A Zebra Mystery Puzzler #14 - Death on the Late Show

Country singer Darby Castle, who appeared just two books prior when she solved the murder of her music promoter (Sing a Song of Murder), is back for her second and last appearance in the Zebra Mystery Puzzler series.  While the series is known for its recurring sleuths, I am surprised they brought one back so quickly after her first appearance - usually there are at least two or three books between appearances.  I guess at this late date we are likely to never know the reasons Zebra Books published the books in the order they did, but the obsessive-compulsive in me would have preferred if they had kept some semblance of order as the appearances of the sleuths!  Nevertheless, I do like the character of Darby Castle, so I am glad she at least got one more opportunity in the series to solve a murder...

 

Death on the Late Show takes Darby out of Tennessee and thrusts her into the hustle and bustle of New York City for three days of concert, as well as a number of interviews and one fateful appearance on a late night show.  "The Gordon Garrity Show" is hosted by a rather unlikable man who would rather insult his guests for ratings than actually treat them with respect.  Darby is not looking forward to her appearance, and upon arriving at the studio, she quickly learns the man has more than earned his reputation.  The firing of the make-up man leads to a staged walk-out of the show just before it goes on air, requiring some quick backtracking in order to keep the guests - including Darby (the country singer), Anthony Vickers (a Shakespearean actor), and David Kirk (an aquarist who caters to the wealthy).  Once on air, Garrity is surprisingly cordial to Darby and Vickers; however, when Kirk comes on to display his aquarium filled with a variety of fish, including some very deadly ones, Garrity turns hostile.  Well, of course, Garrity is encouraged to reach in to touch one of the fish, but he inadvertently gets stung by the deadly stonefish and within moments, he is dead - live on air!  Darby does not believe it was an accident, and she sets about proving that Garrity was murdered.  The only question is, who did it?

 

Jan Milella, writing under her pseudonym of Jan Michaels, gives readers an even faster-paced story than her previous entry in this series.  The story is only 138 pages, nearly 40-pages less than her prior book, so there is less time for build-up and investigation.  Darby has to move quickly if she is going to sift through the suspects and clues to reveal the killer's identity.  There is the make-up artist who was fired, an obvious suspect.  There is also the show's producer, who it turns out was already trying to find someone to replace Garrity on his own show.  There is Garrity's wife, who was having an affair, as well as the man with whom she was having the affair.  Then there is the aquarist who brought the dangerous fish to the show, as well as his assistant, who Darby leans has a criminal record he does not wish to be made known.  Finally, there is Garrity's second-hand on the show, who is up for the position of taking over the show if Garrity were to be out of the picture.  So many suspects with so many reasons to get rid of Garrity, Darby (and the reader!) definitely has her work cut out for her.

 

The mystery is well-written, and the murder itself is quite creative!  While the clues are a little bit obvious, making the killer not that much of a surprise, it is still a fun read to follow along with Darby as she works with New York City police lieutenant Peter Riley to catch a murderer.  It's funny how easily both the Tennessee police and now the New York City police allow Darby to tag along with them during the investigation, even allowing her to be a part of the interrogations.  This definitely reminds the reader just how fictitious the story really is (very reminiscent of how Nancy Drew always has cooperation from the police, no matter where she is).  At least Milella a/k/a Michaels does have Riley admit he spoke with Charlie Hanson, the police detective from Nashville from the prior case, who vouched for Darby (p. 61).  I suppose that does give some credence to Riley's willingness to accept help from Darby.  

Since this mystery is set in New York City, there are a number of references to actual streets, intersections, and locations, including the twin towers of the World Trade Center (p. 7).  That sort of stopped me for a moment, until I remembered this book was published back in 1978, more than twenty years prior to that horrific day when the towers fell.  There are also a couple of pop cultural references to Archie Bunker (p. 48) living in Queens, and Kojak (p. 60) with regard to the Midtown South precinct.  There is also a surprising reference to Joey Gallo (p. 81), known in real life as Joseph "Crazy Joe" Gallo, a mobster in New York about whom a movie titled Crazy Joe was made.  Interesting that the author tied in one of her characters to this mobster, who was shot and killed six years prior to the publication of this book.

