlled by the millionaire journalist exerted an influence out of all proportion to their real value. Inspired by Comstock himself, they claimed at frequent intervals to be the real arbiters of the nation’s destiny at home and abroad. Governments might come and go, each with its own considered policy. The Comstock Press patronized, ignored, or attacked them, as suited Lord Comstock’s whim at the moment. His policy was fixed and invariable.

  This may seem an astounding statement to those who remember how swiftly and how frequently the Daily Bugle changed its editorial opinions. But Lord Comstock’s policy was not concerned with the welfare of the State, or of anyone else but himself, for that matter. It was devoted with unswerving purpose to one single aim, the increase in value of his advertisement pages. The surest way to do this was to increase, circulation, to bamboozle the public into buying the organs of the Comstock Press. And nobody knew better than Lord Comstock that the surest way of luring the public was by a stunt, the more extravagant the better.

  Stunts therefore followed one another with bewildering rapidity. Of those running at the moment, two had attracted special attention. To be successful, stunts must attack something or somebody, preferably so well established that it or he has become part of the ordinary person’s accepted scheme of things. Lord Comstock had selected Christianity as the first object of his attack.

  But he was far too able a journalist merely to attack. His assault upon Christianity had nothing in common with the iconoclasm of the Bolshevists. Christianity must be abandoned, not because it was a menace to Socialism, but because the Christian civilization had manifestly failed. The economic slough of despond had demonstrated that, clearly enough. Christianity had swept away the conception of the Platonic Republic, with its single and logical solutions of all problems which could beset the Commonwealth. “Back to Paganism!” was the slogan, and the Daily Bugle devoted many columns daily to proving that by this means alone the existing economic depression could be finally cured.

  One antagonist at a time, even so formidable an antagonist as Christianity, could not satisfy the restless spirit of Lord Comstock. He sought another and found it in the Metropolitan Police, his choice being influenced mainly by the implicit faith which that institution most justly inspired. Scotland Yard was the principal object of the invective of the Comstock Press. It was inefficient, ill-conducted, and corrupt. It must be reformed, root and branch. The crime experts of the Comstock Press, men who knew how to use their brains, were worth the whole of the C.I.D. and its elaborate machinery, which imposed so heavy and useless a burden upon the tax-payer.

  Now and then it happened that a crime was committed, and no arrest
followed. This was the opportunity of the Comstock Press. Without the slightest regard for the merits of the case, and safe in the knowledge that a Government Department cannot reply, the Daily Bugle, and its evening contemporary, the Evening Clarion, unloosed a flood of vituperation upon the C.I.D., from the Assistant Commissioner himself to his humblest subordinate. And the most recent instance of this—the echoes of the storm were still rumbling—was vividly in the Home Secretary’s mind as he sat thoughtfully drawing elaborate geometrical patterns upon his blotting paper.

  In fact, the shadow of Lord Comstock lay heavily on both men, as they sat in the oppressive warmth of the June afternoon. It was as though his invisible presence lurked in the corner of the room, masterful, contemptuous, poisoning the air with the taint of falsehood. That at that very moment he lay dead in his own country retreat, Hursley Lodge, was a fact so incredible that it required time for its realization. Hence, perhaps, the silence which had once more fallen upon the room.

  It was broken by Sir Philip. “Did you know the man personally?” he asked abruptly, without taking his eyes from the figures he was tracing.

  “I’ve seen him often enough, and spoken to him once or twice;” replied the Commissioner; “but I can’t say that I knew him.”

  “I knew him,” said Sir Philip slowly. From his manner it seemed as though he were more interested in his designs than in his subject. “At least, I knew as much about him as he cared for anyone to know. It wasn’t difficult. He had only one topic of conversation. With men, at least. I’ve been given to understand that his conversation with women was apt to be more intimate. And that was himself.”