Crime Fiction: A Reader's Guide E-Book

Barry Forshaw

• Herausgeber: Oldcastle Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2020

Beschreibung

Are you a lover of crime fiction looking for new discoveries or hoping to rediscover old favourites? Then look no further. There are few contemporary crime fiction guides that cover everything from the golden age to current bestselling writers from America, Britain and all across the world, but the award-winning Barry Forshaw, one of the UK's leading experts in the field, has provided a truly comprehensive survey with definitive coverage in this expanded new edition of the much admired Rough Guide to Crime Fiction. Every major writer is included, along with many other more esoteric choices. Focusing on a key book (or books) by each writer, and with essays on key crime genres, Crime Fiction: A Reader's Guide (with a foreword by Ian Rankin) is designed to be both a crime fan's shopping list and a pithy, opinionated but unstuffy reference tool and history. Most judgements are generous (though not uncritical), and there is a host of entertaining, informed entries on related films and TV.

Leseprobe

Contents

Title

By the Same Author

Foreword

A Note on Locating Authors in Crime Fiction a Readers Guide

Chapter 1 Reading the Entrails Origins Motives Sources

Chapter 2 the Golden Age Classic Mysteries

Chapter 3 Hardboiled and Pulp Tough Guys and Tough Talk

Chapter 4 Private Eyes Sleuths and Gumshoes

Chapter 5 Cops Police Procedurals and Mavericks

Chapter 6 Professionals Lawyers Doctors Forensic Scientists and Others

Chapter 7 Amateur Investigators Journalists other Professionals and Self-Styled Sleuths

Chapter 8 Dark Psychology External and Internal Pressure

Chapter 9 Psychopaths and Serial Killers

Chapter 10 In the Belly of the Beast Criminal Protagonists

Chapter 11 Organised Crime Wise Guys and Godfathers

Chapter 12 Crime and Society Class Ethnicity and Politics

Chapter 13 Espionage Spooks and Betrayals

Chapter 14 Domestic Noir Lies and Murder in the Family

Chapter 15 Cosy Crime Dialling Down the Sex and Violence

Chapter 16 Blockbusters Crime on a Grand Scale

Chapter 17 Comic Crime Tongue-in-Cheek Mayhem

Chapter 18 Through a Glass Darkly Historical Crime

Chapter 19 Foreign Bloodshed Crime in Translation

Appendix 1 Six Key Scandinavian Thrillers

Appendix 2 Top Political Thrillers

Appendix 3 Five Favourites

Appendix 4 Addenda J Kingston Pierce

Appendix 5 Addenda Craig Sisteron

Acknowledgements

About the Author

Copyright

ALSO BY BARRY FORSHAW

Nordic Noir

Italian Cinema

American Noir

British Crime Film

Sex and Film

British Gothic Cinema

Euro Noir

Historical Noir

BFI War of the Worlds

British Crime Writing: An Encyclopedia

Brit Noir

FOREWORD

Ian Rankin

Has crime fiction finally achieved the literary respectability that has long been its due? Certainly, crime novels are covered in the books pages of newspapers far more often than they were. But when a famous prize-winning literary novelist turned his hand in recent years to crime fiction, he felt obliged to put it out under another name. Is there still something disreputable about the genre?

While I have written in a variety of genres, I continue to find the crime novel the perfect vehicle for a discussion of contemporary issues in the most unflinching terms. After all, the detective has an ‘all areas pass’ to every aspect of the contemporary urban scene, and this is a way for the crime writer to take the reader into forbidden territory; for instance, it was always my mission in the Rebus books to show people an Edinburgh that the tourist doesn’t see. And crime fiction has always been good at articulating the fears that society has harboured at all moments of history – such as the stranger who will casually take your life. Equally, the genre is able to deal with high moral purpose in quite as rigorous a fashion as Dostoyevsky did in Crime and Punishment and Dickens did in Bleak House.

It’s difficult these days to write about contemporary life in a crime context and not have violence. Mind you, I don’t think that is just an issue for the crime novel – it is a problem for all contemporary fiction. Violence fascinates us because it is deemed unacceptable by society and therefore the people who commit violence are breaking our self-imposed rules, rules that underpin the very notion of civilisation. Rule breakers make us curious: why don’t they want to be like us? Why do they make the choice not to conform? Do they actually make a choice, or is it made for them (by their genetic coding, their circumstances, etc.)? The crime novel should tackle the question of violence whether we reach any answers or not, shouldn’t it?

People are interested in crime fiction because they are fascinated by the margins of the world, those places where society’s rules break down. They wonder what they would do in similar situations, how they would cope. They learn how to deal with fear and the unknown. And at the end, they have the sense that a certain justice has been seen to be done.

Barry Forshaw has tackled these issues (and many others) in a book that covers crime fiction from every part of the world – it’s a daunting task.

Ian Rankin, Edinburgh

A note on locating authors inCrime Fiction: A Reader’s Guide

As you will see, this study is divided into various sections and categories – sometimes, I admit, a touch arbitrarily, but I felt I needed to give a coherent shape to the whole book. If you are seeking a particular author, my advice is not to second-guess what category I’ve placed them in – apart from anything else, several authors appear in multiple categories – but to search this eBook for the author's name. And if I’ve missed a favourite author, I trust you will cut me some slack. I’ve tried to be as inclusive as possible, but in a book of this size it was inevitable that there would be many omissions. Not that this caveat will get me off the hook – I tried to be as comprehensive as I could with my arm-straining two-volume, 900-page encyclopaedia, British Crime Writing, but over the years people have relished pointing out to me who is missing…

1

CHAPTER

READING THE ENTRAILS

Origins, motives, sources

Is it possible to predict the direction crime fiction will take now that we are well into a new century? Initially, the auguries are bad: many classic genres (notably the police procedural) have undergone a distinct hardening of the arteries, as inspiration gives way to cliché and innovation to repetition. As all hard-pressed crime writers know, it becomes increasingly tough to come up with something new. Editing Crime Time magazine, most of the letters I received lamented the difficulties of tracking down that one fresh and inventive novel among much that is – shall we say – warmed over. And yet crime fiction remains (pace books about witches, wizards, dragons and spurious codes) one of the few evergreen areas of modern publishing, with fresh trends continually appearing, including the Nordic noir wave (still healthy) and domestic noir, both covered herein.

