Old Bestsellers: The Haunted Bookshop, by Christopher Morley

 The Haunted Bookshop by Christopher Morley

A review by Rich Horton

The Haunted Bookshop is a 1919 novel by Christopher Morley, apparently a big bestseller at the time. It has retained considerable popularity, at least to the extent that I had heard of it, so when I saw it for a song at a used book sale I bought a copy. And of course buying a copy of The Haunted Bookshop used seems very appropriate: it's about a used book store. The edition I found is a later reprint, from 1955.


Christopher Morley (1890-1957) was a journalist, poet, and novelist, quite well known in his day. He was one of the founders of The Baker Street Irregulars. I noted in my post on John Reed Scott that one of my daughter's college visits was to Scott's alma mater, Gettysburg College; so I should note here that my daughter also visited another Pennsylvania college, Haverford, which is where Morley went to school. (Indeed, he was the valedictorian.) (I liked Haverford a lot, though again it was way too expensive for us to send Melissa there.) (Three parens in a row: I thought to mention as well that one of my favorite novelists, Nicholson Baker, is also a Haverford graduate.) Besides The Haunted Bookshop, which came early in Morley's career, he is probably best known for Kitty Foyle, which came much later (in 1939), and which became a film with Ginger Rogers in the title role. (And with two very well-regarded screenwriters: Dalton Trumbo and The Philadelphia Story's Donald Ogden Stewart, both of whom were later blacklisted.)

It is very much a post World War I novel, a direct reaction to the war. Which in a way is odd because it's also a feather light comedy. It's also the sequel to an earlier novel, Parnassus on Wheels, which apparently concerned Roger Mifflin's traveling bookstore. Indeed, much of this new novel (and I would guess much of the earlier one) appeared in The Bookman, a magazine devoted to bookselling concerns. The Haunted Bookshop is Mifflin's nickname for his non-traveling bookstore in Brooklyn.

Roger Mifflin is a pleasant and rambling middle aged man, devoted to the trade of selling used books. He is very idealistic about this, and about reading in general. Indeed, he's rather a snob about reading, not going in much for popular fiction, unless it happens to be popular fiction he likes. Which would be OK except for the way he disapproves of other people reading stuff he doesn't like.

The action of this story starts when a young advertising man, Aubrey Gilbert, stumbles into Mifflin's store, hoping to convince him to open an account. Of course Mifflin will have none of that, but he does invite the young man to dinner. Shortly thereafter Mifflin takes on an assistant, a very pretty and very rich young woman named Titania Chapman, the daughter of the owner of the Daintybits company, which by coincidence is the biggest account for Gilbert's firm.

You can see where THAT's going! Of course Gilbert has occasion to visit Mifflin's shop again, and is smitten by Titania's charms. At the same time, a book keeps going missing and turning up at Mifflin's shop: Carlyle's Oliver Cromwell. Gilbert soon realizes something fishy is going on, and indeed gets a bop on the head for his pains. He begins to spy on Mifflin's shop, partly to protect Titania, partly because he thinks Mifflin is in on a sinister plot. And it turns out there is a sinister plot, involving disaffected Germans, but of course Mifflin is completely innocent.

Besides this somewhat silly plot, much of the book is taken up with Mifflin's perorations about books and bookselling, but also about war, and the futility of the just-completed war. Mifflin is basically a pacifist, and the book itself argues for Woodrow Wilson's League of Nations idea with some passion. (The German plot in the book turns out to involve Wilson.)

All in all the feather light and silly aspect of the book prevails. It's a fairly enjoyable read, but it doesn't strike me as truly memorable. On the other hand, it's still being read getting on to a hundred years since its publication, which is certainly something pretty impressive.

Old Bestsellers: The Night of Temptation, by Victoria Cross

The Night of Temptation, by Victoria Cross

a review by Rich Horton

Perhaps my primary goal in this series of reviews is to find books and authors that were once big sellers and are now totally (or all but) forgotten. And all the better if the writer has an interesting story. That's certainly the case with Victoria Cross.

Victoria Cross was born Annie Sophie Cory in 1868. Her father Arthur was a Colonel in the British Army, and also editor of the Civil and Military Gazette. This is the same newspaper for which Rudyard Kipling wrote --  Arthur Cory almost certainly knew Kipling (and Kipling's father was a contributor to the newspaper as well) -- but seems to have left the paper about when Rudyard joined it. Annie had two older sisters. The family was apparently well off and to some extent upper class. She grew up in India but by the age of 20 was in England attending London University. She seems to have continued to travel widely throughout her life. One of her sisters also became well known for her literary efforts: Adela Florence Nicolson, who wrote faux-Indian poetry as "Laurence Hope". Both of Annie Sophie Cory's sisters ended up committing suicide -- the fate also of some of her female heroines. Annie Sophie Cory (or Vivian Cory Griffin as she later called herself) died age 84 in 1952.

