The Applegreen Cat, by Frances Crane (1943)

The Applegreen Cat, by Frances Crane (1943)

100 Mysteries You Should Die Before You Read, #006

pop_344Author:

Frances Crane, whose Wikipedia entry is found here. This volume is fourth in a series of 26 novels written between 1941 and 1965 featuring private investigator Pat Abbott and his co-investigating wife Jean.  The Abbotts were the subject of at least two radio programmes and probably three (this is VERY complicated — see Wikipedia for details). All 26 novels feature a colour in the title as a linking device for the series. Her reprint publishers, Rue Morgue, have contributed an extremely interesting in-depth biographical piece found here.

2014 Vintage Mystery Bingo:

This 1943 volume qualifies as a Golden Age mystery; first under “G”, “Read one book with a colour in the title.” For a chart outlining my progress, see the end of this post.

Publication Data:

The first edition is from Lippincott, an American publisher, in 1943. (The jacket is below.) My own copy, seen at the top of this post, is the first paperback edition, Popular Library 344 (1951), with an exquisite cover by Rudolph Belarski that has been repurposed from the cover of a pulp magazine (also see below). Other editions exist, including an edition from Hammond, an appearance as one of three volumes in a Detective Book Club edition, and a 2011  paper edition from Rue Morgue Press, to whom we should be indebted; they’re republishing a bunch of Frances Crane, among other good works.

910About this book:

Standard spoiler warning: What you are about to read is likely to discuss in explicit terms the solution to a murder mystery. Please read no further if you wish to preserve your ignorance of its details. You will also probably find here discussions of the content of other murder mysteries, perhaps by other authors, and a similar warning should apply. 

Jean Abbott, the narrator, and her detective husband Pat, are in England, and visiting Stephen Heywards’ country house, which also contains a gaggle of visitors and staff. Pat can only be persuaded to take time off his mysterious but apparently crucial war work with the prospect of seeing the Heywards’ Renoirs. It’s wartime, of course, and everything is rationed — which is why it’s so peculiar that an under housemaid, Elsie, is wearing an exquisite pair of nylon stockings that are unavailable to her social betters.  That phrase isn’t used, but it’s very clear how everyone feels. Wartime Britain hadn’t lost any of its embedded class consciousness, it seems. Jean sees Elsie that night, just before she is going out on a date; by chapter 3, Elsie’s dead body is discovered in a punt. On her body is a dart that can be identified as having come from the manor house, because it has been marked with a “transfer from a kids’ book” of an applegreen cat. So the murderer comes from the manor house. And it soon becomes clear that everyone thinks that Elsie has been strangled by mistake instead of Lorna Erickson, “whose stunning beauty and feline malice made her unanimously feared and hated”.  (That’s a rather florid quotation from the back cover of the paperback edition.) 

Almost immediately, another murder attempt takes the life of the head housemaid, a secret tippler who cannot resist having a pull from a bottle of whiskey that has been adulterated with a huge dose of morphine.  Was the whisky intended for Lorna? Hard to say. At this point the book grinds to a screaming halt — Jean is not really in the picture as the police, and her husband, question the suspects one by one. So we are treated to a series of chapters very much like the habitual pattern of Ngaio Marsh, where one by one the potential suspects display their motives, past, and personalities, each to a boring, talky, overwritten chapter. Tennis is played — women’s clothing is observed. Gossip is exchanged, and some characters reveal things about themselves and their past that sane people being investigated as potential murderers would probably prefer to keep considerably more quiet. Jean manages to dig out nearly everything that the reader might consider important or useful about every suspect; that is, if your interest is interpersonal relationships rather than the niceties of who gives who an alibi and how. Finally (the reader will have the sense at this point that this is a long, long overdue action) Lorna is found strangled, events come to a head, and the murderer confesses.

