So: what was it like, spending in excess of four hundred pages in the company of the mighty, world-conquering Caesars? You may judge for yourself….
When people think of imperial Rome, it is the city of the first Caesars that is most likely to come into their minds. There is no other period of ancient history that can compare for sheer unsettling fascination with its gallery of leading characters. Their lurid glamour has resulted in them becoming the very archetypes of feuding and murderous dynasts. Monsters such as we find in the pages of Tacitus and Suetonius seem sprung from some fantasy novel or TV box-set: Tiberius, grim, paranoid, and with a taste for having his testicles licked by young boys in swimming pools; Caligula, lamenting that the Roman people did not have a single neck, so that he might cut it through; Agrippina, the mother of Nero, scheming to bring to power the son who would end up having her murdered; Nero himself, kicking his pregnant wife to death, marrying a eunuch, and raising a pleasure palace over the fire-gutted centre of Rome. For those who like their tales of dynastic back-stabbing spiced up with poison and exotic extremes of perversion, the story might well seem to have everything. Murderous matriarchs, incestuous powercouples, downtrodden beta males who nevertheless end up wielding powers of life and death: all these staples of recent dramas are to be found in the sources for the period. The first Caesars, more than any comparable dynasty, remain to this day household names. Their celebrity holds.
Celebrity, admittedly. But notoriety might be closer to the mark.
Here’s the genealogy of the Caesars:
In Holland’s telling, Julius Caesar was indeed as dangerously ambitious as Brutus claimed. He was a genuine threat to the Republic. But perhaps the Republic was doomed anyway. Aside from subduing the Gauls – no small feat – Caesar’s greatest gift to the Roman people was his appointment of his great-nephew Octavius as his heir.
(The names will drive you crazy, if nothing else does first.)
Augustus was a reasonably good ruler and, by our standards anyway, a reasonably decent man. And his wife Livia was one of the more powerful, memorable, and upright female presences in Roman history.
She was the mother of the emperor Tiberius, paternal grandmother of the emperor Claudius, paternal great-grandmother of the emperor Caligula, and maternal great-great-grandmother of the emperor Nero.
from the Wikipedia entry
Alas, from here it was downhill all the way. Tiberius, successor to Augustus, seemed worthy at his reign’s outset, but he became increasingly erratic, finally withdrawing to his estate on the cliffs of the Isle of Capri, high above the waters of the Tyrrhenian Sea off the coast of Sorrento. Here he indulged in grotesque orgies far from the prying eyes of Roman citizens. (But of course. tales of what was going on eventually reached the capital, a place where people indulged lavishly in rumor mongering and gossip.)
The following are pictures taken by me in Italy in 2009:
As we circled the island, our guide first told us about Tiberius; then he pointed to some jagged rocks sticking straight up out of the water. There, he said, is where the Sirens lured ships to their doom:
Next comes Caligula, great-grandson of Augustus.
Next up: Claudius:
Ever since his childhood, …Caligula had displayed a taste for dressing up. Capri, that wonderland of stage sets, enabled him to give it free rein. Wigs and costumes of every kind were his to try on, and opportunities to participate in pornographic floor-shows freely granted. Tiberius was happy to indulge his great-nephew. He knew what he was leaving the Roman people in the form of their favourite – and he had ceased to care. ‘I am rearing them a viper.’
Up until now, my knowledge of Claudius derived exclusively from the TV series I Claudius, in which Sir Derek Jacoby so memorably portrayed the seemingly hapless ruler.
Somehow I remember Claudius as being a better man than he seems to be in Tom Holland’s telling. Oh, but he was positively saintly compared to his successor, the incredibly loathsome
Nero had a wife, Poppaea Sabina, whom he adored and whom he had obtained for himself by putting her husband, his closest friend, out of the way. (oh – and Nero himself had also been married, too poor, dull Octavia; she, too, was got rid of.)
As ambitious as she was glamorous, the radiance of Poppaea’s charisma exemplified everything that Nero most admired in a woman. Even the colour of her hair, neither blonde nor brunette, marked her out as eye-catching: praised by Nero as ‘amber-coloured’, it was soon setting the trend for fashion victims across the city.
But the beautiful and vainglorious Poppaea Sabina made a fatal mistake: she nagged the ruler of the known world, thus committing the unforgivable sin of discomfiting him.. Never mind that she was heavily pregnant with their child; Nero kicked and beat her to death. No sooner had he done this than he was filled with remorse. The kingdom was scoured looking for another who was just like her. The closest he could get to achieving that goal was embodied in the person of a young boy whom he called Sporus. Nero joyfully took possession of this prize: “…it was as though his dead wife had been restored to him. So completely did he imagine himself to be gazing on her face again, caressing her cheeks and taking her in his arms, that Poppaea seemed to him redeemed from the grave.” But the youth needed to be kept smooth cheeked and beardless forever. How to prevent the onset of puberty? There was only one way: Sporus was castrated.
Meanwhile, Nero’s mother had moved heaven and earth to make sure he attained Rome’s highest office.
How was she ultimately rewarded?
Nero and Agrippina had spent an harmonious evening at a villa he was then occupying on the Bay of Naples. Then , as a gesture of filial devotion, he presented his mother with the gift of a yacht.
Greatly affectionate, he gave her the place of honour next to himself, and talked with her until the early hours. By now, with night lying velvet over the Bay, it was too dark for her to take a litter back home; and so Nero, informing his mother that her new yacht was docked outside, escorted her down to the marina. There he embraced and kissed her. ‘For you I live,’ he whispered, ‘and it is thanks to you that I rule.’ A long, last look into her eyes – and then he bade her farewell. The yacht slipped its moorings. It glided out into the night. Lights twinkled on the shore, illumining the curve of ‘the loveliest bay in the world’ while stars blazed silver overhead. Oars beat, timbers creaked, voices murmured on the deck. Otherwise, all was calm.
Then abruptly the roof fell in.
