I must admit that, when it comes to a question of who is (and who is NOT) a Golden Age author, I tend to be flexible. Some of the best authors who began writing in the heart of the 1930s, say, continued to write all the way up into the 1980s, which is certainly after most authors would agree that the Golden Age had ended long ago. Consider the case of Ngaio Marsh. The first of her 32 mysteries was published in 1934, her last in 1982. Her books, featuring Scotland Yard's Roderick Alleyn, continue to entertain readers with the kind of Golden Age mystery plots made popular by so many authors. I suspect most readers would not hesitate to include her on a list of the most influential (and widely read) authors of the period. If you're not familiar with her work, may I recommend Death in a White Tie, a 1938 classic. I did an audio review of that book several years ago on the Classic Mysteries podcast. Here's a transcript of that review, slightly edited:
- 0 -
In London, it was time for that annual ordeal, the social season – a time when aristocratic young ladies made their first public appearances as debutantes at coming-out parties. In the mid-1930s, among the British upper classes, the season was a time for arranging suitable marriages, and the social events were carefully organized and choreographed – not to mention chaperoned.
And into the gaiety – sometimes forced gaiety, it is true – into that gaiety, something ugly had intruded itself.
“It’s the devil…And of all the filthy crimes, this to my mind is the filthiest.”
Those are the words of Chief Detective Inspector Roderick Alleyn of Scotland Yard. And he is speaking of blackmail. But it wouldn’t be long before that crime was followed by murder. It happens in Death in a White Tie, by Ngaio Marsh.
Marsh is generally regarded as one of the so-called English “crime queens” who wrote during the golden age of detective fiction, generally defined as the period between the first and second world wars. (The others were Agatha Christie, Dorothy L. Sayers and Margery Allingham.) Marsh did continue writing all the way into the 1980s, although many of her best books come out of that Golden Age period.
Among those books, I’d have to include Death in a White Tie, which was first published in 1938. It was the seventh of her books to feature Roderick Alleyn as the detective. By the time of this book, Alleyn had become a Chief Detective Inspector.
Alleyn becomes aware of an apparent blackmail scheme that appears to be aimed against some socially prominent women – people who are “bringing out” their daughters (or other young women) during the annual social season. One of his friends, in fact, comes to Alleyn to tell him about the blackmail, and he agrees to work with the police in trying to uncover the blackmailer.
And then there is a murder. And Alleyn must carry out an investigation in which he will have very deep personal stakes as he tries to track down what would appear to be a blackmailer turned killer.
In general terms, one of Marsh’s strengths in her best novels comes in her ability to sketch characters for the reader – to make us care what happens to the characters. That’s certainly true here; among her suspects, her victim, and her supporting characters, we are given a fascinating variety of people, from the aristocratic families involved in the social functions to some of the seedier hangers-on who may know more than they are willing to tell, particularly about the blackmailing business.
Marsh has a real gift for telling us about her characters with a brief line which will reveal a great deal in very few words. For instance, speaking about one of those hangers-on, she tells us:
“Withers was the sort of man who breathes vulgarity into good clothes.”
About another character, a social secretary, we are told:
“She was steeped in nonentity.”
Marsh is also unrelenting in her portrait of the social scene; most of the action takes place during and immediately after a glittering formal dance. We see not only the bright young people, who are enjoying the party, we also see other young women who are uncomfortable – sometimes painfully so – and who do not fit in easily in these surroundings. And this too plays a significant part in the mystery.
What we have in Death in a White Tie – as is so often the case with Ngaio Marsh’s best novels – is something of a grand comedy of manners mixed with a murder investigation and a touch of blackmail. It is a potent mix. Death in a White Tie has been reprinted by the Felony and Mayhem Press, and I do recommend it to you.
- 0 -
You can listen to the complete audio review by clicking here.
Next: The Big Midget Murders, by Craig Rice.