In 1895 her first published story appeared: "Theodora: A Fragment", which was in fact one chapter of a novel she had finished in 1894 but did not publish until 1903, perhaps because its unconventional eroticism made it a hard sell for a new writer: the title heroine was androgynous in appearance, had a mustache, had no interest in marriage, and ended up committing suicide after being gang-raped. Her first published novel, The Woman Who Didn't (1895), concerns an unconsummated shipboard affair between a man and an unhappily married woman. Her most famous novel by far, Anna Lombard, appeared in 1901. It is a love story set in India between a young woman and an idealized man (according to Cross, he was supposed to be a Christ figure). The kicker is that the woman has an affair with her Pathan servant, and her English lover does not reject her or even ask her to stop the affair. However, he does not marry her until her Pathan lover dies, and until she kills the newborn child of that union. All this was shocking enough to get it banned in New Zealand (or so I assume -- at any rate Cross had to fight a court case on its behalf), and to sell some 6,000,000 copies. SF readers may find one of her later novels rather interesting: Martha Brown, M.P., A Girl of Tomorrow (1935), which is set in a future in which women and men in England have exchanged traditional gender roles. The novel ends, however, with Martha Brown abandoning her English political career and going to America, where, apparently, men are still real men.

A note on the author's names: she wrote variously as Victoria Cross (sometimes spelled "Crosse"), Vivian Cory, and V. C. Griffin. Griffin was her mother's maiden name, and also of course the name of her uncle, Heneage Griffin. Annie Sophie Cory never married, but after her father's death she moved in with Heneage Griffin (who was independently very wealthy), and they lived together (traveling constantly) until his death in 1939. It is not clear whether their relationship was sexual, but it was certainly rumored to be so at the time, and some later researchers have come to the same conclusion. (Indeed, Cory once claimed (falsely) that she had been bequeathed to her uncle upon her father's death.) That said, her mother was also part of the household. She did fall in love with a younger man after Griffin's death (when she was 71): this man reportedly stole some £100,000 from her. I should note that the book I have, The Night of Temptation, though published as by "Victoria Cross", is copyrighted by "Vivian Cory Griffen [sic]". It appears that she called herself "Vivian Cory" in everyday life from about 1895, and added the "Griffin" after joining her uncle's household.

Most of the above details I owe to Charlotte Mitchell, who compiled a bibliography of Cross's work for a series of Victorian Fiction Research Guides. Mitchell's take on Cross's work seems to me fairly level-headed, even accounting for her general advocacy. Mitchell writes:  "Even her most enthusiastic readers acknowledge that her work is characterized by lapses in taste and logic, vulgarity, implausibility and craziness." And also, after noting that many readers laud Cross for her seemingly modern attitudes towards interracial love affairs and extramarital sex, she adds: "As I read more, however, I became conscious that its appealing features coexist with and are inseparable from others which are less well adjusted to the taste of early twenty-first-century academic critics. To portray her as a heroine of feminism, or of racial tolerance, which was my first thought, seems to present more difficulties than can simply be resolved by pointing out that, naturally enough, she was influenced, for all her impatience with conformity, by the ideas of her time."

Mitchell seems to me to have the right of it. In fact, I would say, based mainly on the evidence of The Night of Temptation, that Victoria Cross was rather a nutter. Her attitudes on class -- mainly represented by utter contempt for the "lower classes" -- were revolting. Her attitudes on gender were odd: on the one hand she thought women indisputably the superior sex: men, she wrote, had no interest at all in intellectual pursuit. On the other hand once a woman met her true lover she was bound to be submissive to him -- a truly worthwhile man, if rare perhaps, was apparently far superior to any woman. I was reminded of Ayn Rand. (And, indeed, some of Cross's economic views also appear to be vaguely Randian.) She also expresses, in this book, some downright weird theories about genetics and the influence on a person's character of the time spent in the womb.

Anyway, on to The Night of Temptation. This book was first published in 1912 in England, by T. Werner Laurie, and in the US in 1914 by Macauley. I have a copy of the latter edition, possibly a first, but in no better than fair condtion, no DJ.

The book opens in a rectory in Stossop, England. Regina Marlow is 18, the youngest daughter of the Rector and his wife. In reality, it seems, she is illegitimate, the product of an affair her mother had, never acknowledged. But, due to Cross's eugenic theories, this means she is a superior child, because her mother's love for her father affected her positively during her gestation, while her older sisters were ruined because the mother hated their father (her husband). At any rate, Regina is a beautiful young woman (as are her sisters, physically), but she is little liked by her family. She spends her time studying, painting -- she is (Mary Sue-like) approximately the greatest painter in the history of England -- and communing with nature in her garden. She had managed to attract the attention of three local men, whom she rejected of course. (One of them subsequently committed suicide.)