By some brilliant luck – read helpful fishermen who happened to be nearby – and her own native strength and resourcefulness, Agrippina was able to attain land and return, bleeding but alive, to her villa. But her good fortune was short lived; Nero was not through with her yet:
A column of armed men came galloping down the road. The crowds outside were roughly dispersed; soldiers surrounded the villa, then forced their way in. They found Caesar’s mother in a dimly lit room, attended by a single slave. Agrippina confronted them boldly, but her insistence that Nero could not possibly have meant them to kill her was silenced when one of the men coshed her on the head. Dazed but still conscious, Agrippina looked up to see a centurion drawing his sword. At this, rather than protest any further, she determined to die as who she was: the daughter of Germanicus and the descendant of a long line of heroes. ‘Strike my belly,’ she commanded, pointing to her womb. Then she fell beneath the hailstorm of her assassins’ swords.
As for the famous fire of 64 AD that Nero supposedly waited out while playing the fiddle, that’s a slightly erroneous legend. He didn’t play the fiddle; he played the lyre. And he played the lyre so he could accompany his singing performances. Nero sang everywhere and anywhere there was a stage – or not – and an audience. He entered innumerable vocal competitions and naturally enough was awarded first prize in every one of them.
Down through history, unconfirmed rumors have held that Nero himself torched the city. The accusation was made during his own lifetime. He in turn blamed the Christians, thus initiating their persecution.
Soon it became clear that Rome had had quite enough of this particular despot:
‘Murderer of mother and wife, a driver of chariots, a performer on the public stage, an arsonist.’ 70 The list of charges was long. Few in the upper echelons of Roman society doubted that Nero, if permitted to live, would add to it. To kill a Caesar was, of course, a fearsome thing; but by early 65, enough were convinced of its necessity to start plotting Nero’s liquidation.
The deed was finally accomplished in 68 AD. Knowing his death at the hands of the Senate and the Praetorian Guard was imminent, Nero took his own life.
‘What an artist perishes with me.’ So Nero, with his customary lack of modesty, had declared as he steeled himself to commit suicide. He had not exaggerated. He had indeed been an artist – he and his predecessors too. Augustus and Tiberius, Caligula and Claudius: each, in his own way, had succeeded in fashioning out of his rule of the world a legend that would for ever afterwards mark the House of Caesar as something eerie and more than mortal. Painted in blood and gold, its record would never cease to haunt the Roman people as a thing of mingled wonder and horror. If not necessarily divine, then it had at any rate become immortal.
Thank you, Tom Holland, for this book. You are a terrific storyteller, and this was one wild and totally engrossing ride.
A number of fiction titles, some read by me and some not, kept entering my thoughts as I was reading Dynasty. Not all of them were directly related to the specific time frame covered in this book, but they did deal with some aspect of ancient Rome.
These I have not read but have long known of and hope to get to some day:
These were the first two books to appear in Steven Saylor’s Roma Sub Rosa mystery series. I’ve read nearly all of them and recommend them most highly. (Later titles actually go back in time – see the link provided above.)
I read this novel when it first came out in 1988 and loved it. Benita Kane Jaro, who lives in this area, came into the Central Library shortly after I’d finished her novel, and we had a chance to chat. I’ve always meant to go back and read the two subsequent books in her Ancient Rome Trilogy – The Lock and The Door in the Wall. I’m delighted that that Bolchazy-Carducci Publishers are keeping these works in print. (The Key, newly purchased, is currently on my night stand.)
Finally, there is this: once read, never to be forgotten: . Marguerite Yourcenour’s masterpiece, decades in the making, was first published in France in 1951. It is not a fast read; rather, it is slow, majestic, and deeply rewarding.
This passage is quoted in Wikipedia:
Of all our games, love’s play is the only one which threatens to unsettle our soul, and is also the only one in which the player has to abandon himself to the body’s ecstasy. …Nailed to the beloved body like a slave to a cross, I have learned some secrets of life which are now dimmed in my memory by the operation of that same law which ordained that the convalescent, once cured, ceases to understand the mysterious truths laid bare by illness, and that the prisoner, set free, forgets his torture, or the conqueror, his triumph passed, forgets his glory.
Tom Holland’s translation of The Histories of Herodotus came out in 2014. It’s a regular doorstop of a tome, so this reader is both grateful and admiring. I’ve long wanted to read Herodotus on the Egyptians, and I believe Holland’s lively prose reworking will facilitate this goal:
After the meal at any party where the hosts are well-to-do, a man carries round the likeness of a corpse in a coffin, carved out of a block of wood and painted to look as lifelike as possible, which in size can be anything between one and two cubits. Showing it to each guest in turn, he says: ‘Look on this carefully as you drink and enjoy yourself, for as it is now, so will you be when you are dead.’ Such is the practice at any drinking-party.
Well, not exactly a laugh a minute, those Egyptians – at least, in this particular setting.
Let’s conclude with The Pines of Rome by Ottorino Respighi. If you don’t have the time to hear the entire symphonic poem, then go forward to 15:25 on the drag bar and listen to the final section, “The Pines of the Appian Way.” This is the most heaven-storming music imaginable. If you ever have the chance to hear it performed live – drop everything and go!
The Pines of the Appian Way is a representation of dawn on the great military road leading into Rome. Respighi recalls the past glories of the Roman Republic. The legions approach to the sound of trumpets, where possible in the form of ancient Roman buccine, instruments best imitated by the modern flügelhorn, and the Consul, elected leader of the Republic, advances, as the sun rises, mounting in triumph to the Capitol.
From the Naxos site
The Strand is everything you want a bookstore to be: crammed with literary treats for bibliophiles and staffed by knowledgeable people who understand passionate readers. In order to join that select cohort – the store’s staff, I mean – it is necessary to take and pass a multiple choice quiz. The Times very generously posted several iterations of that test on its site. If you click here, you can test your knowledge of the written word.
