Category: Mitchell Mystery Reading Group

Where Hath January Gone?

1/28/2019

In my line of work, the exciting world of college teaching and advising, I've found that January and August are always brutally busy months. It's hard to accomplish anything that isn't directly tied to immediate academic goals, and this January was no different. Actually, it was a little different, in that there were many more early morning and late evening responsibilities that added up to long nights on campuses and very tiring workdays. Add to that this weekend's high-temperature fever and chills (very likely the result of all of those long workdays) and perhaps it's not surprising that I haven't been able to post any new book reviews.

So, pushing January behind me, I look forward to the promise of February, usually considered a cold and cruel month, but I will see if I can corral my energies and regain my focus and add some new content. I still hope to write about my recent reading experiences with Ross MacDonald, Gregory McDonald (no relation), Nicholas Blake, and even an early novel by Vladimir Nabokov. With all my spare time, I am also auditing a Survey of Science Fiction course, pushing myself to learn more about a genre that is notoriously hit-or-miss with me. So I may also share some thoughts on sci-fi and its strengths and weaknesses.

In the next four weeks, I plan to announce the next Mrs. Bradley title chosen for the Mitchell Mystery Reading Group. The everyone-is-welcome reading event will likely begin somewhere around mid-March, so stay tuned.

And to those friends of whom I still owe an email or two, I haven't forgotten about you! It's just that it's... January. For a few more days at least.

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The Last of 2018 - and Looking Ahead from Here

12/31/2018

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Do I dare define 2018 in one word? If I were to be so bold, that word would probably be busy. Not chaotic, really, or exhausting – although it was a little of that – but just plain-and-simple busy would work best. It was this year that I moved from multiple adjunct teaching jobs to one full-time, office-hours academic advising job, which meant less grading but far more paperwork and student appointments. And I still teach an online class here and there, which further takes time away from personal projects.

Nevertheless, 2018 proved a very good year for writing, with three stories published (and/or e-published) and available to all. My new tale "The Last Ferry", which I wrote in February, appears in Landfall: The Best New England Crime Stories of 2018 from Level Best Books. And I was delighted to learn that "The Widow Cleans House", my first published short story in Alfred Hitchcock's Mystery Magazine, was chosen for reprint in the anthology Terror at the Crossroads, released in October by Penny Publications/Eris Press.

Also débuting this year was my first long-form effort, and my first LGBTQ romantic comedy to boot. Knights Erring, available from Less Than Three Press, follows three friends who bet each other that they can't uphold the tenets of chivalry (including poverty, chastity, and obedience) for two weeks. The story made it through multiple drafts and grew considerably, and I'm very happy with the current version.

My Reading List – an annual compulsion that I started in 2005 when I decided to note every book, script, or story collection I finished from that point forward – tells me that I read 64 titles this year, which is less than in previous years, but still surprising given the sheer busyness of 2018. (See Paragraph One.) I would note the following items as standouts:

Beartown (2016) – Fredrik Backman's unsentimental exploration of a small northern town that lives - and almost destroys itself - for its high school hockey team
The Moving Target (1949) – Ross MacDonald's first Lew Archer mystery
Exit, Pursued by a Bear (2012) – Lauren Gunderson's darkly comic play about a woman taking revenge on her abusive husband
The Teapot Dome Scandal: How Big Oil Bought the Harding White House (2008) by Laton McCartney – why would this story of a corrupt president and a Republican congress trying to hide and bury illegal dealings seem familiar?

Honorable mentions go to Bodies from the Library (2018), a fun collection of lesser-known stories by famous classic mystery authors edited by Tony Medawar, and Gregory McDonald's buoyant sequel Confess, Fletch (1976), which is twistier and more satisfying than his solid earlier effort.

And it was great to return to a book by Gladys Mitchell. I haven't spent much time in her company lately, so I made the excuse to remedy that by launching the Mitchell Mystery Reading Group. I spent a wonderful (and busy) November discussing and dissecting the 1929 Mrs. Bradley whodunit farce The Mystery of a Butcher's Shop. I loved all of the topics and conversational roads that I likely would never have traveled if I had revisited the book on my own, and I am looking forward to the next group reading event, probably in March or April of 2019. I'll choose a 1930s title and announce it the month before; I already have some suggestions from fans, and there are a lot of solid tales to choose from in that decade!