One of her father's college acquaintances, Everest Lanark, comes to visit. Everest, some 30 years Regina's senior, is the most perfect possible specimen of manhood. The Rector of course hopes he'll take one of his daughters off his hands, and both the older girls have a go at him. Everest, naturally, is repelled by their vulgarity and lack of intellectual depth. Before long he is visiting with Regina privately, and within a week they have begun a sexual affair. (Alas, though the book makes it clear they are sleeping together, there are no intimate details.) Everest is a bit concerned -- is this merely a temporary infatuation? He resolves to leave and break off the affair, but becomes too involved, and proposes marriage. But Regina rejects him -- she intuits that to marry him would be to unfairly tie him to her. Instead she offers to marry him if he still wants to after spending some time away. And so he leaves. But soon her family's insufferability makes it clear she can't stay, and she follows Everest to London, moving in with him and resuming the affair, but still refusing to marry him. She also establishes financial independence (a key theme for many of the women in Cross's books) by selling one of her paintings for £500.

After a while they travel to Africa, planning to sail down the Nile and then hunt lions. Regina decides she will marry Everest once she is sure she can provide him an heir ... but then Everest's extremely beautiful but terribly stupid cousin joins him. It is clear that the cousin believes she is Everest's rightful mate, and before long she too is sleeping with him. (It seems that Everest, as the alpha male, has the right to sleep with whichever women he wishes.) Just then Regina realizes she is at last pregnant -- but what shall she do if Everest prefers his stupid cousin? But then comes the lion hunt, which of course provides a means of revealing the true worth of each of the young women!

I have to say, after an agonizingly slow opening, I found the novel engaging enough on a plot level. I had to ignore the Mary Sue-ism, and the repugnant social views, and the rather one-dimensional characters. Cross also throws in a brief reference to her novel Anna Lombard. And, as I hinted, I regretted the lack of explicit sex -- it really seems this is a novel that would be improved if there was just a bit of detail on the obviously rather active sex lives of the protagonists. I can't by any means call this a good novel ... the prose is indifferent and sometimes awful, the action melodramatic, the characters thin, the attitudes nutty ... but, except for the first couple of excessively slow and far too long chapters, the story is entertaining. I can see why Victoria Cross's books sold well, and also why they are largely forgotten, and also why a few (apparently feminist) critics have chosen to revive them at least to a mild extent. On balance, I'm happy to have read this novel, though I don't think I'll seek out any more.

Old Bestsellers: Through Space to Mars, by Roy Rockwood

Through Space to Mars, by Roy Rockwood

a review by Rich Horton

I found this book at a flea market some years ago ... in 2005, actually. I didn't know anything about it -- it looked like a pretty early children's novel about travel to Mars, so I picked it up on a whim, and I read it, and it was, in my judgement, pretty bad.

I'll get to my review later, as I wrote it in 2005, but I'll say right now that I think I was a little bit harsh. I didn't take into account sufficiently the time of writing, and the type of book it was. Relative to its category, perhaps this book isn't quite as bad as I said. Put another way -- perhaps I came to it expecting too much.

"Roy Rockwood" was a pseudonym, a house name, used by the Stratemeyer Syndicate. The syndicate was founded by Edward Stratemeyer to package childrens' books for publishers. Stratemeyer originally wrote many of the books himself but sooned turned primarily to other writers, who often worked from outlines by Stratemeyer. The book series were extremely successful -- none of these would have been on bestseller lists, in some part because childrens' books weren't considered for such lists, but as a whole the books sold very well indeed. Stratemeyer's most famous series were the Nancy Drew books, the Hardy Boys books, the Bobbsey Twins books, and the Tom Swift books.

The series attributed to "Roy Rockwood" included the Deep Sea adventures, the Dave Fearless books, Bomba the Jungle Boy, and the Great Marvel books. Through Space to Mars is from the latter series, which comprised 9 books, appearing between 1906 and 1935. Through Space to Mars was #4, and it came out in 1910. At least the first 5 books of the Great Marvel series were written by Howard R. Garis, one of the best known Stratemeyer writers. Garis wrote the great bulk of the first Tom Swift books as well. He also, under his own name, wrote some 15,000 (!) Uncle Wiggily stories for the Newark Evening News (and for syndication) -- many of these were collected in 79 books. His wife Leslie was also a writer for the Stratemeyer Syndicate (and for the Newark Evening News) -- she is credited with many of the Bobbsey Twins books, among others.