It started with a profile of Hillary Clinton that appeared in the May 10 issue of New York Magazine. Among other topics, author Rebecca Traister wrote about Clinton’s reading preferences:
In person, she presents, at 68, as a nana. When she tells me what she reads, she sounds just like my mother and so many other women I know, describing how she has become addicted to mystery novels. She cites the Maisie Dobbs books by Jacqueline Winspear and Donna Leon’s series set in Venice, explaining, “I’ve read so much over the course of my life that now I’m much more into easier things to read. I like a lot of women authors, novels about women, mysteries where a woman is the protagonist … It’s relaxing.”
I was pleased to learn that Clinton enjoys the works of Jacqueline Winspear and Donna Leon. Both are fine novelists, especially Leon who, with The Waters of Eternal Youth, has just hit it right out of the ball park. May I venture an opinion that by saying these books are easy to read, Clinton is comparing them to some of the policy papers and similar material that she has to not only wade through but also master. To then allow herself to become engrossed in a good story well told and peopled with interesting characters must be a profound relief.
In late June, an article by Maureen Corrigan in the Washington Post amplified the subject of Hillary Clinton’s reading taste. Corrigan claimed that in the New York Magazine piece, Clinton was guilty of “a minor flub.” She quotes Rebecca Traister’s ad hoc clarification to the effect that “…Clinton is no cinnamon-scented Mrs Tiggy-Winkle” (a reference which I found baffling and had to look up). Corrigan counters:
But that is, indeed, the patronizing image that bedevils female readers of cozy mysteries. The idea that these writers — and “women’s mysteries” in general — are “easier to read” sounds a tad trivializing.
Right off the bat, let’s assume that Maureen Corrigan – frequent reviewer of mysteries for the Post – did not mean to imply that Donna Leon is a writer of cozy crime fiction. On the contrary, her novels are concerned with the most basic truths and the fathomless complexity of human motivations. Winspear’s works may be somewhat lighter, but I don’t know that I’d call them cozies either. (The last one I read, Pardonable Lies, was excellent.)
So, then – what exactly is a cozy:
Cozy mysteries, also referred to simply as “cozies”, are a subgenre of crime fiction in which sex and violence are downplayed or treated humorously, and the crime and detection take place in a small, socially intimate community.
From “The Immense Popularity of Cozy Mysteries,” a piece by Kristen Houghton on the Huffington Post site:
Cozies are fun to read. There’s a formula to the cozies that work very well drawing readers back again and again. The amateurs in such stories are nearly always well educated, intuitive women. Books, especially in series form usually have the story line relate to the detective’s job or hobby. Murderers in cozy mysteries are generally intelligent, rational, articulate people, and murders are pretty much bloodless and neat. Violence and sex are low-key and supporting background characters bring comic relief to the story. Some cozy series are set during holidays such as Valentine Day or Christmas making them more intimate to the reader.
See the article on the Cozy Mystery List site for a yet more extended treatment of this subject.
I seem to recall reading somewhere that Lawrence Block defines a cozy mystery as one in which a cat figures prominently in the plot. (I believe this was a tongue-in-cheek offering, but one can never be sure, especially where Block is concerned.)
Finally, a spirited riposte appeared earlier this month in the Post’s Letters to the Editor column. Written by Claire Tieder, it’s entitled “Intellectuals like reading mysteries, thank you very much:”
As one egghead to another, and on behalf of my many egghead friends: Thanks Claire!
Let me also add that I read my share of cozy mysteries, chief among them M.C. Beaton’s Hamish Macbeth novels and the No.1 Ladies’ Detective novels and the Corduroy Mansions series by the prodigiously gifted Alexander McCall Smith.
At one point in his book The Golden Age of Murder, after naming several of the outstanding male authors of the period, Martin Edwards poses this question:
One of the mysteries of the Golden Age is – why have they been airbrushed out of its history so completely that it is often seen as the exclusive territory of the ‘Queens of Crime’?
In actuality, the aforementioned ‘Queens’ – Agatha Christie, Dorothy L. Sayers, and Margery Allingham, with the somewhat later Josephine Tey often thrown into the mix for good measure – not only crowded out a large number of male writers by dint of their sheer brilliance, but also a fair number of other women writers as well. One of those in this latter group was Ethel Lina White.
White’s story “Cheese” was the final selection from Capital Crimes to be considered by the Usual Suspects at last Tuesday’s discussion. The framework for this story is so elegantly – and eloquently – set forth that I’m going to quote it in its entirety:
This story begins with a murder. It ends with a mouse-trap.
The murder can be disposed of in a paragraph. An attractive girl, carefully reared and educated for a future which held only a twisted throat. At the end of seven months, an unsolved mystery and a reward of £ 500.
It is a long way from a murder to a mouse-trap— and one with no finger-posts; but the police knew every inch of the way. In spite of a prestige punctured by the press and public, they had solved the identity of the killer. There remained the problem of tracking this wary and treacherous rodent from his unknown sewer in the underworld into their trap.
They failed repeatedly for lack of the right bait.
And unexpectedly, one spring evening, the bait turned up in the person of a young girl.
The principal dramatis personae in this tight, suspenseful little drama:
Jenny Morgan, freshly arrived from the blooming English countryside, eagerly seeking her fortune – quite literally, as she’s in dire need of funds.
Inspector Angus Duncan, “…a red-haired Scot, handsome in a dour fashion, with the chin of a prize-fighter and keen blue eyes.” (Please excuse all the direct quotes; I do love White’s writing.)
Jenny may be keen, but she’s also cautious. She’s received a letter detailing a job offer as a traveling companion and secretary to an elderly lady, but the instructions she’s been given concerning the initial interview for the position have made her uneasy. A friend connected with the police has advised her to seek their counsel. She goes, describes her situation, and asks for their advice – more specifically, for Angus Duncan’s advice, as he is the detective who has caught the case.
(Oh – and watching all this is a Great Dane, resting placidly by the office fireplace. Jenny longs to go over pet him, but she lacks the nerve to move from her chair. Trust me; this is an important detail.)
Inspector Duncan says he needs to have this letter checked out by an expert. Can he take it for that purpose, and will she please come back the next day?
Jenny says yes.