Finally, I will end by offering a version of the familiar New Year's Resolutions. In addition to hosting another Mitchell Mystery Reading Group event (two if I can manage it), 2019 will be the year I finally submit an entry for the Black Orchid Novella writing contest, sponsored by the Rex Stout appreciation club The Wolfe Pack. Before that, I should deliver a completed Act Two (currently in progress) for a stage comedy that I'm writing for a regional theater company. I'd like to also push myself to complete two new crime-themed short stories next year. And I want to keep my eyes open for new writing and contest opportunities, something that I don't always look for as rigorously as I should.

I hope everyone has a 2019 that rivals, nay exceeds, the success and joy that 2018 (hopefully) provided. And if your 2018 was less than you wanted it to be, you have every reason to be optimistic as we flip the calendar and turn the page together!

Peace and best wishes,
Jason Half

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MITCHELL MYSTERY READING GROUP - Butcher's Shop Post #5

12/2/2018

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Apologies for the lateness of this final entry in the Mitchell Mystery Reading Group for 1929's The Mystery of a Butcher's Shop. Time has not been readily available this week. But it's here, and I also apologize in advance to contributors if I leave some of your comments about the murderer's reveal and the final-chapter twist on the chopping block. I have debated how to approach discussion of this part of the whodunit, and have decided to leave the 'who' ultimately unnamed for those who haven't read the book yet.

ON (Protracted) DISCUSSION AND DETECTION

It's very interesting to hear how readers interpreted Gladys Mitchell's switch from Butcher Shop's earlier busy plotting to Mrs. Bradley's conversational speculating, notably in Chapter 20's "The Story of a Crime". The consensus is that all that after-the-fact discussion doesn't help tempo or tone. Kate from crossexaminingcrime reports that she "rapidly lost interest in the book in its final third… There was a lack of new information and the narrative revolved around protracted discussion, which went over familiar ground."

Martyn Hobbs expands on this tactical change: "The comic theatrical energy of the previous acts somehow dissipates to be replaced by the static theatre of conversation. The sad surprise of these last chapters (and it is interesting how the novel falls into the neat divisions we have followed in this reading group) is their uniformity of style and tone. As the endless scenarios are rehearsed of that fateful night and the subsequent dismembering of the unfortunate Rupert, my interest at least flagged."

Personally, I can certainly see how the gear-change from action to theorizing can feel like an unwanted change of pace, especially here: farce doesn't usually give over its final climactic minutes to ruminative conversation. But it's part of what the puzzle mystery convention calls for, or at least encourages. Of course, Agatha Christie was expert at this expository high point, with Poirot going around the room of suspects and cancelling each out until he arrives at the one who done it. Here, Mrs. Bradley isn't really confronting suspects but vocalizing her thoughts to those caught up in the crime. It's not the "j'accuse" moment but rather another set-piece where Mrs. B gets to speak and act in ways that will endear or unsettle her audience. But it's also a necessary element, where the reader gains access to the eccentric detective's thinking process.

ON THE NOTEBOOK

One of my favorite invitations to see events through the elderly detective's birdlike eyes occurs when Gladys Mitchell dedicates a chapter to the contents of "Mrs. Bradley's Note-book," as happens here in Chapter 23. Writes Martyn, "Mrs Bradley's Note-book came as a relief, displacing the talk, while her revelation of [the murderer in the final chapter] was a pleasant surprise."

J.F. Norris of Pretty Sinister Books comments, "We are given a chance to peek into the pages of her notebook, a regular feature of the Mitchell mysteries in her early years, but soon dispensed with after Death at the Opera, I think. Here she outlines and stresses the odd incidents and seemingly random nature of the various mysteries as well as cleverly throwing several red herrings into the batch."

The Note-book entry also contains a hand-drawn map (likely created by GM herself) to help readers understand how sight-lines might obscure a headless body behind the Stone of Sacrifice for some of the woodland visitors, and to make general sense of that very busy evening.