The Great Marvel books were originally published by Cupples and Leon, but my copy is a reprint from Whitman. No dust jacket, only about "good" condition.

The Science Fiction Encyclopedia has entries for Garis and Rockwood. The latter, credited to John Clute and Everett F. Bleiler, two writers I respect greatly, praises the early books in the Great Marvel series highly (relative, it should be said, to other books of their type, such as the Tom Swift books) -- and others such as Jessica Amanda Salmonson have written about the joys of collecting the books (admittedly, not necessarily the same thing as enjoying reading the books). This gives me pause, I admit, when placed next to the harsh judgement I offer below. Perhaps I simply was not reading the book with the right mindset. And, I should note, I have read almost none of the Stratemeyer Syndicate books -- a couple of my sister's Nancy Drew books back in the day, and maybe one or two Tom Swift books. That said, I'm reproducing what I wrote back in 2005.

Is Through Space to Mars any good? Hmmmmm, that would be a NO. Or, rather, NO NO NO NO NO!!!! One of the worst books I have ever read, more like. Luckily it's only about 45,000 words. But not only is the science silly -- and mind you I'm not measuring it by very high standards -- but the plot is stupid and poorly structured as well.

The story involves two friends, orphans raised by a Professor Henderson, now students at college (after several adventures with the Professor -- a trip to the center of the Earth, for example). They are summoned back to the Professor's house -- it seems a German named Roumann wants his help in making a spaceship to go to Mars. Why? Apparently he has decided that the substance that makes Mars red is fabulously valuable and he wants to steal some.

The boys help the Prof and Mr. Roumann make the ship. One measure of the stupidness of the plot is that this takes almost half the book -- with no action except occasional mysterious vandals trying to sabotage the spaceship. Do we ever really learn their motives? No.

Finally they head off to Mars, and we are subjected to excruciating scientific stupidities. There are really too many to mention. Just a couple -- the "etherium motor" shuts off in the middle of space and they start "falling". I.e. not heading to Mars any more. They encounter a comet, which somehow attracts them. It seems comets are fiery mini-suns -- well, mini? Not exactly -- this one is described as being hundreds of thousands of miles across. There are many more even worse absurdities. Oh -- here's one -- the red stuff that makes Mars look like it does is only visible on Mars' night side -- I guess it's only red when it's glowing at night. But in reality of course we always see the day side of Mars.

Finally on Mars they meet the highly advanced Martians, and in a very brief time they decide to steal some of the red stuff and escape, because the highly advanced Martians superstitiously believe that if any of it leaves Mars the planet will be destroyed. And that's pretty much the end.

I haven't even mentioned the outrageously racist (if I suppose sympathetic) depiction of the Professor's black servant, Washington White, who speaks in a mixture of a Stepan Fetchit dialect and an absurd farrago of misused long words, some of them made up.

Old Bestsellers: The Woman in Question, by John Reed Scott

The Woman in Question, by John Reed Scott

a review by Rich Horton

John Reed Scott (1869-1942) was born in Gettysburg, PA. He attended Gettysburg College (here I will note that we visited the college a few years ago when my daughter Melissa was looking for a school -- I was impressed, but it was too expensive). He became a lawyer and practiced from 1891 to 1907, in Gettsyburg and in Pittsburgh, before returning to Gettysburg to write. He had a fair amount of success with romantic adventure fiction, such as his first novel, The Colonel of the Red Huzzars (1907 or perhaps 1906 (sources disagree)), and its sequel, The Princess Dehra. He has an entry in the Science Fiction Encyclopedia because his 1914 novel, The Duke of Oblivion, has slight science-fictional elements (it concerns an underground English colony in Mexico) -- there it is said that he was only active from 1907 to 1916, which seems curious as he was only 47 in 1916, and he lived for 26 more years. Perhaps he returned to the practice of law? He is referenced as being involved in efforts to preserve Gettsyburg as an historical site. He died in Maryland, but was buried in Gettysburg. (Some of these biographical details come from a 1911 book that I was able to "look into" via Google: Colonial and Revolutionary Families of Pennsylvania, others need to be credited to the sleuthing of Denny Lien and Steve Holland, who found information in the National Cyclopedia, and an obituary in the Gettysburg Times.)

Here's a 1909 portrait of John Reed Scott.

