In his lifetime, John Dickson Carr published 76 novels and short story collections, plus a biography of Arthur Conan Doyle and a ‘true crime’ novel predating Truman Capote’s In Cold Blood, The Murder of Sir Edmund Godfrey. Following the closure of the Rue Morgue Press, who had five Carr novels in their books, and the coming disappearance of Orion’s ebook undertaking The Murder Room, who have around 14 or so Carr novels in their ranks, we’re not too far from a point in time where only two Car novels will be available to buy: Orion’s perpetually in-print version of The Hollow Man and the Mysterious Press publication of The Devil in Velvet. So, to return to the question in the title of this post: John Dickson Carr’s out of print — where’s the fuss?
General summer unavailability is resulting in the Tuesday Night Bloggers having August off (that’s what they’ve told me, anyway…) and so this final week of ‘Poison’ posts is an opportunity to right a wrong and launch on a new undertaking in my reading life. In short, to restart the Ellery Queen canon — all 40 (by my count) novels that had input from Dannay and/or Lee — from the very beginning, starting here with their first novel, the poisoning tale The Roman Hat Mystery.
I was recently reading a book on the promise of it providing a locked room murder, to which I am rather partial. When said murder arrived, it took on this approximate form: a large indoor hall with a free-standing stone chapel inside it which has one door and no windows or other points of ingress, a crowd witnesses a lady entering said chapel – which is deserted – alone and the doors are shut, only for them to be opened some time later and said lady found beaten, bruised and devoid of life. It’s moderately classic in its setup and should therefore provide some interest, but once I read the details of the crime I gave up on the book and will not return to it (in fact, it’s already down the charity shop).
This is not due to any squeamishness on my part, or a particular problem I had with the writing or the characters – both were fine, if unexceptional – but rather just because it just wasn’t interesting. It is hard to put this in words, which is why I imagine this post may run rather longer than usual, but there were simply no features of intrigue to me in that supposedly impossible murder. And so I got to thinking…forget plot or prose or atmosphere, take away all the context of an impossible crime, particularly forget about the solutions: what makes an interesting fictional impossibility? Continue reading →