ON MRS. BRADLEY ONCE MORE

PERSONA

Readers cannot escape the spirited, opinionated personality of Gladys Mitchell's memorable detective, although fortunately we are not physically near enough to receive a bony-fingered poke in the ribs. Contributors continue to talk about Mrs. Bradley's extreme appearance, her unorthodox approach to morality and justice, and her (and her creator's) affinity for young people.

Mystery writer Catherine Dilts, who has encountered Mrs. Bradley for the first time with this book, observes: "I have been disturbed by the awful physical descriptions of the amateur sleuth. In Chapter 24, even she describes herself in unfavorable terms. She gazes at herself in a mirror, observing 'her unpleasing reflection.' Mrs. Bradley has a grin described as hideous, a hand that is 'a yellow claw', an expression at one point like a 'cruel beast of prey', she peers 'hideously', and her most flattering physical description is [of being] birdlike. I kept wondering why Mitchell would treat her main character so harshly, until it finally struck me. The Mystery of a Butcher’s Shop is described as a send-up of Agatha Christie’s Miss Marple series. I suggest that Mrs. Bradley also mirrors classic British heroines such as the homely Jane Eyre and Jane Austen’s numerous plain heroines. Mitchell just kicks it up several notches."

There is no doubt that Butcher's Shop is meant as a parody of the tropes of popular detective fiction, which was in its British hey-day in 1929 and would burn brightly for another decade or more. (Agatha Christie would debut her unassuming octogenarian detective Jane Marple in The Murder in the Vicarage one year later, in 1930, but Catherine's comment holds true, as amateur sleuths are supposed to be charming and identifiable, not screeching and off-putting.)

PERSPECTIVE

I want to tread lightly here, as the psycho-analyst's unconventional view of the world – specifically regarding morality and justice – is closely tied to her decision of how to deal with the guilty party at the end of the book. Trying to minimize spoilers, I can report the following comments from readers.
Kate and others note this striking line of Mrs. Bradley dialogue, from Chapter 19:

'That is the worst of a crime like murder. One’s sympathies are so often with the murderer. One can see so many reasons why the murdered person was – well, murdered. The chief fault I have to find with most murderers is that they lack a sense of humour.'

Kate continues, "You often finish a Mitchell novel wondering whether Mrs. Bradley has done the right thing or not. In terms of the culprit, I think there is too much of a character reversal" [from what is known to the reader].

Catherine also refers to the quote above. 'That is the worst of a crime like murder. One’s sympathies are so often with the murderer.' With this remarkable statement, Mrs. Bradley illustrates what is a common theme in cozy murder mysteries to this day. The victim is often a person who was such a wretch, he or she deserved to die. The point of finding the killer is often to clear an innocent suspect accused by the police."

Speaking of wretches, I agree with Kate's observation that "we never really got to know our victim. There are odd snippets of information which suggest he was a 'bounder', but overall we never get a real sense of him. The fact he is already dead before the book begins may have something to do with it. All our information on him is secondhand and even then he is very rapidly forgotten about by characters, despite his death being the point of the investigation." It's an astute criticism, and one that other authors and Golden Age Detection puzzles sometimes fall victim to: the deceased is so generically awful or underdeveloped that there is little to anchor the characters to their particular tragedy, and that is what I feel happens with the vaguely villainous Rupert Sethleigh. It is a victim used as a literal plot device.

Joyka calls Butcher Shop's final chapters "one of Mrs. Bradley’s neater solutions. She keeps stressing the tidiness of the murderer and the tidiness of [one specific character] but no one seems to put it together but her. Even though I have read this book before, I still had to search for all the clues right up to the end. And as usual, no one is hanged; there is a gentle final solution for all. But what in the world are a cellular vest and trunk drawers?"

PANTS

And as the subject has been introduced, allow me to share J.F. Norris's frustration – and eventual reconciliation – with the Clue of the Omnipresent Trousers:

The surprisingly versatile British gray flannel trousers.