The Woman in Question is not an adventure story -- it's pretty much pure romance fiction. I have a J. B. Lippincott first edition (no DJ, only Good condition) from 1909. It opens with a young and beautiful widow, Evelyn Leicester, at her country club, in "Northumberland". She has just come out of mourning, and there is some (sometimes catty) speculation on her next husband. Could it be her longtime friend, Colleton Harwood? He is revealed to be an excellent tennis player, if somewhat indolent and apparently allergic to the prospect of marriage.  But he has just inherited an estate in rural Egerton -- and Evelyn quickly inveigles him into hosting a house party at his new place.

A quick aside: where is Egerton (and for that matter, the big city: Northumberland)? Well, it is said to be somewhat isolated and quiet. Its only claim to fame is that a major Civil War battle occurred there. It was founded in "the first year of the last century". Now, let's see: John Reed Scott was born, and lived the bulk of his life, in Gettysburg, PA. Certainly a major Civil War battle was fought there! It is quite isolated (as I can attest, having driven the twisty roads on the way there). It was settled in 1780 and incorporated in 1806. Seems reasonably consistent with The Woman in Question's Egerton! Which would presumably make Northumberland either Philadelphia or perhaps Pittsburgh (where Scott lived for a time). This latter question was resolved when Denny Lien found an old biographical entry on Scott that says, of The Woman in Question: "the scenes in which are laid in and around Pittsburg [sic], and the book caused considerable flutter among the smart set of the smoky city, who thought they recognized a number of their prominent townsfolk among its characters."

Back to the story: on arriving in Egerton, Harwood all but immediately falls in love with his estate and its history. He is also immediately intrigued by his neighbor, a very mysterious (and beautiful) young widow, Mildred Gascoyne. His lawyer, the crusty old Judge Casson, assures him that Mrs. Gascoyne, despite her mysterious past, is a "lady". Hmmm ... it seems Evelyn Leicester may have a rival!

The house party arrives -- a group of guests chosen by Mrs. Leicester. All are unexceptionable people from Northumberland society except for one -- Henry Landor, who, it seems, is that most awful of things: a social climber!

We quickly learn that Mrs. Gascoyne must have some past, unhappy, acquaintance with Landor, for she is terribly upset to see him. Except that somehow he doesn't quite recognize her -- surely the lady he remembers had black hair, and Mrs. Gascoyne's is red. And indeed Colleton Harwood realizes he has encountered Mrs. Gascoyne before -- in Venice, where he decided that she was the only woman to rival Evelyn Leicester in beauty.

That sets up the plot, which bounces along nicely enough over the week or so of the house party. No point in detailing it: it's clear already that all will turn on the mystery of Mrs. Gascoyne's past and on her connection with Henry Landor. We have already been told quite clearly who the heroine is (she is, after all, the Judge tells us, "a lady") and who the villain is (he is, gasp!, a social climber). It's pretty readable stuff, enjoyable in a forgettable fashion -- it never surprises, and doesn't really convince, but it's kind of fun.

Except ... well, the book was published in 1909. It is "of its time". But, I have to say, some of the attitudes expressed seemed more virulent to me than in most popular fiction I have read of its time. Some of it is expressed in the attitude towards Henry Landor (who, to be sure, is later revealed to be a truly bad person, guilty of both financial bad dealings as well as abusive treatment of women: but the author puts his fingers on the scale to lay those failings on his quote low unquote birth.) Worse, though, are the attitudes toward black people -- which are introduced for no particular reason (they don't really affect the plot).  Some quotes: from Judge Casson: "The negro is a child, sir -- easy to manage if you understand him, worthless and trifling if you don't." Casson also objects that Harwood's butler, William, was allowed to attend college. Harwood responds: "William has told me he thinks his education was likely a mistake -- that God meant the negro for a servant and learning only unfitted him." Harwood is also unsettled when he thinks William has been reading a learned journal, and relieved to find that it was not him but Mrs. Gascoyne. For a brief time I thought maybe Scott was setting us up to reveal how wrong those views were ... but no -- he just made sure to have them expressed (by Judge Casson, a sort of "wise old man" figure) -- and then no more mention is made -- they're of no importance to the plot.

Old Bestsellers: Rogue Male, by Geoffrey Household

Rogue Male, by Geoffrey Household


A review by Rich Horton

Geoffrey Household's Rogue Male is a classic thriller. It's not really forgotten, but it has, I think entered a phase of slow drifting out of any sort of general consciousness. Though perhaps not: it has been reprinted as recently as 2007, and it has been cited by David Morrell as a significant influence on First Blood (the Morrell novel that introduced Rambo to the world).

Household was a British writer, born 1900, died 1988, who spent some time in the US "just in time for the Depression". He began writing in the US, then returned to England. This is his second novel, published in 1939. He spent the War as an Intelligence Officer in Rumania, then returned to a fairly successful career writing. Rogue Male remains his most famous novel, though Arabesque (made into a movie with Gregory Peck, as I recall) is also well known. Rogue Male itself has been filmed at least twice, as Man Hunt in 1941 and as Rogue Male for TV in 1976.