And I have to say, I’ve read a lot of murder mysteries — a LOT of murder mysteries — and the solution to this mystery asks us to believe one of the most ridiculous motives for murder I have ever been asked to accept, and that’s saying something. (Okay, there’s that Agatha Christie where the woman wants to open a tea shop. But that’s about it.) Really, it’s as though Crane realized that she had to tie this off to get in under her word count, so she picked the least likely suspect, provided a hastily-conceived motive, and wrote “the end” with an air of triumph. I cannot accept that there is a person in the world who would commit three murders for this reason; I actually think this motive is not really sufficient to make someone quit their job or quarrel with a friend. Crane recognizes this, I think, and tries to add a few details here and there to make us think that the murderer is insane. But this is a kind of insanity that only really exists in murder mysteries that need a surprise ending; someone who hides their insanity under a mask of competence and does violent things for what are essentially ridiculous reasons.

Why is this book worth your time?

As you may have gathered by now, I don’t really think it is worth your time. Frances Crane wrote a number of good mysteries, but this is not one of them. There’s a serious flaw at the heart of this book; nothing is even remotely realistic. The wealthy squire with two Renoirs and a house full of ill-assorted, antagonistic guests have obviously been collected together for no other purpose than to draw gigantic sacks of red herrings across the trail of the crimes. When you find out the identity of the murderer, you will realize that the criminal events of the book could have been easily committed at a time when there were not nine or ten extraneous guests in the house and, since there is no rational reason for the murderer’s actions, almost anyone else in the vicinity would have been more readily suspected. Crane has to go to great lengths to prevent her narrator from learning anything useful or relevant in time for it to matter, including locking her in her bedroom at a crucial point. The characters lie when it makes the book more interesting and tell the truth when it’s time for things to move forward.

Elsewhere I have retold an antique joke that is funny to seven-year-olds. “What has four legs, wags its tail, and is filled with cement? A dog.” “But a dog isn’t filled with cement!” “Oh, I just put that in to make it harder.” This book is so encased in cement that the reader soon realizes that all the characters frozen in that cement to the hips are made of cardboard. The dog beneath the cement is a mutt who has been bedizened with ribbons, bows, embroidery and that oh-so-crucial pair of nylons, but remains at the heart of it all a dog of no redeeming qualities and emphatically of no interest to anyone. As I was refreshing my memory of this book, I found myself reading the first page or so of a chapter, and when I realized that nothing of any interest or value was occurring (other than the pseudo-development of pseudo-characters), I’d skip the remainder. When you skip half the chapter ten times in a row, you reach the climax quickly, I assure you — and had the author left out the cement, this would have been a ridiculous short story whose shortcomings would be far more apparent.

I think one of the big problems here is that Frances Crane appears to have no experience with, or indeed any realistic idea of, the background or people about whom she is writing. Indeed she doesn’t seem sure of very much at all. Pat and Jean end up in Britain for vague and largely unexplained reasons — with wartime travel restrictions in place to the point where you can’t get a taxi from the station to the manor. Her upper-class Brits have mental attitudes and social mores more like small-town Americans; no one is concerned about things with which they should be concerned, and is preoccupied instead with who can beat whom at tennis (this is in 1943 when the war was at its height; it’s mentioned, but it’s less important than tennis victories). Yes, there are blackout curtains, but pulling them doesn’t have much to do with the war and more with establishing alibis or taking people away from their alibi witnesses. Pat Abbott is a cypher in a crisp Marine uniform. I very much doubt that Crane had ever seen a Renoir; I’m not even sure that she has ever seen people playing tennis. The servants’ only purpose in the book seems to be to die so that the upper-class people can be suspected of their murders, without actually having to sacrifice an interesting character. Crane appears to have little mental grasp of her large English manor house — the details of the rooms are blurry and indistinct, and it’s hard to tell the floor plan from the writing. If this had been a mapback edition, the artist would be inventing half the layout of the house.

Crane’s habitual fascination with women’s clothing and household decoration has lost its sparkle here. Even the pair of nylon stockings that starts the criminal plot rolling turns out, on the last page of the novel, to have been a cheat. I was expecting to read details of just how the boundaries of clothing coupons meant that women had to repurpose their clothing in specific ways in order to remain fashionable; instead of the minutely observed details in other books, here we just get a French blue suit with a cherry-red sweater worn by the hostess, but no idea about why this is interesting in any way. It doesn’t reveal her character, it doesn’t show her attitude to fashion, it’s just what she has on. In at least one other instance, Crane commits a cardinal writing sin.  She describes a character’s outfit and tells us why this means she is a certain type of person — but there is no link between the two. We’re not shown, we’re told, and not even very competently.