While a case can be made for the origins of the crime novel lying in the 19th century, equally plausible cases can be made for antecedents even further back. It is cold comfort that, according to the Bible, when Cain slew Abel, the third human ever created had managed to murder the fourth. A little later, Sophocles’ Oedipus Rex, a search for the truth about himself, has all the classic ingredients of the psychological mystery, even down to the final painful acquisition of knowledge leading to the destruction of the protagonist, and most of his family. Noir territory, indeed. No less dark are William Shakespeare’s pivotal assassination dramas Julius Caesar (think conspiracy theories) and the malign ‘Scottish play’ (for Lady Macbeth read almost every femme fatale to glower from the silver screen). But, while we can possibly shoehorn the Bible, Sophocles and Shakespeare into the genre as progenitors of crime fiction, the concept of the cliffhanger mystery novel took off in the 19th century almost equally and simultaneously in gothic, Romantic and realist writing. Where the gothic writers preferred a darkly supernatural sense of suspense and denouement, horribly real cops, secret agents and villains occur regularly in the work of Honoré de Balzac, while the world’s first dogged detective (albeit also a blackguard) trails Victor Hugo’s Jean Valjean through almost every page of Les Misérables (1862).

An obsession with crime, the dark, nefarious underworld and just retribution was revealed in the popularity of publications such as The Newgate Calendar, and by the end of the century lurid ‘penny dreadfuls’ and ‘shilling shockers’ vied for bookstand space with Bram Stoker’s comparatively respectable parlour-piece Dracula (1897), just as the world’s first serial killer, Jack the Ripper, was stalking the streets of Whitechapel, and canny film producers were seeking sensational stories to project onto the minds of a willing and hungry public huddled in circus tents.

But the most significant innovation of the 19th century was that of American polymath Edgar Allan Poe’s C Auguste Dupin, who first displayed the requisite cool ratiocination and ability to marshal facts that were to become the sine qua non of the investigative detective. Poe even created the less brilliant follower for his detective (in order that the hero’s mental pyrotechnics might be displayed more satisfyingly). Poe was greatly admired in France, and translation of his work by Baudelaire (among others) was to spread his influence far beyond the provincial Stateside streets of Baltimore and Richmond.

Leaving aside Charles Dickens’ Inspector Bucket and Mr Nadgett (who certainly deserve namechecks in any overview of crime fiction) and the master’s unfinished murder novel The Mystery of Edwin Drood (1870), it is tidier to settle on his friend Wilkie Collins, with The Woman in White (1859) and The Moonstone (1868) as the first instances of great crime novels. A reacquaintance with these two most readable books demonstrates that many of the key elements we recognise so well (notably the hyper-intelligent, hyper-ingenious villain, the slightly dim hero whom we follow piecing together the mystery, and a narrative crammed full of delicious obfuscation) are firmly in place. But it is also salutary to note that one element – the elegance and polish of the prose – has become less common since those distant days. Whenever the diehard crime reader picks up a modern novel as well written as Collins’ were, it’s a cause for some celebration. Of course, eventually the genre had to accommodate lean, pared-down prose as much as Collins’ more intricately orchestrated language. It was a matter of economics, cut-and-thrust suspense, and popular appeal.

Edgar Allan Poe(1809–49)

Orphaned, a failed soldier, a bankrupt gambler and an alcoholic incapable of holding down a job, forced to live with his child wife’s mother, and eventually dead in a gutter aged 40. How could this man become an outstanding poet, essayist and progenitor of at least five literary genres: the short story (or tale), horror, science fiction, psychological fiction and the crime novel? Probably his background predisposed him to introspection, gloom and despond, but the elegance of his style and intricate intellectual curiosity give even his darkest works a burnished gleam. The obsessive protagonists of many of his tales prefigure both the criminals and sleuths of later writers: ‘The Tell-Tale Heart’ (1843) deals explicitly with a murderer’s guilt, as does ‘The Cask of Amontillado’ (1846). But it is the three tales featuring the detective C Auguste Dupin (massively influential on Conan Doyle), who uses observation, logic and lateral thinking to solve crimes, that claim primacy for crime enthusiasts. ‘The Murders in the Rue Morgue’ (1841) is the prototypical locked-room mystery; ‘The Mystery of Marie Rogêt’ (1842) was based on an actual case in New York and introduces the problem of reconstructing what happened to a murder victim in the last days of her life; ‘The Purloined Letter’ (1845) involves a psychological game to reveal a blackmail trophy.

The Mystery Writers of America award, the Edgar, is named in his memory.

And it was another writer, from the next generation, who was to bring the concept to its greatest fruition – a marriage of author and character that few have achieved since.

Arthur Conan Doyle’s creation of the master detective Sherlock Holmes – as noted above – owed much to Poe’s Dupin (the latter is even discussed in the stories), but his extension of the concept into a considerable canon of work that stretched over 40 years demonstrates a craftsmanship that simply beggars belief. His masterstroke, of course, was to take the relationship between the unconventional, brilliant investigator and his assistant and develop it into something rich and resonant. Again and again, the sheer pleasure of the stories comes from the nuances of the relation between Holmes and Watson as much as from the plot revelations (some of which, as Conan Doyle well knew, were outrageously implausible), and the way in which details of Holmes’s character were freighted in (the violin, the depression caused by inactivity, the ‘7 per cent solution’, etc.) ensured that Conan Doyle’s detective became probably the best-known Englishman in fiction, and one of the first truly international bestsellers. His influence is felt to this day, with writers such as Joe Ide providing contemporary spins on Holmes-like detectives.

At about the same time as Conan Doyle was concocting Holmes, other criminal currents were stirring. In Russia, Fyodor Dostoyevsky was creating a template for the existential psycho-killer (Crime and Punishment, 1866) and the familial destruction novel (The Brothers Karamazov, 1880). And a French realist dealt with a range of shady lowlife scenarios and godfathered the domestic ménage à trois that results in murder. Two lovers who can’t keep their hands off each other and who have sex on the floor; an inconvenient and unattractive husband who has to be removed. I know – you’re thinking of James M Cain’s The Postman Always Rings Twice (1934)? Or one of its many imitators? No, another writer got there earlier… Émile Zola, with his carnal and edgy Thérèse Raquin in 1867. Who can write about sex like Zola these days, with authors all flinching in advance at the thought of nomination for the Bad Sex Award or political correctness? What about this passage:

Then, in a single violent motion, Laurent stooped and caught the young woman against his chest. He thrust her head back, crushing her lips against his own. She made a fierce, passionate gesture of revolt, and then, all of a sudden, she surrendered herself, sliding to the floor, on to the tiles. Not a word passed between them. The act was silent and brutal.

The Vintage Classics translation by Adam Thorpe makes one realise why Zola was so shocking in his day.