Rogue Male opens with the never named first person protagonist aiming a rifle with a telescopic sight from 550 yards at a certain Head of State. It's never made precisely clear who that is -- a country on one side or the other of Poland, which leaves two pretty evil candidates as of the late 30s. The cover of my 1977 Penguin edition shows a picture of Hitler in the crosshairs, which to be fair is pretty likely who Household intended. But the book takes care never to reveal which of Hitler or Stalin was the target -- on purpose, I think -- and I think the cover illustration is a blunder.

The protagonist claims he had no intention of shooting -- he was just "stalking the most dangerous game" for the fun of it, to see if he could be successful. This doesn't play well with the local secret police, who torture him and leave him for dead. But he rather incredibly escapes, and makes his way down a river, soon pursued by his enemies. He stows away on a boat for England, but soon is again pursued. When he is forced to kill one of his pursuers, he becomes wanted for murder by the British police. He flees to the country, planning to literally hole up for the duration. But even his careful plans aren't quite enough -- some bad luck leads to the British police getting a lead, and though he can elude them, the bad guys are able to track him down.

It's pretty good stuff. Exciting, not too ridiculously implausible, and at least somewhat interested in exploring the moral basis of the protagonist's decisions. (Though there is plenty of guff, too, in particular lots of stuff about the wonderful ineffable qualities of the English Upper Class.) (Some of the book is the protagonist's own coming to terms with his real motives and intentions.) It helps of course that the protagonist's target is a real-life maximally evil sort -- even if we continue to disapprove of his assassination attempt, it's hard not to sympathize at some level. The book is also quite dryly funny on occasion. The ending is interesting in retrospect. The protagonist, having again escaped, decides his only recourse is to finish the assassination job. And there the book ends. But it was published in 1939. Then it was a very "open" ending. Now -- any time since 1945 really -- the ending has closed somewhat -- we can only conclude that the protagonist failed in his attempt and was presumable summarily executed. (Though there was a sequel, Rogue Justice, published much later (in 1982).)

Ace Doubles: The Blank Wall/The Girl Who Had to Die, by Elisabeth Sanxay Holding

The Blank Wall/The Girl Who Had to Die, by Elisabeth Sanxay Holding

a review by Rich Horton

This blog is primarily about "old bestsellers", but other "old" books are interesting to me, and one of my favorite publishing lines of the past is Ace Doubles, inexpensive paperbacks featuring two books printed back-to-back (or dos-a-dos), each upside down relative to the other. These appeared between 1952 and 1973. They are most famous in the Science Fiction genre, but a number were printed in other genres, especially mysteries and Westerns.

I went to an antique mall in Kansas City after attending ConQuest (a science fiction convention) a few weeks ago. One stall had a bunch of old paperbacks, including an Ace Double. This one intrigued me because it was a mystery by an author I had never heard of, Elisabeth Sanxay Holding. The covers including some impressive quotes praising Holding, from places like the New Yorker; as well as one from Raymond Chandler: "She's the top suspense writer of them all."

I confess I had visions of rediscovering a completely forgotten master of the pulp era. But when I researched Holding I learned that plenty of people are way ahead of me. That's not to say she wasn't somewhat unfairly forgotten. She was born in 1889, died in 1955. She began her writing career as a romance novelist, but switched to mysteries during the depression. Her novels sold fairly well, and she was well-praised. She wrote at least one YA fantasy, Miss Kelly, which Anthony Boucher praised in the pages of F&SF. But she did seem to be mostly forgotten after her death.

That said, The Blank Wall, generally considered her best novel, had already been filmed in 1949 as The Reckless Moment (starring Joan Bennett and James Mason). It was filmed again in 2001 as The Deep End, starring Tilda Swinton. (This was pretty much Swinton's "breakout" film, "breakout" here being relative to Swinton's career -- that is, she didn't become a major movie star, she just moved from a well-respected indie actress to an even more respected Hollywood actress, who would contend for Academy Awards (and, indeed, eventually win one).) More recently, a number of Holding's books have been reprinted by Persephone Press and by Stark House (the latter, neatly, are double editions). The Blank Wall was even featured in a Guardian list, in 2011, of the "Ten Best Neglected Literary Classics". She has been called "The Godmother of Noir". So she's not forgotten, and indeed I think her reputation is slowly increasing at last.