It turns out that by answering just such a summons, the hapless young victim alluded to in the passage quoted above met her tragic fate. As is also stated in that passage, the identity of the perpetrator is known; his whereabouts are not. What’s needed is bait with which to lure this rat out of hiding. As Angus Duncan stares across his desk at Jenny Morgan, a plan, plain as day, reveals itself to him.
He asks Jenny if she’d be willing to help the police capture the malefactor. True, she’ll need to summon her courage, but she need not be too concerned: She will be surreptitiously watched over and guarded every step of the way. Oh – and she will earn a reward: five hundred pounds!
Once again, Jenny says yes.
What happens next is – well, I won’t give away any more. As Frank would say, White summons a plot device into being that the reader has no trouble buying into and that generates edge-of-the-seat suspense. Finally, added to the mix is the beginning of a romance, always a welcome development in a mystery story.
Ethel Lina White was born in Abergavenny, Wales, in 1887. Upon moving to London, she took a job with the Ministry of Pensions. Eventually she left that employment in order to devote herself to writing full time. During the 1920s and 1930s, she was both prolific and popular. Although not as well known these days, she’s still remembered for two novels which were made into successful motion pictures: The Wheel Spins, filmed in 1938 by Alfred Hitchcock and retitled The Lady Vanishes, and Some Must Watch, which was released in 1946 as The Spiral Staircase and directed by Robert Siodmak. (The Lady Vanishes was remade for theatrical release in 1979 and for television in 2013. The Spiral Staircase was remade for theatrical release in 1975 and for television in 2000.)
In his introduction to “Cheese,” Martin Edwards states:
White’s speciality was ‘woman in jeopardy’ suspense fiction, and her ability to evoke a mood of mounting fear has seldom been matched.
The ‘woman in jeopardy’ trope was, of course, one of the keys to the effectiveness of “Cheese.” White deploys it on a larger canvas and with great success in The Wheel Spins, a novel I recommend with great enthusiasm. (Some Must Watch is high up on my to-read list, but as is the way with such lists, one makes no promises.)
Very little is known of Ethel Lina White’s personal life – witness the sketchiness of the Wikipedia entry. (It’s interesting how is frequently this is the case with women writers of that era who have never married or had children. One thinks of Ngaio Marsh and Josephine Tey, although a new biography of the latter by Jennifer Morag Henderson is said to have unearthed some new information about that famously elusive author.) The lengthiest research I found on White is in the Gale database Biography in Context (available through many library websites), and even there, the piece was almost exclusively focused on her work. Frank and I both tried without success to find a date for the initial appearance of “Cheese.”
To recapitulate: the four stories from Capital Crimes that we read for this discussion were “The Case of Lady Sannox” by Arthur Conan Doyle, “The Hands of Mr Ottermole” by Thomas Burke, “The Silver Mask” by Hugh Walpole, and “Cheese” by Ethel Lina White. I think I’m safe in saying that “Cheese” was the favorite among those present at the meeting. (Suspects and others, please feel to offer additions, corrections, or other comments.)
At the start of the discussion, I handed out the following very subjective list of recommended reading in the classics.
FURTHER READING IN THE CLASSICS INSPIRED BY BRITISH LIBRARY CRIME CLASSICS, MARTIN EDWARDS (BOTH HIS BLOG ‘DO YOU WRITE UNDER YOUR OWN NAME’ AND HIS AWARD WINNING BOOK THE GOLDEN AGE OF MURDER), THE GOLDEN AGE DETECTION GROUP ON FACEBOOK, ETC.
I enjoyed the following by authors appearing in the Capital Crimes collection:
“The Leather Funnel” and “Lot No. 249” by Sir Arthur Conan Doyle
The Complete Adventures of Judith Lee by Richard Marsh (first few stories)
“The Little Donkeys with the Crimson Saddles” from The Silver Thorn by Hugh Walpole
“The Whistle” from All Souls’ Night by Hugh Walpole
Mist in the Saltings by Henry Wade
Before the Fact by Francis Iles (Anthony Berkeley Cox)
Police at the Funeral by Margery Allingham
The Wheel Spins (The Lady Vanishes) by Ethel Lina White
In addition, I recommend the following:
The Emperor’s Snuff Box by John Dickson Carr
Murder of a Lady by Anthony Wynne
[Click here for Part One of this post.]
Hugh Walpole’s father, Somerset Walpole, was an Anglican priest. At the time of his son’s birth in 1884, he was the incumbent at a cathedral in Auckland, New Zealand. Five years later, Rev. Walpole accepted a teaching position at a theological seminary in New York. In 1893, Hugh Walpole was sent to England where, for the next four years, he endured the seemingly inevitable miseries of the English boarding school. Even when his family finally returned to England and Hugh was able to attend a day school, the unhappiness persisted. He spent most of his time in the library, devouring the works of the nineteenth century’s great novelists.
I grew up … discontented, ugly, abnormally sensitive, and excessively conceited. No one liked me – not masters, boys, friends of the family, nor relations who came to stay; and I do not in the least wonder at it. I was untidy, uncleanly, excessively gauche. I believed that I was profoundly misunderstood, that people took my pale and pimpled countenance for the mirror of my soul, that I had marvellous things of interest in me that would one day be discovered.
[quoted in Wikipedia]
In 1903, Walpole began his study of history at Cambridge University. Now he began to find himself as a scholar and as a writer. At the same time, he was struggling to come to terms with his homosexuality. (Homosexual acts were decriminalized in England and Wales in 1967.)
Walpole became a prolific writer whose works were widely read and admired. And yet nowadays he is relatively unknown. One reason for this is that he was the victim of a masterful take-down by a rival author: W. Somerset Maugham. (The name “Somerset” seems to have figured fatefully in Walpole’s life.) This occurred in one of Maugham’s most popular novels, Cakes and Ale. Why would Maugham have done this?