The inherent brutality (as well as the concupiscence and violence) of Zola’s work found expression in another infernal triangle in the blunt and excoriating La Bête Humaine of 1890 (the Oxford World’s Classics version is translated by Roger Pearson), a richer, more complex experience than Thérèse. The unlucky trio here are the eponymous ‘human beast’ Lantier, gripped by a hereditary madness and a desire to murder; Séverine, an object of lust for men, yet someone who retains an unsullied centre; and Roubaud, her brutal husband who cuts the throat of one of her ex-lovers. American paperback editions emphasised the steaminess (calling it The Human Beast and adorning the jackets with copious cleavage); English editions tended to stick to the original French title. The book, though, is about far more than a sordid homicide: Zola’s targets include the French judicial system (which he was to excoriate during the Dreyfus affair) and there is a brilliant realisation of the world of railways and railwaymen. My advice to crime writers looking to re-energise their batteries when writing about murder and sex? Pick up two visceral novels written well over a century ago and learn from a master.

By the turn of the century, the Polish exile Joseph Conrad was writing (in English) about terrorism and subterfuge in a pair of mirror novels concerning anarchists: tragically incompetent ones in England in The Secret Agent (1907), and doomed but heroic ones in Tsarist Russia in Under Western Eyes (1911). Notions of international conspiracy featured in Rudyard Kipling’s Indian Great Game masterpiece Kim (1901), but soon focused on Germany and were epitomised by two seminal spy novels: The Riddle of the Sands (1903) by the Irish Republican gunrunner Erskine Childers, and John Buchan’s The Thirty-Nine Steps (1915), which he followed up with skulduggery in the Middle East in Greenmantle (1916).While the emancipated inter-war world of the Jazz Age saw an exponential rise in popular fiction of all sorts, headlined by a crime sector ranging from the roughhouse of Sapper’s Bulldog Drummond to the elegant amateur detective work of Agatha Christie’s protagonists, it would be a later English writer, Eric Ambler, who almost single-handedly created the sensibility that lies behind the modern thriller: the layers of psychological complexity that inform the work of Graham Greene and John le Carré clearly owe as much to Ambler as they do to Joseph Conrad or Fyodor Dostoyevsky. But before Greene and le Carré brought the thriller to this level of literary gravitas, another significant movement had transformed the genre. And this revolution had begun in the despised medium of the American pulp magazine.

Fantômas

Fantômas is the master criminal created by Pierre Souvestre and Marcel Allain in 1911. The duo were the French equivalent of later American pulp writers who churned out bloody and sensational fare to order – and Fantômas was designed to inaugurate a series of five novels. But the immense success of the character (a ruthless, megalomaniac master of disguise who always eludes capture) meant that he went on to enjoy a lengthy literary life, with other authors taking over to chronicle his adventures. The first novel (entitled simply Fantômas) was written in the crudest of styles, but its canny use of crowd-pleasing elements (violence, horror and a bracing amorality) guaranteed some high-minded disapproval – and healthy sales as a result. Intriguingly, the character was taken up by the artistic avant-garde, and the poet Guillaume Apollinaire was a devoted follower. But when Louis Feuillade began his series of Fantômas films, the character’s place in the firmament of popular culture was assured (not least because the films were far more accomplished than the novels). By the late 20th century, the novels were only fitfully reprinted; for those who read French, however, Fantômas novels can still be found on the bookstalls along the Seine.

In its day, the writing in such gaudily illustrated American pulp magazines as Black Mask and its stablemates had enjoyed a considerable readership, even though the writers who turned out a massive wordcount for modest returns had little thought of literary respectability. That was to come much later – and despite such trenchant practitioners as Cornell Woolrich and James M Cain, two men came to personify the tough, witty and exuberant writing that became known as the American hardboiled school: Dashiell Hammett and Raymond Chandler. Between them, they created a landscape that continues to resonate in the crime genre today, and the crackling one-liners of Chandler still inspire writers, even those whose ‘mean streets’ are the Home Counties. Chandler had a particular dislike of the classic English detective story and famously praised Hammett for giving murder back to those who ‘had a reason for it, rather than just to provide a body’. The heirs apparent of Chandler included such accomplished and powerful writers as Ross Macdonald, and Chandler also lived to see Mickey Spillane take the tough private eye downmarket and way over to the right politically, while upping the ante in the sex and violence stakes.

As what might be defined as the modern era dawned, it seemed that the possibilities of crime fiction were limitless. Readers were less concerned with the arbitrarily drawn battle lines between genres and were happy to investigate the best writing in any area of the crime novel. In Britain, by the 1980s two women writers had been established as the twin queens of crime: PD James and Ruth Rendell. Taking the police procedural and classic crime novel, both writers deepened and enriched existing formulas, mining them for their narrative possibilities while adding new levels of invention and psychology. The crime-consuming public took to its heart the tough Scottish novels of Ian Rankin on the one hand and, on the other, the laconic, nigh-comic, post-hardboiled dialogue of American novelists such as Carl Hiaasen, James Lee Burke and Elmore Leonard. And today, the field is so rich in idiosyncratic and individual practitioners (covering the spectrum from Robert Wilson to Abir Mukherjee, from Attica Locke to Pierre Lemaitre, and from Harlan Coben to Val McDermid) that jeremiads about the future of the genre might seem to be unnecessary. Only a handful of crime writers might be considered to have reached ‘the edge’, where future invention seems inconceivable – James Ellroy and Thomas Harris among them – but more of that later.

This book presents a selection of the best in crime writing from the last century or so, organised by subject (or subgenre). Often, the books selected are simply the best of an author’s writing, or at least a useful introduction to often extensive bodies of work. Along the way, brief sections on the more popular authors are added, as are profiles of those writers whose contribution to the evolution of crime writing is irrefutable. Notes on significant screen adaptations are included, along with a selection of sideways glances at the subject.

But, to begin with, a few classics that definitively established the genre and its various strands.

Trent’s Last Case(1913)

EC BENTLEY

One of the most celebrated of murder mysteries that preceded the Golden Age is also one of the most unusual in terms of its unorthodox structure. While the detective protagonist presented to us by Bentley (amateur sleuth Philip Trent) initially appears to conform to the standard requirements for such characters (resourceful, tenacious, cracking a baffling murder case through the steady accumulation of facts), the author has quite a surprise for us in the latter half of the book – a surprise that, at a stroke, makes Trent’s Last Case a rather postmodern novel. The eponymous investigator is employed by a London paper to file pieces of investigative journalism, and he is sent to Marlstone to look into the murder of an American moneyman named Manderson who has been shot in his garden shed. Trent, in somewhat unconventional fashion, begins to dig beneath the surface of the mystery and discovers that the attractive widow of the murdered man, Mabel, was suffering in a loveless marriage to the ruthless financier. Ill-advisedly, Trent finds himself falling in love with the seductive widow, but he is still able to solve the murder – albeit in a rather vague fashion that irritated, among others, Raymond Chandler. But now comes the surprise that Bentley has up his sleeve: the narrative continues, with Trent relocated to Germany and struggling to shake free from the amour fou that has blighted his life. It’s this radical shaking up of the standard narrative procedure (almost before the rules of the genre had been set in stone) that now seems postmodern – as if Bentley was uncomfortable with what he perceived to be the demands of the detective story. Bentley, basically a humourist, and inventor of the clerihew verse form, followed up with Trent’s Own Case in 1936.