My Ace Double includes two novels, The Girl Who Had to Die (1940) and The Blank Wall (1947). The Girl Who Had to Die was first published by Dodd, Mead; and The Blank Wall by Simon and Schuster. There was a 1950 Pocket Books edition of The Blank Wall, with the classic blurb: "Playing with jail bait earned him a date with death!". (In perfect blurb fashion, this is not at all false, but neither does it describe the book in any useful way.) The Ace Double edition was part of a series of six Holding doubles that appeared in 1965.

Both books are told in tight third person, and spend much of the time in the protagonist's mind, exploring their internal reactions. This serves to portray the character quite effectively, at least in The Blank Wall -- one of the weaknesses of The Girl Who Had to Die is that the main character never really convinces.

The Blank Wall's protagonist is Lucia Holley, a New York housewife in her late 30s, who has rented a house on Long Island, on the ocean, while her husband is away. (He's an officer in the U.S. Navy in World War II.) She lives with her two children, 17 year old Bee and 15 year old David; as well as with her elderly father (who is English) and an African-American maid, Sibyl. Bee is going to art school and New York, and Lucia is upset that she has been seeing a 35-year-old married man, Ted Darby. Darby shows up at their house, lurking by the boathouse, and Lucia's father goes out to confront him, and (without knowing it) accidentally kills him. Lucia discovers the dead body the next morning and, to protect her father and Bee from scandal, hides the body on an island.

Of course this doesn't work, for multiple reasons. The body is soon discovered. Darby, it turns out, is every bit as bad as Lucia thought, a gangster and a dealer in porn (no doubt his intention for Bee was to make her a model). For a time it seems the crime might be pinned on a ganster associate of Darby's. But Lucia has further troubles: a couple more gangsters show up trying to extort money from her in exchange for some embarrassing letters from Bee to Darby that Darby had sold them. And a neighbor saw Lucia taking the boat out with Darby's body, though not closely enough to identify her. But that -- and other aspects of the crime -- is enough to raise the suspicions of the investigator, Lieutenant Levy (who is apparently a character in a number of Holding's books).

Then Lucia starts to get a bit attached to one of the blackmailers, Martin Donnelly. He seems to like Lucia, and offers to pay off his partner so that he'll stop the blackmail, and he even sends them some black market meat. (One of the excellent minor points of the novel is its depiction of the difficulties of household management because of the rationing during the War.) Their meetings, though basically innocent (if hinting at suppressed sexual attraction) infuriate David and Bee, who suspect the worst.

There is another killing, and another desperate attempt to hide a body, and Lieutenant Levy seems to know pretty much everything ... well, I won't detail the ending. But the book works beautifully. Lucia's actions, each on the face of it understandable, if often foolish, keep winding the noose tighter around her. Her motivations ring true, her inner life -- missing her husband while worrying she's forgetting him, fretting that she hasn't raised Bee right, frustration at her relative incompetence as a housekeeper (only Sybil really keeps the household going), her isolation from the neighbors -- is excellently portrayed. The prose is quite fine as well. As noted, Lucia is depicted very well, and so is Sybil (who has her own sad back story, a husband unfairly imprisoned (in a way only too understandable for African-Americans of that time). The children are perhaps a bit caricatured, especially Bee; and Martin Donnelly's unexpected nobility, though affecting and well-described, seems perhaps a bit fortuitous. As I said, the background details of wartime life on the home front are very well done. This is a novel that deserves its reputation.

The Girl Who Had to Die is less successful. The protagonist is Jocko Killian, a clerk from New York who has spent a year in Argentina, and is returning in the company of an unstable and alcholic 19 year old girl, Jocelyn. Jocelyn tells him that there are 5 people who want to murder her. Soon after she falls overboard, and though she is rescued, Jocko is accused of pushing her. This leverage ends up enough to force him to accompany her to the Long Island home of a rich old man, Luther Bell, along with a few other people from the ship.

Over the next couple of days Jocko learns a bit more of Jocelyn's unfortunate history. She is given an overdose of drugs, and one of the other men flees, perhaps incriminating himself. In something like desperation, Jocko decides to marry Jocelyn, as much because she insists he's the only man who truly cares for her, essentially making him feel guilty -- he half or more suspects that both the overdose and the plunge into the ocean were suicide attempts. But there are more and more secrets in Jocelyn's life, and concerning her history with the various residents of the Bell household as well as the visitors from the ship. Can Jocko escape her clutches -- or instead can he rescue her from her sordid past?

As I said above, my main problem with this book is that Jocko's motivations and thoughts just didn't seem real to me. Jocelyn's story is interesting and sad, but a bit fuzzed out, held too much at a distance. The novel is interesting and strange but on the whole it seemed too artificial a construct to me.