Initially, Walpole and Maugham were friends. But according to Selena Hastings’s landmark biography The Secret Lives of Somerset Maugham,
…the ruthlessness of Walpole’s self-promotion coupled with a lack of generosity…had begun to repel him. Hugh, it seems, had behaved badly to a couple of good friends of Maugham’s…; he had also, in the course of a recent and prestigious Cambridge lecture, omitted Maugham’s name from a list of well-regarded contemporary novelists….
One can well imagine that last item being the straw the broke the camel’s back. Still, Hastings feels that these are insufficient motivations for the attack, which apparently struck home with devastating force. There was probably more to it, and she opines that it may have had to do with jealousy of a more personal nature. (I’ve not read Cakes and Ale and so can offer no first hand view.)
At any rate, there is now renewed interest in Walpole’s works, and a welcome reissue by Valancourt Books of a collection of his stories can only help in this cause. Among other tales, All Souls’ Night, like Capital Crimes, contains “The Silver Mask.”
Poor Sonia Herries! She skates along on the surface of things, going out with friends and collecting beautiful things for her home. Yet she feels the lack of a deeper meaning to her life.
Sonia Herries was a woman of her time in that outwardly she was cynical and destructive while inwardly she was a creature longing for affection and appreciation. For though she had white hair and was fifty she was outwardly active, young, could do with little sleep and less food, could dance and drink cocktails and play bridge to the end of all time. Inwardly she cared for neither cocktails nor bridge. She was above all things maternal and she had a weak heart, not only a spiritual weak heart but also a physical one. When she suffered, must take her drops, lie down and rest, she allowed no one to see her. Like all the other women of her period and manner of life she had a courage worthy of a better cause.
And fatefully, into her life comes a young man who knows precisely how to play on this neediness. Henry Abbott first presents himself to Sonia as desperately poor, with a wife and infant who are suffering even more than he is. Reluctantly, Sonia admits him into her home. He professes himself awestruck by the beauty of her objets d’art – above all, by a silver mask crafted by a master artisan. Sonia tells herself:
No one who cared so passionately for beautiful things could be quite worthless.
And so begins an insidious form of seduction by a master manipulator and his accomplices.
In a recent article in the Washington Post, Michael Dirda observes the following concerning Walpole:
…he produced a small handful of superior psychological shockers and ghostly tales. As John Howard notes in his introduction to the Valancourt reissue of “All Souls’ Night,” Walpole was a master of mood, uncanny atmosphere and the quietly chilling vignette. His stories are carried along, too, by an exceptionally easygoing and seductive narrative voice, what the costive Henry James described as his acolyte’s enviable “flow.”
During our discussion, Ann said that as she was reading this story, the mounting sense of dread was so powerful and disturbing that she was unable to finish it.
By contrast, Frank’s experience as a psychotherapist caused him to view Sonia Herries as a kind of case study. She was exhibiting, he said, a fatal lack of agency. By this, he meant (as I understand it) that she was allowing people and events to attain dominance over her instead of asserting herself in response to them. She needed to gain and maintain a measure of control over her own life – control which, as a sovereign human being, she was absolutely entitled to possess and to use.
In Michael Dirda’s view, “The Silver Mask” is
…an absolute masterpiece, so eerily inexorable in its development that it should be as famous as Shirley Jackson’s “The Lottery” or Charlotte Perkins Gilman’s “The Yellow Wallpaper.”
Louise wondered if the mask itself were not a symbolic as well as a literal object. We agreed that this was a reasonable conjecture. I added that after repeated readings of this story, I was developing a desire to see the actual silver mask – or at least, an example of one. Upon performing a Google image search, I found myself staring at numerous images of silver masks. They range from exquisite to grotesque; some seem rather sinister. One is at the top of this post; here are several others:
There are at least two film versions of “The Silver Mask,” retitled as “Kind Lady.” The 1951 version features a rather interesting cast: Angela Lansbury, Maurice Evans, Keenan Wynn, and Ethel Barrymore as the eponymous lady. Here’s the trailer:
“The Silver Mask” is the second story in the All Souls’ Night collection. The first is called “The Whistle.” I almost had the same reaction to it as Ann had to “The Silver Mask.” “The Whistle” is about the intense mutual love and devotion that develops between a man named Blake and a dog named Adam, and what happens to them both. It is beautifully written, but I’m a great worrier when it comes to dogs, both fictional and real.
Walpole gets inside Adam’s head in a way that reminds me of Alexander McCall Smith’s uncanny depiction of the famed Pimlico terrier, Freddie de la Hay:
The two went out into the thin misty autumn sunshine, down through the garden into the garage. The Alsatian walked very close beside Blake, as though some invisible cord held them together. All his life, now two years in length, it had been his instant principle to attach himself to somebody. For, in this curious world where he was, not his natural world at all, every breath, every movement, rustle of wind, sound of voices, patter of rain, ringing of bells, filled him with nervous alarm. He went always on guard, keeping his secret soul to himself, surrendering nothing, a captive in the country of the enemy. There might exist a human being to whom he would surrender himself. Although he had been attached to several he had not, in his two years, yet found one to whom he could give himself. Now as he trod softly over the amber and rosy leaves he was not sure that this man beside whom he walked might not be the one.
I intend to read more of these beautifully crafted (yet seemingly artless) stories.
The next and final post on this discussion will focus on the story “Cheese” by Ethel Lina White.
From The Independent December 20, 2014:
Thirties murder mystery novel is surprise runaway Christmas hitBooksellers say readers are turning away from dark modern thrillers and back to the golden age of crime writing
A Christmas detective tale not seen in shops for more than 70 years has become a festive sleeper hit and resurrected interest in a long-forgotten crime writer.
Mystery in White: A Christmas Crime Story by J Jefferson Farjeon is selling in “astonishing numbers”, according to the Waterstones book chain. It has outsold rival paperbacks Gone Girl, by Gillian Flynn, and Donna Tartt’s The Goldfinch on the high street, while Amazon temporarily ran out of stock last week due to surging demand.
I kicked off our discussion of Capital Crimes with this article. I then expounded a bit further on the opening chapters of Farjeon’s novel. The situation is this: a train has gotten stuck in a snowstorm, and a party of passengers decides to disembark and attempt to reach the next railway station on foot.