The Thirty-Nine Steps(1915)

JOHN BUCHAN

Without The Thirty-Nine Steps, the world would be missing such classic novels as Geoffrey Household’s Rogue Male. And Alfred Hitchcock’s matchless British film of Buchan’s novel. And, for that matter, the spy thriller in the Ian Fleming vein – although the latter adds a libido and relative classlessness to John Buchan’s upper-crust English hero. The most famous novel by Buchan remains as much of a delight as when it first appeared – and it is one of the greatest espionage thrillers ever written, its dated aspects part of its charm. Concise and eventful, Buchan’s story has his mining engineer Richard Hannay at a loose end after returning from Rhodesia, as conflict bubbles away in Europe in the years before the Great War. After an American spy is killed in his flat, Hannay goes on the run (across a brilliantly realised Scotland – this is the ultimate picaresque thriller) from both the police and enemy agents. Those who feel they know Buchan’s tale too well from the numerous adaptations should really go back to the irresistible source novel.

THE 39 STEPS(1935)

Director: Alfred Hitchcock

The blueprint for many of Hitchcock’s subsequent films (North by Northwest, Saboteur, Torn Curtain), this is one of that rare breed of films (like Michael Curtiz’s Casablanca) in which absolutely every element (screenplay, direction, cinematography, playing) is balanced to perfection. Robert Donat is perfectly cast as the very British hero, and the customary Hitchcock cocktail of suspense and dry humour gets its most adroit workout in the director’s English period before he was tempted by Hollywood. Subsequent remakes (with Kenneth More in 1959 and Robert Powell in 1978) were efficient enough, but not remotely in the league of Hitchcock’s original.

The Man Who Was Thursday(1908)

GK CHESTERTON

Chesterton was born in London in 1874 and made his mark speaking out against the Boer War. In many ways, he was the quintessential Edwardian writer, hobnobbing with the likes of HG Wells and George Bernard Shaw. From his large range of writing, he is best remembered these days for his Father Brown stories, in which the gentle ecclesiastical sleuth solves problems after the fashion of the ratiocinator of 221b Baker Street. Admirers, however, rate The Man Who Was Thursday as his finest work in the crime field. It’s a cutting analysis of anarchism (much as Joseph Conrad had undertaken in The Secret Agent the year before). Chesterton’s protagonists are Lucian Gregory and Gabriel Syme, who wear the apparel of poets. One, however, is an anarchist, and the other a policeman. In the dark counter-world in which they both move, personality and function are defined by a code word, and one of the duo becomes ‘Thursday’. But their universe is not just a place of vaguely surrealistic posing; it is also a world of madness and fear. The London locales here are conjured with a disorientating eye (as are the settings for a chase in northern France), and the narrative functions both as a thriller and as a complex symbolist nightmare. The Father Brown books may be the author’s most popular work, but this is his best.

Sir Arthur Conan Doyle(1859–1930)

Sir Arthur Conan Doyle’s imperishable creation – Sherlock Holmes – is one of the best-known characters in world fiction, with current iterations (such as Benedict Cumberbatch’s modern-day version) still captivating admirers. However, a famous Punch cartoon of the day showed the author shackled to his celebrated pipe-smoking creation, and Conan Doyle often voiced his exasperated desire to be remembered for something other than his cocaine-using protagonist (whom he unsuccessfully tried to kill off with a plunge down the Reichenbach Falls). But it was Holmes rather than the author’s own preferred historical fiction that made Conan Doyle (along with HG Wells) the most celebrated popular writer of his age – even though he seemed to lack the rigorous deductive reasoning of his hero. The most famous incident in the author’s non-literary life – dramatised in both the cinema and on TV – involved Conan Doyle’s credulous belief in doctored pictures of fairies produced by two schoolgirls. To modern eyes, Conan Doyle’s acceptance of this ludicrous hoax seems astonishing, but the author’s personal losses (as so often) predisposed him towards a desire to believe in the supernatural (surprisingly, not reflected in his fiction), and he famously espoused several very suspect causes – Conan Doyle was, in fact, something of a target for charlatans.

While the four novels featuring Holmes and Watson (most notably The Hound of the Baskervilles) have their virtues, none is as completely successful as the many perfectly proportioned short stories, originally published in The Strand magazine (1859–1930). Holmes first appeared in A Study in Scarlet, published in Beeton’s Christmas Annual in 1887, and was an immediate hit. But by 1891 Conan Doyle was already talking of killing him off. He attempted to do so in 1893, but public and financial pressure meant that, in total, some 56 Holmes stories were eventually published.

Conan Doyle’s legacy is quite as tangled – and death-fraught – as any cases the writer created for his Baker Street mastermind and the faithful Dr Watson, and his collection of manuscripts has been the source of quite as much plotting and counter-plotting as the ‘Naval Treaty’ that Sherlock Holmes retrieved. From the 1930s onwards, the disputes began, with Conan Doyle’s sons Adrian and Denis spending their legacy in profligate fashion, before both dying at surprisingly early ages (Adrian had tried – with a conspicuous lack of success – to continue the Great Detective’s adventures in his own series).

Conan Doyle was a prolific writer, covering historical romances (The Exploits of Brigadier Gérard) and even science fiction (the Professor Challenger stories, including the prototype dinosaur urtext The Lost World), but Holmes remains his most enduring creation.

The Riddle of the Sands(1903)

ERSKINE CHILDERS

Highly regarded as an account of small sailing boat cruising, this was also one of the first of many books that rang alarm bells about German preparations for aggressive warfare against her neighbours. Two gentlemen facing the prospect of an idle London summer take off on a sailing holiday along the East Frisian shore. Various encounters lead them to suspect the build-up of German military and naval resources destined to form an invasion force aimed at Britain, and the race is on to alert the British authorities. In no way naive, the book was not only prescient in historical terms but also laid the foundations for many of the basic formulae of spy novels to follow, notably those of John Buchan. Winston Churchill took it seriously enough to instigate the Admiralty’s fortification of England’s east coast defences and the creation of naval bases at Scapa Flow, the Firth of Forth and Invergordon. Childers himself, an experienced soldier and sailor, was later executed as a traitor by the newly formed Irish Free State, despite having supported them after the Easter Uprising.

THE RIDDLE OF THE SANDS(1979)

Director: Tony Maylam

Taking advantage of the maritime setting and slow pace of the novel, the perfectly cast gung-ho British actors Michael York and Simon MacCorkindale do a fair job of bringing a slightly edited version of Erskine Childers’ novel to life, as does Howard Blake’s fitting score. Both Hans Meyer and Alan Badel bring suitable menace to their roles as devious Germans Grimm and Dollmann respectively, while Jenny Agutter once again dons an Edwardian costume to bring a feminine element to what is the essential Boy’s Own adventure.