 

Unlike the last Darby mystery, the artist for this book's cover is clearly identified as Bruce Emmett, whose signature appears on the bottom right hand corner of the cover.  Since this is a different artist, poor Darby looks completely different than she did on the cover of the previous book.  The only similarity is that on both covers, she is wearing a scarf around her neck (red on the first cover, blue on this one). The interior artist is also plainly not the same, as the art style is vastly different; however, as with most of this series, there is no credit given, and none of the black and white illustrations have a signature on them.  Not really sure which of the interior artists I prefer (this book or the last one), but I do wish Zebra / Kensington had maintained some level of consistency with the books.  Changing artists throughout the series would not be bad if they had simply put the same artists on the same author's books.  

 

Something that stands out about the interior illustrations - well, two of them, anyway - is that they were not inserted in the proper order.  On page 113, there is an illustration of someone holding a receipt for the purchase of a wall safe.  This confused me, as there was nothing at that point in the story that referred to such a scene.  At that point in the mystery, Darby and her manager are questioning Garrity's producer.  Well, in the next chapter, on page 122, there is an illustration that aptly fits that particular scene; and just one page prior, on page 121, is the moment where Darby's manager discovers the receipt for the safe.  Thus, it is obvious the two illustrations were somehow switched when the book was put together, and no one caught the error before it was published and sent out to stores!

 

I enjoyed both of Darby's appearances in this series, and it's a shame she only had these two books.  I suppose we can assume her singing career took off after the three sold out concerts in this book, and she simply did not have time to solve any more murders after this one (which, no doubt, made her manager / boyfriend a very happy man!).

 

RATING:  7 small capsules of tetracycline out of 10 for giving readers a completely new type of murder weapon and a rather ingenuous method of perpetrating the crime!

The Ninth Veronica Speedwell Mystery - A Grave Robbery

It's been almost a year since I read the last Veronica Speedwell mystery, but with all the books I've read in-between, it seems so much longer than that.  I really wish these books came out more often, as I gobble them up, and once I'm done reading one book, I am ready for the next - but find myself having to wait a whole year before I can get my next fix of Veronica and Stoker!  But, of course, each book is well worth the wait.  Deanna Raybourn is a master storyteller, and her way with characters brings them to life like few other authors can.  One readily feels like they know (and love!) Veronica, Stoker, and all of the supporting cast who come and go throughout the series, and so when each new book comes along, it is merely like reacquainting one's self with a friend who has just returned from a long trip and is ready to share their latest adventure...

 

A Grave Robbery, thankfully, finds Veronica and Stoker back in their familiar relationship, enjoying their usual fun banter, when their host brings them the most unusual oddity - a waxwork woman that he wants Stoker to install with mechanical workings to make it appear as if the was figure is breathing as she sleeps.  Stoker is all too ready to perform this task, especially since it is for the benefit of their benefactor's young daughter, Rose. There is only one problem - when they begin to study the female figure, they are shocked to learn she is not a waxwork at all, but, rather, an actual human being, perfectly preserved - and most definitely dead! So, this raises the questions - how did she die? how was she so perfectly preserved? who was she? And most importantly - who did this to her?  Thus, Veronica and Stoker are off on their next great adventure, to solve the mystery of the waxwork beauty!

 

Raybourn has crafted a wickedly good tale, full of unexpected twists that remind the reader that with these mysteries, one never quite knows what will happen next.  Lord Rosemorran insists that no police be involved, as he does not want a scandal surrounding his purchase of what he thought was a waxwork figure. Thus, Veronica and Stoker must resort to more private means of learning the truth about the poor woman they have come to refer to simply as "Beauty" (after the obvious similarity to the sleeping fairy tale character); which is a perfect opportunity for Raybourn to bring back the oddities of Professor Pygopagus' Travelling Curiosity Show (after all, who else better to ask about the strange nature of waxwork figures than those odd individuals who made up the circus of which Stoker used to be a member!), as well as the beloved J.J. Butterworth, the lady reporter who was one of the few people in the world to know the truth of Veronica's heritage, and Detective Inspector Moraday, a member of the Special Branch of Scotland Yard who Veronica knows can be trusted despite his affiliation with the law. Besides, J.J. and Moraday's irritation with Veronica and Stoker's adventures is too much for Veronica to resist...