"It was those damn gray flannel pants! Curse the gray flannel pants! I completely agree with Mrs. Bradley when she says of them, 'If I had my way, gray flannel trousers should be taxed, together with dogs, automobiles, wireless receiving sets, incomes and the color curiously termed beige.' Every mention of those pants which nearly every man in the cast was wearing at one point drove me to distraction while reading this book. They rear their ugly head one more time on the penultimate page and prove to be one of the most vital clues in solving the mystery of who killed Rupert Sethleigh. Actually, not just the pants but all of the victim’s bloodied clothes and how they were transported out of the woods and how they ended up in Lulu’s laundry basket. I might have known something so annoying and trivial would be crucial in the final chapter. That’s a game point to Mitchell for this book and a whipping with a switch for me for not recognizing her trademark in clueing."

PEOPLE (the Young Ones)

Joyka returns to the topic of Gladys Mitchell's apparent fondness for her school-aged and young adult men and women characters with these comments: "One thing that has endeared Mrs. Bradley (and thus GM) to me is her treatment of children and adolescents. In an age where children were often shunted aside, ignored or diminished by authors, Gladys Mitchell allows them to contribute and even collaborate. In this book, there have been small scenes with Aubrey and/or Felicity throughout. In Chapter 17, Aubrey allows himself to be drug through the bushes, disrobed and pummeled all in the name of recreating the crime. From then on, he becomes her main confidant even to the point of seeming to forget he is fifteen and three quarters. In Chapter 19, she is discussing the motives of the case with him. Aubrey is not only soaking it up, he’s taking notes!"

Even an affinity for her younger characters doesn't mean that they will necessarily stay in the spotlight, however. From Martyn: "Another slight disappointment was the fading out of Felicity, who had been such a fresh attractive presence, after she took offence at Mrs. Bradley's fanciful speculations as to the guilt of her father." Martyn is buoyed by the naming of another Butcher's Shop character, though! "Cleaver Wright. Nobody seems to mention how apt a name that might [be] for the Butcher of Rupert…"

FINAL THOUGHTS

J.F. Norris – "[Gladys Mitchell] threw an eleventh hour twist into the works, a twist that seems a nod to her colleague Agatha Christie who loved that sort of reveal... [I can't quote more without giving away the murderer's identity! – JH] Overall, this book is a fun entry in the series but I prefer her later books (the late '40s through the mid '60s) in which the plots are less full of hi-jinks and Wodehousian nonsense and are more contained and cohesive."

Catherine Dilts – "The Mystery of a Butcher’s Shop is a fun read, with zany action scenes, distinct characters, and an ending that surprised me not because of whodunit, but because of Mrs. Bradley’s philosophical reaction to the conclusion of her investigation. In the end, I like Mrs. Bradley. Who couldn’t like a woman who is 'bored to death by mere limbs and joints'?"

And Nick Fuller, whose site The Grandest Game in the World is a treasure trove of contemporarily-published GAD mystery fiction reviews, shares these notes:

"The book was extremely well received. 'There is a briskness, a compactness, about her narrative style which, combined with a masterly trick of suspense, carries the reader along triumphantly, and definitely places Miss Mitchell among the first half-dozen writers of this kind of book', Beatrice Kean Seymour wrote in Woman's Journal.

"Several newspapers praised the book's humour. Outlook's W.R. Brooks called it 'irresistibly amusing, and a good detective story of the English country house school'. In the States, Will Cuppy said 'Miss Mitchell has done a neat job, suitable for persons who can do with some farcical proceedings while they are pondering upon the dismembered corpse', and the Springfield Republican noted that 'the story is written in a light vein, and the author pokes fun impartially at all her characters'."

Thank you very much to those who contributed to the reading group, and to those who stopped by to read the ongoing discussion! This was a very enjoyable project – time-consuming but enjoyable, and I hope to do it again in 2019. If you have a Gladys Mitchell title you'd like to suggest for the next Mitchell Mystery Reading Group event, comment below or drop me an email. As of now, I'm leaning towards moving sequentially by decades through the Mrs. Bradley series, which means my next book will likely be a title first published the 1930s.