The Case-Book of Sherlock Holmes(1927)

SIR ARTHUR CONAN DOYLE

This volume features the final 12 stories published in The Strand magazine that Conan Doyle was to write about the detective, and in many ways they crystallised the universal appeal of the character. The stories are particularly interesting in their willingness to take on subjects that must have been uncomfortable to a less tolerant readership than that of the present century. In many of them, a dark and destructive secret lies at the heart of rigidly maintained Victorian propriety, and Conan Doyle’s dispassionate unearthing of these undercurrents gives the stories a peculiarly subversive charge. But then again, they were written several years after the turn of the 20th century. Many of the great Conan Doyle classics are to be found here, such as ‘The Adventure of the Creeping Man’ and ‘The Adventure of the Mazarin Stone’. Conan Doyle had tried to kill off the detective in the Reichenbach Falls struggle with his nemesis, Professor Moriarty, but the writer’s affectionate farewell to his greatest creation in the introduction to the stories is genuinely touching.

SHERLOCK HOLMES(1984–94)

Producers: Michael Cox and June Wyndham Davies

For many years, the urbane Hollywood expatriate Basil Rathbone remained the perfect incarnation of the Great Detective (not least for his Holmesian profile and ability to wear a deerstalker without looking absurd), but his otherwise splendid series of adaptations for Universal Studios in the 1940s were compromised by a fluctuating sense of period, and a doltish (if lovable) Dr Watson. The BBC ran a successful series in the 1960s, with the lugubrious Douglas Wilmer in the lead, stolidly supported by Nigel Stock, also slightly parodic, as the doctor. But two decades later, and at a stroke, the brilliant and neurasthenic performance of Jeremy Brett established itself as definitive, aided by his impeccable accent, fastidious attention to detail and two excellent – and intelligent – Watsons (first David Burke, later to be succeeded by Edward Hardwicke). Granada’s cleverly written series of adaptations consolidated their appeal with period atmosphere and a supporting cast that drew from the cream of the British acting profession. Brett’s bipolar depression is thought to have contributed significantly to his interpretation of Holmes’s character.

SHERLOCK(2010–17)

Producers: Sue Vertue and Elaine Cameron

The success of Sherlock, a postmodern, self-referential, modern-day riff on Conan Doyle by Steven Moffat and Mark Gatiss, established a pre-Doctor Strange Benedict Cumberbatch as a world-class star, his arrogant Holmes addressing the detective’s borderline autistic personality more directly than in earlier incarnations (Martin Freeman’s bemused Watson was another factor in the show’s success). After 13 episodes had been broadcast (with four three-part series airing from 2010 to 2017, and a one-off special set in the canonical Victorian period), the show became a tad too self-congratulatory – while still maintaining its audacity and imagination. Andrew Scott’s antic Moriarty echoed Batman’s nemesis the Joker.

The Amateur Cracksman(1899)

EW HORNUNG

While Hornung’s debonair criminal protagonist Raffles is more remembered than read these days, the author’s influence on the genre is still notable. A badge of intellectual respectability was conferred on Raffles in the 1930s, when George Orwell wrote a celebrated essay praising the old-fashioned charm of Hornung’s well-turned caper novels at the expense of what he (rather old maidishly) perceived as the depraved brutality of such then modern crime novels as James Hadley Chase’s No Orchids for Miss Blandish. This slightly sentimental view of Hornung’s amiable thief is perhaps the best way to approach him. Raffles, however, remains an important prototype of many latter-day crook heroes (not least Louis Joseph Vance’s The Lone Wolf, the Falcon movies of the 1940s, and Leslie Charteris’s The Saint), and, along with his partner Bunny, moves in a charmingly realised English period universe. Raffles (who excelled at cricket) carries his non-professional professionalism through the picaresque adventures here (with a colourful dramatis personae of character types), even though modern readers may look askance at the relationship between Raffles and his adoring ex-fag Bunny. The plotting is loose and discursive, but the gallery of effects remains diverting. Intriguingly, this book and later adventures such as The Black Mask (1901) and A Thief in the Night (1905) could be seen as a refracted critique of British society – after all, Raffles’ quintessential English diligence is entirely at the service of crime.

RAFFLES(1930)

Directors: Harry d’Arrast and George Fitzmaurice

Although previous silent incarnations exist, notably by John Barrymore in 1917, Ronald Colman’s smooth charm is absolutely perfect for the gentleman thief who spins circles around the duffers at Scotland Yard. Today, age gives the film a perfect period feel. Based on The Amateur Cracksman, a Sam Wood 1939 scene-for-scene remake featured the only other conceivable actor seemingly born to play the part – David Niven.

2

CHAPTER

THE GOLDEN AGE

Classic mysteries

Crime fiction came of age in the years between the World Wars, a period that produced a plenitude of writers who gained enormous popularity. Many continued to publish new work well into the 1950s and 1960s, and still sell in substantial numbers today. The most celebrated writer of the period, which many regard as the ‘Golden Age’ of detective fiction, was Agatha Christie. She was canny enough to appropriate several of Conan Doyle’s Sherlock Holmes concepts for her Belgian detective Hercule Poirot, but while we remain ready to plunge into the fogbound streets of Victorian London with our sense of irony firmly held in check despite the occasional Holmes parody, Poirot seems to suffer much more often from being played in tongue-in-cheek fashion. Why this distinction between the two eccentric sleuths? Possibly it lies in the genius of one author as against the craftsmanship of the other. The pleasure of Christie’s work doesn’t really depend on Poirot’s character (or, for that matter, that of her equally distinctive and brilliantly conceived detective, elderly spinster Jane Marple); it’s those wonderfully engineered plots that remain as diverting as ever. There are, of course, two diametrically opposed schools of thought on Christie, mainly concerning social attitudes. If you hate the often patronising view of the working classes and the socially stratified never-never land Britain she nostalgically creates, then nothing will persuade you to open a Christie novel. But (as Minette Walters has pointed out), Christie was able to take on board social change, albeit peripherally – there is an acknowledgement in later books that real life is lived outside the privileged circle in which the majority of her characters move, and that people can reside in inner cities as well as in quaint English villages. And, if we can still read John Buchan, happily ignoring those aspects of his work that aren’t consonant with current tastes, why not Christie?

