Bodies from the Library 3

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This anthology of rare stories of crime and suspense brings together 18 tales from the Golden Age of Detective Fiction for the first time in book form, including uncollected stories by Ngaio Marsh and John Dickson Carr. The Golden Age of detective fiction had begun inauspiciously with the publication of E.C. Bentley’s schismatic Trent’s Last Case in 1913, but it hit its stride in 1920 when both Agatha Christie and Freeman Wills Crofts – latterly crowned queen and king of the genre – had crime novels published for the first time. They ushered in two decades of exemplary mystery writing, the era of the whodunit, the impossible crime and the locked-room mystery, with stories that have thrilled and baffled generations of readers.This new volume in the Bodies from the Library series features the work of 18 prolific authors who, like Christie and Crofts, saw their popularity soar during the Golden Age. Aside from novels, they all wrote short fiction – stories, serials and plays – and although most of them have been collected in books over the last 100 years, here are the ones that got away…In this book you will encounter classic series detectives including Colonel Gore, Roger Sheringham, Hildegarde Withers and Henri Bencolin; Hercule Poirot solves ‘The Incident of the Dog’s Ball’; Roderick Alleyn returns to New Zealand in a recently discovered television drama by Ngaio Marsh; and Dorothy L. Sayers’ chilling ‘The House of the Poplars’ is published for the first time.With a full-length novella by John Dickson Carr and an unpublished radio script by Cyril Hare, this diverse collection concludes with some early ‘flash fiction’ commissioned by Collins’ Crime Club in 1938. Each mini story had to feature an orange, resulting in six very different tales from Peter Cheyney, Ethel Lina White, David Hume, Nicholas Blake, John Rhode and – in his only foray into writing detective fiction – the publisher himself, William Collins.

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He picked it up and once more began reading.

A light went on in a bedroom at about ten o’clock and we brought a ladder from the garden and placed it near the open window when the lights went out. We had to act with enormous care but hearing was perfect. There were the following scraps of conversation.

(1) ‘Are you sure Phipps can be trusted?’

‘Yes,’ the woman said, ‘I’ll square it with him on Sunday morning again. I’ll have to be there in any case when he’—name not identified—‘rings. He’ll be sure to ring about noon.’

(2) ‘Darling, we’ll have to be most careful from now on. You really mustn’t go making faces at me behind his back.’ He is apparently the unidentified name of 1.

‘It’s all rather funny in a way,’ Claire said. ‘He’s not a bad old stick, really. I don’t think we’ll be running any risk.’

Something had already stood still with Lutley Prentisse. He read the rest of those sheets and as if his eyes no longer saw any words. When he laid the last sheet down he stood for a moment, hand gripping the table and his face a queer grey.

At first his movements seemed rational. He took the tube to Hampstead and made his way to his house and spoke rationally enough to the staff. Mrs Prentisse had gone out for a moment, he was told, but should be back practically at once. He went out himself and at a music shop bought a gut ’cello string. When he came back, Mrs Prentisse was there.

Five minutes later Lunt brought in tea. He found Mrs Prentisse lying dead on the carpet and Prentisse sitting writing at that Queen Anne bureau. Lunt, white-faced and aghast, could get no answer from him. So he ran out to the road and got a message to the police. When they came it was still as if Prentisse did not hear. He let them take him by the arm and lead him away. The sergeant had a look at that paper on which he had been writing.

‘Heavenly days, have a look at this, Inspector! What do you suppose it means?’

The inspector had a look. It didn’t mean anything to him either. It was just a phrase, written over and over again.

‘To the Editor of The Times , Dear Sir.’

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