Until then, happy reading! (And visit this site for more GAD and contemporary mystery reviews – books by Michael Innes, Gregory McDonald, Ross MacDonald, and Nicholas Blake should be represented soon.)

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MITCHELL MYSTERY READING GROUP - Butcher's Shop Post #4

11/22/2018

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Welcome back to the Mitchell Mystery Reading Group and our continuing discussion of 1929's The Mystery of a Butcher's Shop. This week, we focus on Chapters 13 to 18, a busy section wherein Mrs. Bradley reconstructs the crime, interviews all and sundry, and gets an arrow shot at her head by a man dressed in full Robin Hood costume (to which, characteristically, she reacts after the fact by "hooting joyously").

ON DIALECT AND LOCAL COLOUR

There was one topic that every contributor mentioned in his or her comments: Gladys Mitchell's effective presentation of regional dialect when relating the speech of local characters. This is an element that appears throughout Mitchell's books, and it adds a great flavor to the stories, both in its definition of who those characters are (such as their education and class status) and as a colorful way to let these people tell their tale in their own words. It's interesting to remember that, in Mitchell's hands, Mrs. Bradley's speech never strays from the King's English; if she employs an idiom, she will almost always qualify it, drawing attention to the turn of phrase.

With her supporting characters, such as those who live in rural, rustic settings (such as the Ditches of Dead Men's Morris [1936]) or the proletariat working-class (like The Moon-Rocket Kid of 1970's Gory Dew or the landlord of the "Queen's Head" bar in Butcher's Shop), the author seems to delight in reproducing the syntax and sounds of these people on the page. Doing so often makes the reading and the dialogue come alive for the readers.

Mark Philpott observes that "Gladys Mitchell uses accents sparingly to give us necessary flavor of local dialogue. The scene where Mrs. Bradley is pumping the barman about the fight that occurred between Galloway and Wright does not overtax our patience as 21st-century readers in the way Ngaio Marsh can sometimes do. The fight description is brief and to the point. Mitchell moves on with her story, taking the reader with her."

J.F. Norris credits GM with "a finely tuned ear for vernacular, the rhythms, the speech patterns and slang… In these six chapters we get two excellent examples of regional speech in the telling of the bar fight when Mrs. Bradley interviews the owner of the pub and… [later when] Lulu talks about her problems with George’s jealous nature and his suspicions of her carrying on with another man. Both speeches are like the work of a playwright. It’s rare to find this kind of dialectical work that is both exemplary of real speech as well as revealing character. This is one skill that Mitchell carried off extremely well throughout her career. In fact, I think her ear only got better with the variety of regional dialects she managed to pull off. North Country, Scottish, Yorkshire and Welsh all come to mind in the books I’ve read over the years."

Perhaps one of the satisfactions for the reader of these dialect passages reflects the point that they are often colloquial and evocative, painting a vivid and amusing verbal picture such as a writer for the stage might do through finely observed character dialogue. For example, the "Queen's Head" landlord, in describing the impromptu bar fight, uses boxing terms to make the telling of it immediate and alive:

"It wasn't too bad, mum, for about a round and a 'arf. Mr. Wright was nicely inside 'imself, and looked to me to 'ave the style and the science in 'itting. But at the end of Round Two 'e lets Galloway put 'im to the ropes—which is to say this 'ere counter—with a nasty left 'ook, and only the call of time saved 'im from punishment."

Martyn Hobbs describes the dialogue here as "Pinteresque", further connecting the idea of prose and stage writing. I will note that the landlord's re-creation here is also intriguing because the detective and the reader are trying to decide whether Wright deliberately provoked a fight in order to provide an excuse for blood on his clothing; therefore, the witness's description that Wright "let Galloway put 'im to the ropes" may be significant even while it is metaphorical.

Catherine Dilts writes that she "didn’t feel Mitchell’s continual, lengthy reproduction of regional accents mocked the 'lower classes' but saw it as an affectionate appreciation for dialect." I would agree, and would note that the characters who use dialects throughout the Mrs. Bradley series of books are often sympathetic, lively, and content with and quietly proud of their lifestyles. Gladys Mitchell, a career schoolteacher, demonstrates a fondness for the working individuals who are not in the same social orbit of her moneyed, professionally-set detective.