Taking a step on from the ‘locked room’ mystery, this was the period that gave birth to the ‘whodunnit’, in which the ‘who’ was often the least likely protagonist. Beneath Christie’s burgeoning skirts, there are the other giants of the Golden Age: Dorothy L Sayers, Ngaio Marsh et al. And what about John Dickson Carr? Although such writers as Freeman Wills Crofts, Gladys Mitchell, Cyril Hare, Patricia Wentworth, Leslie Charteris and Crime Writers’ Association founder John Creasey are well known only by cognoscenti these days, there are many rediscoveries to be made (such as the late-flowering Golden-Ager Robert Barnard), and it’s a field richer in mystery and imagination than one might think at first glance…

The Tiger in the Smoke(1952)

MARGERY ALLINGHAM

While many writers of the classic British crime novel fought shy of psychopathic killers in their work (or were unaware of such aberrant behaviour), Margery Allingham’s signature novel produced one of the most memorable murderers in fiction. The book’s reputation has grown over the years since publication in the 1950s, although the eccentric picture of the underworld now seems a touch quaint. In the teeming streets of a foggy London, a man with a knife is carving a bloody path. Meg is about to be married to Geoffrey Levitt, but other things are preying on her mind. She has been under the impression that her unlovable first husband Martin died during the war, but then she receives a photograph which appears to prove that he is in fact alive. Meg’s life is about to change – and very much for the worse. At the same time, the brutal Jack Havoc is summarily dispensing with anyone who gets in his way, including members of his old gang. A wide variety of characters (including Allingham’s long-term detective, Albert Campion) and plots intersect in what is the darkest of the author’s many books. While writers such as Agatha Christie largely dealt with death in sedate villages or country houses, Allingham bravely took on the depiction of the urban criminal underworld, and it is here (for the modern reader) that the book comes a little unstuck, with the argot and descriptions now seeming a little unrealistic. However, several things in The Tiger in the Smoke date not a whit, among them the brilliantly evoked post-war setting and the chilling portrait of pure evil incarnated in the murderous Jack Havoc.

TIGER IN THE SMOKE(1956)

Director: Roy Ward Baker

Roy Ward Baker’s creditable stab at Margery Allingham’s novel is, to date, the only film of one of her books. It effectively utilises the Rank Organisation’s 1950s facility for capturing the London milieu; the gritty settings (as crucial here as in the Boulting Brothers’ adaptation of Graham Greene’s Brighton Rock) make up for any inadequacies in the casting. The novel’s sense of barely repressed psychosis, however, is only fitfully achieved, which vitiates Allingham’s rigorously maintained tension.

The Oaken Heart(1941)

MARGERY ALLINGHAM

Perhaps this isn’t a crime novel, but there are only so many times you can enter Margery Allingham’s menacing world by re-reading her most distinguished books – The Tiger in the Smoke, for example. If your taste for Allinghamiana remains unslaked, then perhaps you should pick up the quirky and involving The Oaken Heart, the book the author wrote during the winter of 1940–41. Allingham was living in the Essex village of Tolleshunt D’Arcy and taking a full part in the local voluntary activity – first aid and so forth – and her record of the events and people of this fraught wartime period is rendered with the skill found in the best of her crime writing.

The Beast Must Die(1938)

NICHOLAS BLAKE

Nicholas Blake is not much read these days – a fact that would surprise his enthusiastic following in his mid-20th-century heyday. But are the Blake novels as good as their reputations, or has memory lent enchantment? This most famous of Poet Laureate’s Cecil Day-Lewis’s thrillers (written under his Blake nom de plume) still reads in the 21st century as one of the most distinctive crime novels ever written. The plot involves a writer of detective fiction who plots a perfect murder, one that he himself will eventually commit. When a personal tragedy (the death of a close relative) destroys writer Frank Cairns’ life, his tracking down of the man responsible achieves a pathological intensity, with inevitable death at the conclusion. But the final confrontation is not what the reader expects. With Blake’s famous investigator Nigel Strangeways on hand, the sheer pleasure afforded by this book is guaranteed.

QUE LA BÊTE MEURE/KILLER!(1969)

Director: Claude Chabrol

The brilliant use of Brahms’ Four Serious Songs (with their death-directed philosophy) in the score establishes Chabrol’s remarkable thriller as an art-house take on Nicholas Blake’s novel; the richness of the subtexts, the flat Gallic tone, and the understated performances make for a memorable adaptation, and the translation of the novel’s setting into that of a bleached-looking autumnal France is completely successful. As ever, Chabrol freights in his very individual take on Alfred Hitchcock’s patented ‘transference of guilt’ concept.

Green for Danger(1944)

CHRISTIANNA BRAND

Set in a British military hospital in Kent during World War II, Brand’s beautifully turned novel is celebrated as much for its perfectly realisedmilieu (rarely has wartime Britain been so well evoked) as for its unorthodox plotting. If the motivation of the killer hardly stands up to rigorous examination, this does not ruin the spell the book casts. As German air raids pound the country, a group of nurses and doctors carry on as best they can – with all the accoutrements of everyday life (including sex and jealousy). When an air raid warden dies a day after an operation, it becomes clear that a killer is at work – and those who discover the murderer’s identity die. As well as the tensely handled plot elements, the characters – all subtly damaged or disappointed in life – are beautifully drawn.

GREEN FOR DANGER(1946)

Director: Sidney Gilliat

Cast the larger-than-life Alastair Sim in a movie (as any producer would have known) and you watch him walk away with the film. Fine, if it’s a Sim vehicle, and that’s what the audience is paying for. But what about a tightly contrived conversation piece like this adaptation of Christianna Brand’s novel? In fact, the actor shows that he is perfectly capable of reining in his mannerisms and not drawing attention away from the matchless ensemble playing required here (while still affording us the trademark humour). Undervalued for years, this is now seen as a very cherishable miniature in suspense.

Crime: a publishing phenomenon

The rise of literacy and popular culture inaugurated by the Great War provided a robust platform for the flowering of crime fiction. Many authors emerged and flourished in the 1920s – the now largely unread Edgar Wallace, HC McNeile (‘Sapper’), Sax Rohmer and, in the States, SS Van Dine and Edgar Rice Burroughs became international celebrities. Part of their success was due to a change in the publishing industry, most notably the advent of the paperback – and, even more significantly, the paperback ‘original’. For a few pence (or cents), a gripping piece of fiction was available in its entirety, for the first time, replacing the old magazine serialisation marketing methods that Dickens, Poe, Collins and Conan Doyle had to deal with. Although Allen Lane’s Penguin imprint is frequently credited with inventing the paperback concept (and books by Sayers, Christie and Hammett were among the first 20 Penguin titles), publishers such as Hodder and Stoughton and Collins had built substantial popular crime lists before Penguin launched its distinctive green crime livery. But it was the royalties from popular paperback publishing in America, and from the sale of film rights, that created the first millionaire crime writers.