With renewed hope they resumed their difficult way. They twisted round another bend. On either side of them great white trees rose, and the foliage increased. Once they walked into the foliage. Then the lane dipped. This was unwelcome, for it appeared to increase the depth of the snow and to augment the sense that they were enclosed in it. With their retreat cut off, they were advancing into a white prison.
The atmosphere became momentarily stifling. Then, suddenly, the clerk gave a shout.
“What? Where?” cried David.
“Here; the house!” gulped the clerk.
Almost blinded by the whirling snowflakes, he had lowered his head; and when the building loomed abruptly in his path he only just saved himself from colliding with the front door.
To their astonishment, they’ve come upon a gracious dwelling all lit up and decorated for the holidays. It’s as if a special welcome had been prepared for them. Yet this cannot be: their decision to leave the train could not have been anticipated. Even more bizarre, as they look around the house, they can find no other living being. The place is completely empty. For whom then is this festive reception intended?
It’s a great set-up. The story takes off from that point, and unlike the aforementioned unfortunate railway transport, never loses its momentum until the full-of-surprises denouement.
Having come out in 2012, The Notting Hill Mystery by Charles Felix (Charles Warren Adams) was the first reissue in The British Library Crime Classics series. Two years later, however, Mystery in White was the first to make a major impression on the reading public. At this point, there have been some thirty-six titles released or planned for release by the publishing division of the British Library.
Joseph Knobbs, crime fiction buyer for Waterstone Books, observes:
‘Mystery in White has been our bestselling paperback this Christmas  and one of the most pleasant surprises of the year.
“The Crime Classics stand out against the darker crop of contemporary crime fiction and offer something a bit different. A lot of modern stuff skews closer to thriller than mystery. It has been a treat to see mystery writers such as John Bude, Mavis Doriel Hay and J Jefferson Farjeon get their due. I think that’s a credit to the British Library, which has not only done the important work of archiving this material, but now brought it to a wider audience.’
Robert Davies, from British Library Publishing, adds:
‘For years, publishers have been concentrating on dark, violent, psychological crime novels, but we spotted a gap in the market for readers seeking escapist detective fiction with superb plots and period atmosphere.’
(At this juncture, Louise interjected the view that the stories selected for this discussion were actually quite dark – anything but escapist! She had a point.)
The runaway success of the British Library Crime Classics was instrumental in bringing into being a conference on Golden Age Mysteries called Bodies from the Library. The first of these was held last year; the second, last month. The conference’s site features a list of suggested reading in Golden Age classics that’s enough to bring tears to your eyes. There’s simply not enough time!
Like the dutiful librarian I was for many gratifying years, I set out some display items for the group:
Capital Crimes is a short story collection that was published here last year. (The Crime Classics entries are now being published in the U.S. by Poisoned Pen Press.) The seventeen stories contained therein were selected by Martin Edwards, who has performed the same function for several other anthologies in this series.
(You’ll note that one of the display items above is Martin Edwards’s award-winning book The Golden Age of Murder.) I’d chosen four stories from Capital Crimes for us to consider. The first was “The Case of Lady Sannox” by Arthur Conan Doyle. (Although Martin Edwards does give the year in which this story first appeared – 1893 – that information was not readily available for most of the other stories in this anthology. We all agreed that this was omission we’d like to see remedied, if possible.)
This is not a Sherlock Holmes story; rather, it is a tale of adultery and revenge, with no detective in the cast of characters. I have to say that upon my first reading, I was so shocked by the events therein described that I slammed the book shut, looked up, and uttered an oath, I don’t remember what, exactly.
Upon subsequent readings, I was able to be somewhat more analytical. Were the events of the story credible? Does Conan Doyle play fair with the reader? The group tossed these questions around for a while; ultimately we concluded that the answer to both questions was yes. Conan Doyle’s masterful touch as a storyteller was everywhere apparent.
Frank directed our attention in this and the other stories to the way in which information about the characters is imparted. In a novel, the author has the time to develop in an almost leisurely manner the personalities of those characters. By contrast, in a short story the time and space are limited. There’s no room for extended descriptions; words must be chosen for their economy of meaning. We agreed that Conan Doyle achieved this aim in “Lady Sannox.”
Here’s what we’re told about Douglas Stone, an eminent surgeon who also happens to be the lover of Lady Sannox:
He was born to be great, for he could plan what another man dare not do, and he could do what another man dare not plan. In surgery none could follow him. His nerve, his judgment, his intuition, were things apart. Again and again his knife cut away death, but grazed the very springs of life in doing it, until his assistants were as white as the patient. His energy, his audacity, his full-blooded self-confidence— does not the memory of them still linger to the south of Marylebone Road and the north of Oxford Street?
And his vices were as magnificent as his virtues, and infinitely more picturesque. Large as was his income, and it was the third largest of all professional men in London, it was far beneath the luxury of his living. Deep in his complex nature lay a rich vein of sensualism, at the sport of which he placed all the prizes of his life. The eye, the ear, the touch, the palate, all were his masters. The bouquet of old vintages, the scent of rare exotics, the curves and tints of the daintiest potteries of Europe, it was to these that the quick-running stream of gold was transformed.
Douglas Stone himself would have readily agreed with all this praise: he had an ego the size of West Texas!
The complete story can be accessed at this site.
There exists a film version of “The Case of Lady Sannox.” For today’s viewer, I’m afraid it comes across as rather campy. The acting is over-the-top histrionic; in addition, the actress playing Lady Sannox is woefully miscast. But the strangest thing about this version of the story is the way in which the ending is altered. I suggest reading the story, then watching the film, and drawing your own conclusions concerning what was changed and why.
This story sparked an especially lively discussion. Unfortunately, many of the details have escaped me. But I’m grateful to Marge, Louise, Frank, and Ann for engaging with such enthusiasm.