My interpretation coincides with Joyka's: "When her characters start talking, they just leap off the pages for me. He or she may be routed for other reasons but never because they have less education or less money than 'their betters'." She notes that the language in Gladys Mitchell's books brings great enjoyment: "It is rich without being overwhelming, serious without lecturing. There are obvious cultural expressions we would not use today but their use is part of the story, not added for unnecessary effect."

ON STAGE MANAGING AND SPECTACLE

From Martyn Hobbs: "No one can rival Mrs Bradley in her dominance of the stage, both as protagonist and, as she says herself, 'stage manager'. She pops up all over the place like some devilish sprite or flibbertigibbet. She is a grotesque chimera, only human in parts. She is ghoulish, tigerish, saurian. Even her outer vestments are clashing and ill-matching (a rainbow-coloured jumper with checked tweeds) or simply ghastly (a hideous magenta silk dress and ludicrous black hat). She is a shapeshifter, a play-actor, sometimes appearing as a 'poor old thing... harmless... a case for a mental home', beaming with a smile of 'futile senility'; at others she is leering, smirking, with the smile of a 'Chinese executioner' or Cheshire Cat; and a past mistress of the fake coughing fit! Mrs Bradley (and GM) take pleasure in all these grotesque manifestations."

Martyn goes on to note that, at times, the author also imbues her predatory and monstrous protagonist with a more human, accessible side that creates an intriguing paradox. Is she a dangerous beast or a benign, even maternal presence? The answer, I presume, depends on the guilt or innocence of the person trying to calculate her personality. Kate writes that Chapter 17 "does reveal a small, softer, more domestic side to Mrs Bradley when she shows concern over Aubrey's flannels, which got ruined in the reconstruction of the crime. Normally, 'great detectives' do not notice such piffling matters, or if they do they don't feel there is any need on their part to do something about it."

Kate continues with this smart observation: "You may be thinking that if Mrs Bradley had been reading this book about herself, her self-esteem may have been knocked to smithereens. Yet interestingly we see her not only unbothered by criticisms and insults, but that she actually derives pleasure from identifying negative feelings towards her in others":

He disliked and mistrusted Mrs Bradley to a singularly flattering extent (at least, she thought his attitude flattering, for she had a habit of taking anybody's dislike of her person and character as a compliment of the highest order!).

Let's return to the idea of stage managing, something Mrs Bradley engages in literally here, using young Aubrey Harringay as a proxy for the missing-and-all-but-deceased-and-dismembered Rupert Sethleigh in a re-creation of the crime. J.F. found this moment – and Mrs B's motives – frustrating and unhelpful:

"In the overly detailed and entirely unnecessary dramatic re-enactment of the murder, using Aubrey rather cruelly as a stand-in for the victim, she starts to undress him roughly and we get this odd line: '…and with the deftness born of nursing experience in mental hospitals she turned him over and pulled the shirt off.' This entire scene strikes me as a sign of an innate sadism in Mrs Bradley (she also slapped Felicity earlier in the book) that crops up every now and then in the series. I was really bothered by it and didn’t really find it funny. I thought all the play-acting was ludicrous, frankly. She could easily have just told everyone her theories of what happened in the woods rather than humiliating Aubrey in the role of the victim. A weird sense of humor on Gladys's part here, I’d say. Of course the other way would probably be dry and boring and with the re-enactment we get all sorts of farcical action. But still I thought it just dumb."

I offer a friendly and well-intentioned rebuttal to J.F.'s comments (both of which I'm very grateful to include here, since subjectivity and debate are always to be embraced!). Personally, I had no problem with the re-enactment stylistically or narratively. It does feel in keeping with the on-and-off-the-stage activity established in the first two chapters, where the Druid Stone and clearing is the performance set and space and the circle of trees acts as backdrop or audience or both. (Catherine noticed this continuation of a stage motif also.) Mrs. B's treatment of Aubrey – who is more precocious than he need be – is merely a meeting of cheek for cheek, and like Felicity, Aubrey doesn’t feel at all victimized. On the contrary, Mitchell includes the limited-third-person lines, "Aubrey walked on, around the immense Stone. This was rather a rag."