Ultimately, to sum this up — it’s just nonsense. The stage is set, nine or ten suspects pop up, talk for a chapter each, then are dismissed. There are three murder victims about whom no one seems really upset, a lot of hugger-mugger of detection that takes place mostly offstage, and some sketchy and vague descriptions of rooms and clothes. And the murderer is a crazy person with a crazy unbelievable motive. If you want to read an interesting Frances Crane novel, try The Golden Box; there’s some meat there to replace the cement.

25721346-5664312675_0abea1d2b1_o1Notes for the Collector:

A VG copy in VG jacket of the first edition of this novel will cost you approximately $75; I don’t regard this as a significant piece of the history of detective fiction, but I know that people collect all kinds of things, including Frances Crane firsts.  I don’t need one of these to the tune of $75, but your mileage may vary.

My own copy is, as I noted, a really lovely copy of Popular Library #344, with the Belarski cover. (The image at the top of the post is scavenged from the internet.)  My copy is close to Fine; tight, clean, unmarked, unrolled and with bright colour.  There’s a copy available from various internet booksellers for $45 that doesn’t sound as good as mine. Frankly, I think this is a much more collectible volume; people are collecting runs of Popular Library, Belarski covers, and volumes of the Abbotts. This is a key volume in a number of senses. I wouldn’t take $60 for mine and I expect it to appreciate. If you can find a beautiful copy of PL #344, that’s the one I would recommend collecting.

As promised, I have shown you the original Belarski cover art for G-Man Detective; note the differences, in that for the paperback edition a row of books has been omitted, and the flying dagger has been turned into a dart marked with an applegreen cat. I was unable to identify the specific date of publication of this magazine and it may actually be that the paperback art was repurposed into the magazine cover — I doubt it, but it’s possible. Anyway, if you find a copy of the magazine for sale, it’s likely to set you back about $35. Needless to say, no one in the book is described as wearing an off-the-shoulder peasant blouse and this may well show someone from a story in the magazine — or not.

Vintage Challenge Scorecard

3 thoughts on “The Applegreen Cat, by Frances Crane (1943)

  1. Curtis Evans says:

    I have to admit that I’ve never read a Frances Crane, titles like The Cinnamon Murder just sounded too cutesie-poo by half. I know Rue Morgue is a great advocate, however.

    Great cover, but I imagine anyone buying on account of the honey must have been grievously disappointed!

    • Noah Stewart says:

      I believe there are at least a couple of worthwhile Frances Crane titles. The Golden Box has an interesting basis of what were then known as “Negro/white race relations” and it’s actually a bit unconventionally daring in that it treats people of colour as if they were human beings, at a time when they were rarely depicted that way in fiction. There’s a couple of other titles that have an interesting puzzle at their base; 13 White Tulips comes to mind. The Turquoise Shop is an interesting roman a clef about Mabel Dodge Luhan.
      The later volumes in the series are very scarce, but I am told that they are tighter and smarter than the earlier books. And I have to say that Crane is on very solid ground when she is detailing social history; the exact details of what women were wearing at specific points in time, the way that people behaved in society, how World War II changed American society, the intersections and infinitesimally fine gradations between, say, the lower upper classes and the upper middle classes. In that realm, she’s a proto-Jane Austen. I think she was limited severely by the form of the puzzle mystery, which requires there to be a solid basis of puzzle and plot and malice and murder to underlie the events and characters. And I think that she wrote specifically for a market of women who didn’t care much about the puzzle and plot as long as there were romantic entanglements and lots of interesting descriptions of clothing and furniture and bric-a-brac, so she was never really encouraged to add delicate characterization and difficult mystery elements to her books. I wonder what she could have produced if she’d tried a bit harder, or been pushed …

  2. […] recently looked at a poorly-written mystery by Frances Crane, The Applegreen Cat. (My analysis is here.) Among other problems, the plot consisted of a mystery that was difficult from the point of view […]

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