Breaking the Mystery Rules
I was whining away on a Facebook page the other day (Golden Age Detection) about how the current “rules” for mystery novels are turning them boring. So today, a positive note: a review of one of my favorite Golden Age mysteries that breaks many of those rules, Dead Water by Ngaio Marsh.
The book begins, as Marsh’s always do, with a list of the “dramatis personae.” Marsh worked in the theatre, and some of her best mysteries take place during theatre productions. (Her very best book, in my view, is Light Thickens, in which she violates the most sacred commandment of the Detection Club by…
SPOILER ALERT: if you haven’t read Light Thickens yet, scroll past the single line in italics immediately below this one.
…ending the story with the entirely satisfactory discovery of a homicidal maniac.
I love to make my way through the dramatis personae list, imagining likely interactions, spotting promising eccentrics and provokers of conflict. In Dead Water, the obvious candidate is “Miss Emily Pride, Suzerain of [Portcarrow] Island.”
Dead Water comprises only nine chapters, and the first of them is that major no-no, a prologue. Its title is actually “Prelude.” It recounts the alleged appearance of a fairy in a modern-day (that’s 1963) UK fishing village, and village’s resulting transformation into a folklore-y spa. Conflict is confined to minimal levels of discomfort as the whole cast of characters is introduced. Far from leaving anyone hanging from a cliff, the final sentence of the Prelude informs the reader that the story is about to leap over the following two years. This prologue takes up its full 1/9 of the text.
(“Prelude” also sets up one rule-blessed plot thread of which Marsh was fond: a romantic young couple, who will – the reader always knows – live happily ever after once the inevitable murder is cleared up.)
The first quarter of Chapter Two is very heavy to backstory, another no-no. The vivid characterization makes it perfectly smooth and perfectly fascinating. One of Marsh’s best creations, Miss Emily Pride, born ca. 1880, was formerly French coach to rising members of His Majesty’s diplomatic service. The rest of the chapter sets the scene for future confrontations, but the participants in the main conflict of the story remain hundreds of miles apart.
In Chapter 3 the enemies meet and conflict escalates, but nothing worse than threats and minor assaults occur. Not until the end of the chapter does the detective/protagonist appear on this scene of not-quite-crimes. In this reader’s opinion, the threatened victim beats out our hero for character and interest. (I’ve never been hugely enamored of Marsh’s detective Roderick Alleyn. He and the mysteries he unravels serve, it seems to me, largely as an axis for the galaxy of her dramatis personae.)
We are now 1/3 of the way through the book. The first quarter of Chapter 4 is a comic and entirely believable account of a disastrous village festival, ending in nothing worse than a thunderstorm. Not until the end of the chapter, at the 40% mark, does the first and only corpse in the story appear, and it is not a cliffhanger but an elegant switcheroo.
From that point, detection takes over, with no diminution of character interest or involvement with the setting. Marsh’s brilliant plotting picks up from the early chapters clues and red herrings –– including the fairy and the thunderstorm – so subtle as to have been invisible even to experienced mystery readers as they passed by. When the usual climactic scene of derring-do is complete (another rule that Marsh generally followed), Chapter 9 continues with an extended explanation by the detective, a happy ending for the lovers and charitable provision made for innocent sufferers. This denouement covers two days.
Marsh’s editors seem to have had no problem with passages inserted for sheer fun. Here’s one of my favorites. A now-deceased character, whose sole function is to have made a plot-generating bequest to Miss Emily, is described:
My sister, Fanny Winterbottom,” Miss Emily announced, “was not free from this fault. I recall an informal entertainment at our Embassy in which she was invited to take part. It was a burlesque. Fanny was grotesquely attired and carried a vegetable bouquet. She was not without talent of a farouche sort and made something of a hit. Verb. Sap.: as you shall hear. Inflamed by success she improvised a short equivocal speech at the end which she flung her bouquet at H.E. It struck him in the diaphragm and might well have led to an incident.
So there’s an instance of brilliant, rule-breaking mystery writing. A small prize (a blog shout-out) is offered to all who can name a recently published equal.
Posted on June 3, 2018, in books, Heidi Wilson, location, Plots, reviews, Structure, Uncategorized, writing and tagged Dead Water, Detection Club, Light Thickens, mystery rules, mystery writing, Ngaio Marsh, prologues. Bookmark the permalink. 5 Comments.