Old Bestsellers: The Man in Lower Ten, by Mary Roberts Rinehart

The Man in Lower Ten, by Mary Roberts Rinehart

a review by Rich Horton

Mary Roberts Rinehart (1876-1958) was a very popular mystery/suspense writer in her time, and her fame, while slowly dwindling, seems to me, has not disappeared. I certainly was aware of her in the '70s when I was reading Agatha Christie and the like. I confess I'd have guessed she was closer to a contemporary of Christie's, and that she was still alive in the '70s. (For that matter, I sometimes have confused her with Mary Higgins Clark.) Rinehart was often called "the American Christie", but that was really unfair to her, as she started 15 years or so before Christie (who was 12 years her junior) and was quite popular well before Christie even began writing.

Rinehart was born in (what is now) Pittsburgh, trained to be a nurse, and married a doctor, Stanley Rinehart. She began publishing stories in the downmarket magazines of the time in 1904, to help her family's finances after the stock market crash of 1903. Her first novel was the one covered here, The Man in Lower Ten, which was serialized in All-Story Magazine in 1906. (Her second novel, The Circular Staircase (1907) is often sloppily called her first, as it was the first to become a book.) The Man in Lower Ten was published in book form in 1909, and it was the fourth bestselling novel of that year according to Publishers' Weekly. It is considered the first novel clearly in the mystery genre to become a general fiction bestseller. My copy is a 1959 Dell paperback, complete with interior illustrations.

A bit later I ran across an early hardcover reprint as well -- I had hoped on first seeing it that it might be a first edition, but instead it's a Grosset and Dunlap reprint from perhaps 1913. It is also illustrated, by Howard Chandler Christy. I've reproduced (in photographs by my son Geoff) the cover, and title page with frontispiece, below:

Rinehart diversified somewhat in later years, writing Broadway comedies, nurse fiction, and mainstream novels. (The latter apparently at the urging of her husband, who seems to have been a bit ashamed of her reputation as a trashy genre writer. He also apparently eventually resented the fact that she made much more money than he did.) By the end though she returned most often to mystery/suspense stories, and those are by far her best remembered works. I can recommend an excellent website by Michael Grost (mikegrost.com/rinehart.htm) for a detailed analysis of her career.

One tidbit about Rinehart that is often repeated is that she originated the phrase "The butler did it". This is untrue, though in one of her better known novels the butler is indeed the murderer. But there were novels and stories in which the butler was the murderer before that, and she never used that exact phrase.

According to Grost, her first two novels, The Man in Lower Ten and The Circular Staircase, may be her best. I can't comment -- The Man in Lower Ten is the only novel of hers I've read. But it is pretty decent work.

Lawrence Blakely is a Washington, DC, lawyer. His partner, Richey McKnight, inveigles him into taking a trip to Pittsburgh to take a deposition from a rich old man in a forgery case. It seems McKnight has a date with a girlfriend. Girls are famously of no particular interest to Blakeley ...

On the way back from Pittsburgh, strange things happen. There is repeated confusion over which bunk Blakely has engaged. There are a couple of interesting seeming people on the train. Blakely ends up forced into another bunk by a drunk passenger, and when he wakes up, his bag -- with the critical deposition -- and also his clothes are gone. He is forced to dress in another man's clothes, and in searching for his bag he discovers a murdered man.

Almost immediately Blakely is the prime suspect -- but before anything further happens the train crashes. Blakely is thrown free, and indeed is one of only four survivors, sustaining only a broken arm. He and another survivor, a beautiful young woman, Alison West, escape to a farmhouse where something unusual happens that Blakely doesn't understand for some time. He does realize, however, that a) Alison West is the granddaughter of the rich old man from whom he took the deposition; b) she is another prime suspect in the murder; and c) he is in love with her.

Blakely returns to DC but soon his troubles multiply. The police are lurking around his house. Another survivor from the wreck fancies himself an amateur detective and insists on investigating the otherwise almost moot murder case (after all, the witnesses are mostly dead and the victim could have been written off as merely another casualty of the train crash). Someone seems to be lurking in the house next door. And, finally, it seems that Alison West is the girl whom his partner McKnight has been seeing.

The shape of the resolution is not surprising, and indeed the solution to the primary crime, while not ridiculous, does seem a bit strained. But the novel bounces along nicely enough. Lawrence Blakely is not exactly a convincing three-dimensional character, but he's still kind of intriguing, and his voice, as teller of the story, is effective. Rinehart's writing is not brilliant, but it's solid storytelling prose, with some good turns of phrase. She does slip once or twice (for example, Blakely's arm heals for a brief passage before returning to its broken state), but really it's a solid professional effort. I liked it, though I have to say, not enough to make a special effort to seek out more of Rinehart's work.