It is difficult to talk about Sir Arthur Conan Doyle without also talking about his most famous creation. That fact was illustrated by this oft-reproduced 1926 cartoon from Punch Magazine: Nonetheless, I couldn’t resist bringing this along for show and tell: This book is a companion to a special exhibit at the Royal College of Surgeons in Edinburgh. We were for fortunate enough to see this exhibit and tour this remarkable facility when we were on our 2007 Smithsonian Mystery excursion. On that occasion, Dr. Alan Mackaill was our guide and speaker:
It is most certainly to you that I owe Sherlock Holmes … round the centre of deduction and inference and observation which I have heard you inculcate I have tried to build up a man.
Our next story was “The Hands of Mr. Ottermole” (1931) by Thomas Burke. This is a fairly famous piece and is included in quite a few mystery anthologies. It’s the story of a serial killer who roams the streets of London, striking innocent people at random and then seeming to disappear into thin air. The first victim is a gentleman by the name of Mr Whybrow. He’s headed home after a hard day’s work and looking forward to having tea with his wife. You get the sense of a perfectly ordinary man married to a likewise ordinary woman; they’re fond of each other and neither would hurt a fly. But their domestic tranquility, taken for granted up until now, is doomed to be shattered by “A man with a dead heart eating into itself and bringing forth the foul organisms that arise from death and corruption.” He murders them both, husband and wife. Then quick as you like, he’s gone. Or is he?
Burke’s description of this fiend in human form comes with a large dose of irony and black humor:
He wasn’t, this man, a bad man. Indeed, he had many of the social and amiable qualities, and passed as a respectable man, as most successful criminals do. But the thought had come into his moldering mind that he would like to murder somebody, and as he held no fear of God or man, he was going to do it, and would then go home to his tea. I don’t say that flippantly, but as a statement of fact. Strange as it may seem to the humane, murderers must and do sit down to meals after a murder. There is no reason why they shouldn’t, and many reasons why they should. For one thing, they need to keep their physical and mental vitality at full beat for the business of covering their crime. For another, the strain of their effort makes them hungry, and satisfaction at the accomplishment of a desired thing brings a feeling of relaxation toward human pleasures.
The total number of murders stands at eight. Following the last, “…he was to pass into history as the unknown London horror, and return to the decent life that he had always led, remembering little of what he had done and worried not at all by the memory.” This could be a description of Jack the Ripper, or of the perpetrator of the so-called Texas Servant Girl Murders. Burke’s tone here, located somewhere between satire and black humor, is reminiscent of that of Thomas de Quincey in “Murder Considered As One of the Fine Arts.”
It is a sheerly terrifying story. It imparts to the reader a quality of horror and shock usually associated with tales of the supernatural or of pure sensation, while staying in the bounds of the strict detective story.
I more or less concur with this view, which is why I was somewhat surprised at the negative reaction to this story on the part of my fellow Suspects. Marge felt that the narrative would have worked better as a full length novel, in which the character of the victims could be more fully explored and the reader’s sympathy engaged accordingly.
Frank mentioned the effectiveness of a passage told in the second person, a rarely used device in fiction. It harkens back to poor Mr. Whybrow, as his fate draws near:
You are nearly home now. You have turned into your street— Caspar Street— and you are in the center of the chessboard. You can see the front window of your little four-roomed house. The street is dark, and its three lamps give only a smut of light that is more confusing than darkness. It is dark— empty, too. Nobody about; no lights in the front parlors of the houses, for the families are at tea in their kitchens; and only a random glow in a few upper rooms occupied by lodgers. Nobody about but you and your following companion, and you don’t notice him. You see him so often that he is never seen. Even if you turned your head and saw him, you would only say ‘Good evening’ to him, and walk on. A suggestion that he was a possible murderer would not even make you laugh. It would be too silly.
And now you are at your gate. And now you have found your door key. And now you are in, and hanging up your hat and coat. The Missis has just called a greeting from the kitchen, whose smell is an echo of that greeting (herrings!), and you have answered it, when the door shakes under a sharp knock.
It’s as though you are perched on Whybrow’s shoulder (Frank’s comment), heading along with him into that awful abyss.
At one point near the conclusion, Burke gives some examples of recent history’s most notorious killers. One was Constance Kent, whom we encountered in Kate Summerscale’s masterful true crime narrative The Suspicions of Mr Whicher. Another one was Eugene Aram, whose strange story I came across while researching the town of Knaresborough, which lies a short distance from Harrogate in North Yorkshire.
“The Hands of Mr Ottermole” was filmed in 1958 as an episode of Alfred Hitchcock Presents. It can be viewed on Hulu.com, but the commercials make it hard going. The other option is to purchase it from Amazon streaming for $1.99. (It helps to know that particular episode occurs in Season Two, where it’s number 32.)
As with “The Case of Lady Sannox,” the ending of “Mr Ottermole” has been altered. In both cases, this change violates the intent of the author, and in the exact same way.
In Part Two, I’ll cover “The Silver Mask” by Hugh Walpole and “Cheese” by Ethel Lina White, plus a few other related items of interest.
Commissario Guido Brunetti has been tasked with investigating what is essentially a cold case. Fifteen years ago a teenage girl, Manuela Lando-Continui, was found floating in one of Venice’s canals. Pietro Cavanis, a bystander, pulled her out of the water, but not before serious brain injury had occurred. Cavanis, an alcoholic, remembered almost nothing of what occurred that day. As for Manuela, she was in a coma for a period of time. When she finally awoke, it was with the mental capacity of a seven-year old. There would be no growth, no change, as the years passed.
A dinner party at the home of his wife Paola’s parents serves to introduce Brunetti to Manuela’s grandmother, Contessa Demetriana Lando-Continui. The Contessa requests a private meeting with him at a later time. At that meeting, she reveals to Brunetti the full extent to which her heart has been broken by Mauela’s cruel fate. Added to her anguish is a suspicion that there’s a dark secret hidden behind that fate. Quite simply, she wants that secret brought to light. Can Brunetti do anything to make that happen?
His initial response is negative. But the Contessa is in her eighties. She is frail and death-haunted. She yearns to know the truth before it is too late.