The Hollow Man/The Three Coffins(1935)

JOHN DICKSON CARR

The tradition of American writers who opt to set their books in Britain (so strong is their love of the country and its traditions) continues to this day with Elizabeth George, but the most distinguished member of this club remains the wonderful John Dickson Carr, a writer who is firmly on the top ten list of many a crime fiction connoisseur. His long-term protagonist, the cultivated sybarite Dr Gideon Fell, is one of the most individual sleuths in the field, and the perfectly judgedsoupçons of characterisation (always economical) that Carr affords Dr Fell are one of the pleasures of the books – along with the impeccable plotting. Those who know Carr’s name (but not his books) are usually aware that the ‘locked room’ mystery is his chef-d’œuvre.And the perfect entry point for the author is The Hollow Man (retitled The Three Coffins in the US), with its nigh-supernatural killer, impenetrable mystery, and skilfully conjured atmosphere.

Agatha Christie(1890–1976)

Despite her place at the top of the pantheon as Britain’s queen of crime, there are those who will simply never read an Agatha Christie novel. Endless TV and film adaptations of her crime novels have created a series of ineluctable images in the public mind: picture-postcard English villages; meddling spinsters whose attempts at sleuthing are welcomed by the police (rather than rebutted as they would be in real life); and Belgian detectives with waxed moustaches and absurd accents. Most damning of all (for many enthusiasts of the crime novel) is the belief that Christie simply didn’t move in the real world. She was, after all, in reality Lady Mallowan, and also penned romances under the nom de plume Mary Westmacott. This litany of complaints is a touch unfair: Christie, after all, is not to blame for the glossy patina that film and TV have added to her work, and the ‘real world’ of, say, Raymond Chandler’s novels is scarcely more realistic (Chandler once pointed out that, in real life, Marlowe would simply have been eliminated by the gangsters he so annoyed).

Despite these caveats, Guinness World Records cites Christie as the bestselling fiction writer ever, with an estimated two billion crime novels sold in over 40 languages. Her novels reflect the not uncommon problem confronting crime writers: how to introduce novelty to a well-worn formula? She solved this by becoming increasingly exotic in her settings, especially after her second marriage to archaeologist Sir Max Mallowan (Murder in Mesopotamia, Death on the Nile, Murder on the Orient Express), although she rarely strayed from the basic principle of the ‘country house’ mystery.

In 1926, she became the subject of her own mystery when she disappeared for 11 days (actually, it was not that mysterious – her retreat to a hotel in Harrogate appears to have been a desperate response to a crisis in her marriage; she checked in using the name of her husband’s mistress). The incident dominated the tabloid headlines, and Michael Apted’s 1979 film Agatha (with Vanessa Redgrave in the title role) proposed an explanation.

She was created Dame Commander of the Order of the British Empire in 1971, but, unlike latter British crime dames PD James and Ruth Rendell, she took little active part in parliamentary matters.

A recent trend in adaptations of her work has been to stress its darker, less ‘cosy’ aspects – the dramatist Sarah Phelps has been at the heart of this astringent, bracing new vision with her versions of And Then There Were None (2015), The Witness for the Prosecution (2016), Ordeal by Innocence (2018) and The ABC Murders (2018).

Murder on the Orient Express(1934)

AGATHA CHRISTIE

Murder on the Orient Express is the perfect entry point for those wishing to see why the Christie name is such a copper-bottomed franchise. Christie’s favourite sleuth, Hercule Poirot, has solved a case and is taking the Orient Express home when it becomes stuck in the snow, and a variation on the ‘country house’ scenario sets in with the icy conditions. Poirot’s fellow travellers include an unpleasant millionaire, Samuel Ratchett, along with his secretary, MacQueen, and valet, Masterman. During the night, Ratchett is stabbed to death in what seems like a frenzied attack, and it’s up to Poirot and the train’s director, Monsieur Bouc, to track down the murderer from among the wide variety of suspects. The measure of Christie’s achievement is that, even though the solution to the mystery is well known to most readers these days (not least because of the many rip-offs of her seminal novel), the impeccable storytelling still grips.

MURDER ON THE ORIENT EXPRESS(1974)

Director: Sidney Lumet

Albert Finney’s performance as Poirot may be something of a music hall turn, but (unlike Peter Ustinov in other films) it is at least this side of caricature, and sets the scene for David Suchet’s slightly more sober outings behind the waxed moustache (though ridicule of the character is also present here). The star-studded cast incarnate Agatha Christie’s clearly differentiated characters with aplomb, while director Lumet maximises one of his key assets: the romance of steam, as embodied in the glittering Orient Express itself (and charmingly enhanced by Richard Rodney Bennett’s celebrated orchestral score).

MURDER ON THE ORIENT EXPRESS(2017)

Director: Kenneth Branagh

News of this Kenneth Branagh remake of Christie’s train-set classic was met with a mixture of anticipation and trepidation. The suggestion that Poirot would (for once) not be played as a parody was welcome, but the sight of the actor’s ludicrous walrus moustache somewhat undercut this resolve to treat the character seriously. With impressive production values and a judicious use of CGI, the film looks sumptuous, but – on balance – Branagh’s all-star cast did not displace memories of Lumet’s similarly stellar assembly of actors. The most recent Poirot is the American actor John Malkovich, discreetly goateed in The ABC Murders for the BBC.

Murder is Easy(1939)

AGATHA CHRISTIE

Murder is Easy isn’t one of Agatha Christie’s best-known titles – and it doesn’t feature Miss Marple or Hercule Poirot – but, like many of her books, it is set in a 1930s English village with a cast of eccentric, and rather unlikely, characters. The plot follows the usual Christie course, and the murderer comes up with some quite imaginative ways of dispatching the victims. As always, there’s a nice sense of period. This is one of many Christie novels whose gentle pleasure can be found in its polished surface, impeccable plotting and powerful nostalgic tug – the lack of social reality matters not a jot.

Crime on stage and on the air

The fact that Agatha Christie’s The Mousetrap has outlived any stage play on any continent in any era is not news. It opened in London in November 1952, and over 27,000 performances later the audience is still encouraged not to reveal exactly whodunnit. Nevertheless, it was a late entry to popular culture. JB Priestley’s slightly parodic An Inspector Calls was an enormous hit in London in the 1940s, while the adventures of Dick Barton and the darker noir of The Man in Black, not to mention Francis Durbridge’s amateur sleuth Paul Temple, dominated the British airwaves in the 1940s and 1950s. Meanwhile, Stateside, Dick Tracy felt the collars of innumerable wireless villains on a weekly basis from 1934 onwards. But once again it was Christie who raked in the royalties, with stage adaptations of conversation pieces such as And Then There Were None (originally titled Ten Little Niggers) and Appointment with Death providing staple food for repertory theatre companies worldwide. Other items on the popular playlist included the classic ‘body in the box’ mystery Ladies in Retirement (by Reginald Denham and Edward Percy) and Joseph Kesselring’s evergreen Arsenic and Old Lace, while Susan Hill’s The Woman in Black has proved that all is not dead (or is it?) behind the stage curtain.

