Books: Poet’s Mystery

THE BEAST MUST DIE—Nicholas Blake —Harper ($2).

Five years ago, attentive U. S. watchers of British literary skies noted the appearance of young Cecil Day Lewis in a constellation of Oxford poets whose brightest star was Wystan Hugh Auden. Few watchers knew, however, that in addition to writing leftish lyrics, Poet Lewis also wrote detective stories under the name of Nicholas Blake—well-plotted affairs such as There’s Trouble Brewing and A Question of Proof. This week, his latest murder mystery appeared with both his name and pseudonym on the jacket. This may have been self-protection, for The Beast Must Die revolves around a writer of mystery stories whose carefully guarded pseudonym gets him into no end of trouble.

In England, many a highbrow writer turns out mystery stories as a side line. Example: Economist George Douglas Howard Cole, who has collaborated with his wife on a successful half dozen. Poet Lewis’ mysteries, however, are noteworthy because he meets professional mystery writers on their own ground with only an occasional literary elegance to reveal its author’s other talents.

The Beast Must Die tells the story of Mysterymaker Frank Cairnes, known to thousands under his pseudonym but to few by his real name, after his son is killed by a hit-&-run driver. Slipping into his ready-made disguise, Cairnes set out to avenge his son, soon finds himself involved in a conventional dilemma—one of seven suspects in a murder case, all with unsatisfactory accounts of their actions at the time of the killing. The mystery is literary because its solution depends largely on a critical analysis of a piece of writing: a sensitive detective finds revealing insincerity in a piece of prose which might well get by a professional critic. With this tour de force, Author Lewis hurries his story to a conclusion as surprising as the fact that a poet wrote it.

From twelve average-and-better mystery stories last month, the following stood out. In order of merit:

THE WALL—Mary Roberts Rinehart—Farrar & Rinehart ($2). Mrs. Rinehart with her usual smooth craftsmanship and deft handling of a large cast tells how the indiscretions of a beautiful divorcee lead to three murders in a New England summer colony. Rivals may turn out more striking stories, but the suspense and atmosphere of The Wall make it the safest bet of the month for readers who want mysteries of general rather than specialized interest.

MIDNIGHT SAILING — Lawrence G. Blochman—Harcourt, Brace ($2). (Published serially in Cottier’s as Sunset Voyage.) Swift skulduggery on a Japanese freighter; several murders, spies, missing military plans, a blackmailer, runaway heiress and smart newspaper man. Better than average.

THE CUT DIRECT — Alice Tilton—Norton ($2). Complications, amusing rather than terrifying, beginning in a small town near Boston when someone tries to run over Leonidas Witherall, ex-professor and amateur sleuth who looks like Shakespeare. Good midsummer reading.

MURDER AT MANEUVERS — Royce Howes—Crime Club ($2). The shooting of a Russian general during war games; a simple, likable sleuth; suspects who include army officers and operators of a nearby speakeasy.

PRELUDE FOR WAR—Leslie Charteris—Crime Club ($2). Characteristic Charteris story in which Simon Templar, the reckless Robin Hood of crime, outwits munitions manufacturers and thwarts a fascist revolution in France—fast-moving, but with the Saint less amusing than in his earlier adventures.

NIGHT ON THE PATHWAY—Charlotte Murray Russell—Crime Club ($2). Murders on a Midwest estate; suspicious neighbors involved in a family feud; and a corpulent, old-maid detective, Jane Amanda Edwards.

DEATH FROM A TOP HAT — Clayton Rawson—Putnam ($2). Two murders in locked rooms in one day; both victims and all suspects expert magicians; the solution by an expert, retired conjurer. Ingenious plot, amiable spoofing of detective-story formulas, alight story weakened by overlong discussions of parlor tricks.