It did not sound to him as though the Contessa were after vengeance. Perhaps she believed that simply knowing what had happened to her granddaughter would lessen her pain. Brunetti knew how illusory that belief was: as soon as a person knew what had happened, they wanted to know why, and then they wanted to know who.
Even so, compelled by the Contessa’s urgency and her distress, Brunetti finds that he cannot refuse her. He will, he assures her, do what he can.
And so begins an investigation unlike any other, circuitous and serpentine, full of shocks and false assumptions, culminating in more than one stunning revelation.
Throughout this compelling narrative, Donna Leon’s ambivalent feelings about her adoptive homeland peek coyly around every corner. Venality and bureaucracy rear their ugly heads with depressing regularity. But there is goodness at the ready to combat them, especially in the person of Brunetti’s partner in this inquiry, Commissario Claudia Griffoni.
As for Brunetti, he finds his solace and his refuge in the literature of the ancients – Apollonius this time – and in the companionship of his close-knit family.
This scene occurs after yet another grueling day of the investigation:
His spirit was at peace by the time he reached home. Paola was happy for his kiss of greeting and the children pleased to have his full attention during dinner. As he ate his bean soup, knowing there was only lasagne to come, he wondered why this wasn’t enough for so many people….
Later, when Paola came back to place the deep dish of lasagne on the table, Brunetti looked at her, looked at his children, and said: ‘How happy this makes me.’ His family smiled their agreement, thinking he meant the food, but it was the last thing on Brunetti’s mind at that moment.
(That said, the food in this novel is described in the usual mouthwatering detail.)
I’d like to add, without inserting a spoiler, that in my view many contemporary novelists lose their way as they approach the conclusion of their respective narratives. The opposite happened with this novel: the ending was exactly apt, and deeply moving as well.
I’ll say no more except to assert how much I loved The Waters of Eternal Youth. I’m having trouble settling on what to read next; this book set the bar so high.
The Midnight Assassin was one. The Austin Axe Murderer was another. The Servant Girl Annihilator, a coinage from the pen of William Sydney Porter, was yet another. (Porter, who was living in Austin at the time of the murders, later moved to New York City and eventually gained fame for his “twist at the end” short stories, written under the pseudonym O. Henry.)
The basic facts are these: Between December of 1884 and December of 1885 eight people were brutally murdered with an axe, or axes, in the dead of night, in Austin Texas. Five of the victims were African-American woman who worked as servants in the homes of Austin’s well off denizens. In the course of one of the attacks, a male servant was also slain, most likely because he was in the perpetrator’s way. The final two killings were of white women; these both took place on Christmas Eve of 1885.
There are several striking aspects to these murders. To begin with, they were excessively cruel and brutal. The first thing that happens as you read about each one is that your sympathies are engaged in the extreme for these hapless and totally innocent victims. Then there are additional factors to ponder. After committing each depredation, the killer vanished so quickly that no one ever got a good look at him. No motive was ever clearly discerned, except for possibly a kind of generalized misogyny. He struck erratically and unpredictably and proved virtually impossible to guard against. Police and city officials were helpless in the face of this rampage. The eerie elusiveness, not to mention viciousness, of the killer gave rise to speculation that he was not merely human:
A reporter for the Fort Worth Gazette actually suggested that Austin was being terrorized by a real-life version Frankenstein’s monster, the hideous yellow-eyed creature created by Mary Shelley in her 1823 novel.
Yet in the midst of all this awfulness, life went on, as it must and does. In the 1880s, Austin was a striving city. A new state Capitol building was nearing completion; the newly established University of Texas had opened its doors earlier in the decade. Especially interesting is the picture Hollandsworth paints of the lives of the city’s inhabitants. In the late nineteenth century, Austin was indeed a busy and prosperous place. From the saloons and so-called “houses of assignation” to Millett’s Opera House, there was plenty of entertainment (of various kinds) on offer. And although the races occupied separate social spheres, with the majority of African Americans relegated to the servant class, there was little overt enmity between them. The first six murders were in no way considered to be of lesser import because of the race of the victims. (That said, in Hollandsworth’s telling, certain among Austin’s white citizens held benighted and repugnant beliefs regarding the African American populace of their city – of any city, for that matter.)
According to the New York Times, there were over four hundred arrests of both African American and white men during the course of the investigation into these crimes. Only one conviction resulted – that of Jimmy Phillips, husband of one of the white victims – and that was later vacated. As suddenly as the killings had begun, they stopped. The perpetrator was never found.
Three years later, in London in 1888, the serial murder of prostitutes began. At least five are thought to have been done by the same man. The murders were savage, the killer elusive. Although he too was never found, the sobriquet by which he is known has echoed down though history to the present day: Jack the Ripper.
The case of the Texas Servant Girl Murders was featured on a segment of the PBS series The History Detectives. Among those interviewed by the investigators are Harold Schechter, whose anthology I used as the basis for the true crime class I taught last year, and Steven Saylor. Saylor writes a wonderful series of historical mysteries set in ancient Rome. From time to time, though, he takes on a different subject. This he did in his year 2000 novel A Twist at the End, which is partly set in Austin Texas and includes a retrospective examination of the Midnight Assassin and his dark doings by the above mentioned William Sydney Porter. I’ve not yet read it, but the Hollandsworth book (plus my high regard for this author) has made me eager to do so.
We are as fascinated by what we do not know as by what we do know. Indeed, in many ways, the rampage of the Midnight Assassin is the perfect crime story–a rip-roaring whodunit of murder, madness, and scandal, replete with the sorts of twists and shocks that give a page-turner its good name.
Except there is one catch. There is no dramatic last-act revelation, no drum-roll finale. Everything ends up precisely where it started, in a gray limbo of unknowing. The trail of clues just stops, like bewildered bloodhounds baying in the night.
In the midst of all the terrible events that have been in the news lately, yesterday’s New York Times gave us the story of Israel Reyes, artist and benefactor. By caring for the children of Public School 69X Journey Prep in the Bronx, Mr. Reyes shows us the way to love children everywhere.