And finally, the re-enactment does serve a purpose, in my opinion: it gives the reader insight on how the sequence of events may have occurred, and it tests the theory of when, if Sethleigh's body were at the spot where Jim Redsey left it, the ambulatory Aubrey would have first noticed it. And you're absolutely right about how the restaging allows for showing and not telling, which is essential in theatrical story presentation. Whether GM incorporates this information effectively into the plot's conclusion is perhaps another conversation!

ON FERDINAND AND PHYSIOLOGY

Mrs. Bradley's barrister son Ferdinand Lestrange was memorably introduced in the prior story Speedy Death, where he took on the task of defending his mother against a charge of murder. Reference to him in the sequel has made a couple readers take note. Joyka writes, "Ferdinand has not coalesced yet. In this book he seems to be a different man [than in Speedy Death]. Cleaver Wright is trying to figure out Mrs. Bradley… He thinks her wrinkled yellow face is mild and sweet as a grandmother, and then this thought interrupts: "which owing to the extreme distaste displayed by her only son for the whole female sex, she certainly was not!” What?? I have to say these inconsistencies in the Mrs. B books delight me more than annoy me."

In Butcher's Shop, there is also the singular appearance of the strange Savile, clad in various garments and, at one point, oiled and wearing a loincloth. Martyn brings back Ferdinand for an analysis of character attraction: "We are clearly told that Mrs Bradley can delight in Savile's perfect musculature development and his 'beautiful creamy skin'. However, perhaps there are also hints at other types of sexual interest. We learn that her son, Ferdinand, displays 'an extreme distaste...for the whole female sex'. We don't know how he considers the male variety. And there is this beautiful, quiet observation in Chapter 16. Conducting her investigations, Mrs Bradley asks Felicity to remember the movements of the suitcase. There follows this short intimate paragraph":

Felicity's grey eyes, lovely in their sweet seriousness, gazed unseeingly into the blue haze of the July morning. She had seated herself on the broad step which led into the garden and her hands were clasped round her knees. Mrs Bradley, looking at her, sighed inaudibly.

Continues Martyn, "That silent sigh seems to me the closest one gets to Mrs Bradley in this novel, and possibly even to Gladys Mitchell herself."

FINAL THOUGHTS (on Chapters 13 to 18)

Despite a dissatisfying crime scene re-creation, J.F. found these chapters to deliver on genre expectations: "The detective story elements are finely tuned in this section and the reader is truly engaged in the multiple mysteries. The game is on at this point."

Kate, referring specifically to Chapter 16: "Mrs Bradley is definitely not really working with the police, who in fact are not hugely grateful for her information. Interestingly, there are times where the police are actually farther ahead in some of the evidence than Mrs Bradley is. Yet this distance between the police and Mrs Bradley does slacken the pace of the novel and give the investigation less direction, as Mrs Bradley is not great at showing what she has in mind."

And I will echo Kate's comment that the inclusion of both the police investigation and the psycho-analyst's sometimes intuitive, enigmatic deductions can make the narrative feel meandering or unfocused, but the match between the amateur sleuth versus the conventional coppers to find a solution is a long-standing tradition of the murder mystery puzzle story. GM may have felt an obligation to use this structure here – or she may have been trying to gently parody it – but she soon abandoned the convention, preferring to use the police in most of her later novels mainly as vessels of information for Mrs. Bradley/Dame Beatrice whenever she would need them.

Next week, the reading group concludes with a (mostly spoiler-free) conversation about the final chapters of The Mystery of a Butcher's Shop. Comments are due via email to me by Monday, Nov. 26. Thanks to everyone who contributed so far!

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Where Hath January Gone?

The Last of 2018 - and Looking Ahead from Here

MITCHELL MYSTERY READING GROUP - Butcher's Shop Post #5

MITCHELL MYSTERY READING GROUP - Butcher's Shop Post #4

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