WARNING: This book is a classic work of detective fiction, which means that part of its potential enjoyment is based on surprising the reader. If you read this review, you are likely to find out more than you may want to know about this book, although the identity of the murderer and many other significant details are not revealed here. If you proceed past this point, you’re on your own.
What’s this book about?
Mystery writer and well-known New York amateur detective Amos Lee Mappin is called in by pretty socialite Peggy Brocklin, whose $40 million have been abandoned before the altar by a disappearing fiance, Rene Doria. Rene is not from the highest drawer; in fact, he’s a coarsely handsome nobody who’s spent the last four years in Hollywood trying to get into the movies, and he captivated Peggy with his sexual magnetism. A man like that always has more than one woman on the string to provide the large sums of money that fuel his activities, and we soon meet the wealthy and middle-aged Mrs. Vosper, who loaned Doria a valuable piece of jewelry when he said he was in a jam. Mappin quickly locates Doria, or at least his lifeless body, and nearby in his apartment are three clues. One is a flower — prepared to be worn in a man’s lapel. The second is a strange doodle on a desk blotter, with four dots in the centre of a circle. (Much as you see on the cover of the latest edition, depicted at the top of this review.) And the third is a tiny piece of broken glass that has a strange shape; maddeningly familiar but unidentifiable.
As Mappin continues to investigate, he has occasion to take advice from a couple of well-connected reporters on the society circuit, including Beau Gramercy, whose column can make or break anyone in modern cafe society. Using his extensive contacts in the upper social echelons, Mappin starts to uncover the outlines of something larger than this isolated incident, where a number of handsome impoverished men have been systematically fleecing wealthy women. The detective identifies the mastermind behind these schemes and solves the case.
Why is this worth reading?
If you aren’t familiar with the life story of Hulbert Footner, I recommend you to his Wikipedia article found here. I’m a Canadian, and he was too — but I wouldn’t recommend you to his work merely for that, or that he explored the rather remote area of the Canadian Rockies in which I live in 1911 and gave his name to Lake Footner in northwestern Alberta. He was at various time an actor and a dramatist, but eventually settled into writing detective fiction until his death in 1944. This is one of the writers who used to have the most interesting biographic paragraphs on the inside back jacket flap … not much seen these days. That alone might interest you in his work, though.
He wrote two different detective series. His first was from a series of short stories in a “slick” magazine about Madame Rosika Storey that were accumulated into books, and these are perhaps his best-known works. But later in his career he switched over to writing about mystery novelist Amos Lee Mappin, protagonist of this novel, who moved in New York’s cafe society. Both detectives have young women who assist them in something of the Watson role; this is an unusual thing in GAD and gives both series a bit of porto-feminist interest. Really, though, it seems to me as though he was merely writing for a female audience.
And in terms of a female audience, I thought this book was very interesting. Without revealing too much about the book and potentially spoiling your enjoyment, I can say that the criminality that underlies the book is the getting of money from wealthy women who become emotionally involved with the wrong man. Some of it seems like blackmail, some of it seems like merely … social pressure. It can’t be easy to be young, pretty, and one of the wealthiest heiresses in the world, if you happen to meet a devilishly handsome “bad boy” who sweeps you off your feet.
So the crime here is one in which men prey on women, and Amos Lee Mappin and the young woman who assists him together find out who is guilty and stop the blackmail. An interesting story and an interesting premise for a story at a time when, even though women were reading detective fiction in large numbers, they weren’t finding themselves often represented as either the partners of male investigators or the targets of large-scale criminal operations.
At least, that’s the point I was going to make when I first started to write this review. Because up until then, the picture in my mind was of a charming piece of GAD written in the 1920s. Nothing disturbed my picture of a detective of the early 1920s; everything that was described seemed to be contributing to this picture, whether it was clothes, patterns of speech, and a specific detail that I cannot explain for the sake of your potential enjoyment, but which explains two of the three main clues noted above. Then I realized that this had been published in 1939! It really did surprise me, and I went looking for evidence that this had been written and kept in a drawer for 15 years, or perhaps was a re-writing of an earlier book or story … but no. This book was written in 1939 but if you start the book with the presumption that you are in 1924, you won’t be any worse off.
This, to me, is strange stuff, and I can’t explain it. I mean, more famous authors like Agatha Christie and Ngaio Marsh, as they advanced in age and were nearing the end of their careers, wrote books that took place in the year of publication and yet contained the attitudes, vocabulary, and social mores of a time 20 or 30 years earlier. I suspect that the context is long gone that will let me understand how this book achieved publication when it, to me, seems to be completely out of step with its context. I mean, 1939 — the year of Chandler’s The Big Sleep, Rawson’s Footprints on the Ceiling, and Stout’s Some Buried Caesar. Okay, this book is not quite antimacassars and voh-de-oh-doh, but neither is it seemingly set in the same social context as any of those novels, all with wealthy women who do pretty much what they choose.
Anyway — unless you are over 90 and read this when it first came out, and have a social context in which you can place it, you’re probably going to enjoy this novel; just ignore the copyright date and revel in a time when “cafe society” meant something different than hanging with your crew at Starbucks.
My favourite edition
Full disclosure: Although I’ve had the Dell mapback edition shown above for years, and even read it way back when, I’d quite forgotten about this minor work until Coachwhip was kind enough to send me a review copy of the edition shown at the head of this review. I’m sorry to say that my first love will always be for the mapback, but I have to say this is an attractive modern edition. The typography is attractive and the book has a nice hand-feel to it, in weight and cover finish; I am happy to see that Coachwhip avoids the bad habits of other small presses and sticks to simple cover designs like the one here. I venture to guess that their edition will be about the same price as a Very Good to Near-Fine copy of Dell #74, the first paperback edition, and will look considerably less lurid on your shelves. So call this one my second favourite, but if there weren’t a mapback, it might be my first.