The Mysterious Mr Quin(1930)

AGATHA CHRISTIE

Christie had a particular skill in the short literary form – her primary speciality was, of course, plotting – and the short story allowed her to distil her inspiration in its most unadulterated form. The Mysterious Mr Quin is a collection of intricately plotted and atmospheric mysteries, with the marvellously beguiling conundrum in each one centred on the shadowy presence of Mr Harley Quin. Who is this mysterious Mr Quin? And why does his presence have such a strong effect on Eleanor Portal, the woman with the dyed black hair? Characterisation is basic but absolutely perfect for this kind of page-turning yarn.

The Case of the Turning Tide(1941)

ERLE STANLEY GARDNER

While renowned for his Perry Mason series (at least by those who can divorce his memory from the long-running, often by-the-numbers, US TV series featuring Rear Window killer Raymond Burr), with this book – one of his non-series titles – Gardner set out to fracture the standardised forms into which he felt the mystery novel had fallen (even as early as 1941). Instead of following a mechanically placed series of clues, he attempted to emulate a natural flow of events. Salesman Ted Shale is walking along a beach, hoping to sell paper products to a millionaire aboard his yacht. But he sees a young women fall from the vessel into the ocean, seemingly unconscious. Going on board, he comes across two bodies – one of them the man he had hoped to do business with. While still utilising the intimate knowledge of legal loopholes that was his stock-in-trade in the Perry Mason books, the spread of interest among a larger cast of characters – all equally strong – pays dividends here.

Hangover Square(1941)

PATRICK HAMILTON

Patrick Hamilton came from a family of novelists, and this fertile ground produced one of the most individualistic of British writers in any field, let alone crime. His 1929 play Rope (filmed by Alfred Hitchcock with James Stewart in 1948) demonstrated his interest in malformed psychology, with the real-life Leopold and Loeb case (involving two young murderers) transformed into an intelligent thriller, while his masterpiece, the trilogy Twenty ThousandStreets under the Sky (1929–34), has emerged from a period of neglect. But his most celebrated novel, Hangover Square, remains his calling card book in the crime genre. George Harvey Bone is a schizophrenic, obsessed with the calculating Netta. Bone moves from inertia to murder under the influence of a dark mental compulsion. While the take on mental health is hardly a rounded one to modern eyes, it remains a novel of great power.

HANGOVER SQUARE(1945)

Director: John Brahm

Laird Cregar was a heavyweight character actor who always played older than his age – and, regrettably, died young after a crash diet. But among his all-too-brief film legacy is his memorably charismatic turn in this highly professional adaptation of Patrick Hamilton’s novel. And Bernard Herrmann’s sinister Lisztian piano-led score complements a dark picture of an off-kilter mind and ratchets up the tension considerably.

Rogue Male(1939)

GEOFFREY HOUSEHOLD

‘I cannot blame them. After all, one doesn’t need a telescope sight to shoot boar and bear; so that when they came on me watching the terrace at a range of five hundred and fifty yards, it was natural enough that they should jump to conclusions…’ From the first sentences of Geoffrey Household’s lean and powerful novel, the reader is held in the proverbial iron grip. The premise is simple enough: an Englishman (from the hunting set) decides to utilise his shooting skills in a way that will affect (for the better, he hopes) the course of world events: he will assassinate a European dictator. The dictator, unnamed in the novel, is clearly Hitler, and this high-concept premise is an early example of a marketing tool that would be used again. But Household’s wonderfully detailed, high-tension offering remains nonpareil. The unnamed narrator is viciously tortured, then ruthlessly tracked by secret agents and the police, until he is finally obliged to live like a beast in order to survive. He goes to ground, living beneath the earth. And growing ever closer is his sinister nemesis Quive-Smith. John Buchan was a clear influence on the novel, and the chase across the countryside owes something to The Thirty-Nine Steps, as does the upper-crust background of the narrator. The book, however, is more than a simple adventure story, thanks to its strongly drawn psychological underpinnings.

ROGUE MALE(1976)

Director: Clive Donner

A strong, unmannered performance by Peter O’Toole as the English sniper and an intelligent script by novelist Frederic Raphael ensure that this pulse-racing TV adaptation of Geoffrey Household’s novel keeps much closer to the original than Fritz Lang’s creditable 1941 version (retitled Man Hunt, with the American Walter Pidgeon as Household’s very British protagonist). Donner’s film is a much more faithful take on the novel and retains the quintessential Englishness of Household’s original – and Donner evokes far more of the sense of menace beneath the bucolic setting. Lang opts for expressionist menace, his métier – fine, but some distance from Household.

Malice Aforethought(1931)

FRANCIS ILES

The rediscovery of this well-loved jewel in the crown of crime novels – and a book that reinvented the form – began with a sympathetic TV adaptation some years ago. But Francis Iles (Anthony Berkeley Cox) despite being a consummate plot creator, had a writer’s tone of voice that is only present in the novel. When the book first appeared, the then radical concept of announcing to the reader the identity of the murderer at the very beginning of the novel created a storm; we know from the first line that Dr Bickleigh has decided to murder his wife in the small but exclusive Devonshire hamlet of Wyvern’s Cross. Amazingly, despite many imitators over the years, the device still functions as persuasively in the present as when the novel was written. The beleaguered Bickleigh (with his mounting passion for Gwynfryd Rattery) is one of the best-remembered protagonists of crime fiction, and there are few who will regret acquainting themselves with this beautifully crafted piece of work.

MALICE AFORETHOUGHT(2005)

Director:David Blair for Granada Television

An earlier TV adaptation (with Hywel Bennett as Bickleigh) may have had a harder edge, but this version (with Ben Miller sympathetically assuming the henpecked mantle of Bickleigh) has its quiet virtues – although the conspicuous production values (always foregrounded, in the manner of many period adaptations on television these days) tend to draw attention away from the central story. Nevertheless, the sense of lower middle-class orthodoxies destabilised by a single, egotistical act committed by its central character is nicely captured.

The List of Adrian Messenger(1959)

PHILIP MACDONALD

A late entry in the Golden Age category, but fully in the spirit of the period, The List of Adrian Messenger presents a stylised picture of England that nevertheless has a ring of truth about it. The story is set in stuffy cabinet rooms in Whitehall; ancient offices in the City with antediluvian lifts (easily rigged for purposes of murder); and liveried hunts where the ‘blooding’ of a new hunt member is an important ritual. Canny sleuth Anthony Gethryn tracks down a highly ingenious and utterly ruthless murderer – a murderer who, in fact, is prepared to kill a great many innocent people to conceal the death of one individual target.