    Mornaday covered his face with his hands while J.J. gave me a level look.  "I swear before the almighty god, Veronica, if this is another of your ridiculous and outlandish investigations-" she began.

    "Oh, nothing like that," I put in hastily. "It is just that we seem to have acquired a body."

    Mornaday peeped through his fingers, clearly intrigued in spite of himself.  "A body?"

    "Whose body?" J.J. demanded.

    "That is what we were hoping you could help us discover," Stoker said.

    "But how?" J.J. asked.  "How does one simply acquire a body?"

    "Ours was purchased at an auction," I told her.

    Mornaday groaned again, and Stoker passed him the decanter as I rose.

    "Come along," I said briskly.  "Let us introduce you to the Beauty." (p. 98).

 And if that doesn't whet your appetite for this fun little mystery, I don't know what will!  Raybourn has a way with her characters and dialogue that bring them to life in such a way that you can't help but love each and every one of them.  They are all quirky in their own way, and it makes for a much more enjoyable read to have characters that are real, flawed, and come to life on each and every page.

 

The story takes a rather dark turn, as it involves scientific experiments that border on the fantastical fiction side of things, along the likes of Dr. Frankenstein himself.  Our intrepid investigators learn that one Julius Elyot was researching the ability to bring the dead back to life, with the help of his sister, Eliza, and the wealthy Lord Ambrose.  Unfortunately, Julius Elyot died fifteen years prior in a fire, and Eliza Elyot, despite her affinity for scientific endeavors, has never fully recovered from the death of her twin.  Lord Ambrose Despard, on the other hand, is more than willing to welcome Veronica and Stoker into his home, to show off his myriad of collections, including that of waxwork figures known as Anatomical Venuses, which, it turns out, were actual, life-sized wax figures of women used by universities as teaching aids to their medical students back in the late 18th Century and well into the 19th Century (Anatomical Venuses), showing Raybourn did her research when weaving this into her story.  Of course, Lord Ambrose clams up when Veronica and Stoker begin to question him a bit more, starting them on the path to uncovering the truth behind the Beauty and the madness that led to her creation!

 

Perhaps one of the most amusing scenes in the entire book (which does, incidentally, play a very important part in answering several questions about the mystery!) is when Veronica and Stoker attend a "tableaux vivant" at the Curiosity Club for Woman, in order to have an opportunity to meet Eliza Elyot and her companion, Undine Trevelyan (as Stoker so eloquently asks, "Why do they all have such unfortunate names? First Parthenope Fleet.  Now Undine Trevelyan.  Why do we never meet a Mary Smith?  I should like, just once, to meet a Mary Smith" [p. 168]).  Although "attend" is not really the proper word - "participate" is more appropriate, since the only way Veronica could get her and Stoker into the event was to agree to pose as one of the living portraits ("tableausx vivant" does mean "living picture" after all, and this type of performance art is a real thing, as well).  With Stoker dressed only in a loincloth and Veronica in a flowing silk gown of blue pose as Samson and Delilah, based upon a painting by a Basque artist named Echena (p. 174) - who just so happens to be a real artist by the name of Jose Ignacio Luis Echenagusia Errazquin (Jose Echena).  The reactions of the patrons, as well as what happens next when Veronica and Stoker attempt to meet up with Elyot and Trevelyan (while still in costume, mind you) will have you smiling, chuckling, and ultimately cheering!

 

I do sincerely hope that one of the new characters introduced in this story, Wilfred Plumtree, makes a return appearance at some point in the future.  He was fun and, like of the rest of them, quite quirky enough to fit in with the rest!

 

Raybourn will keep you guessing, bouncing back and forth between suspects, but there are a few subtle hints dropped along the way that will lead you to the right culprit if you really pay attention (although, to be honest, they did lead me to wrong person first, until a person thought dead is found to be alive, at which point, I realized what was really going on!).  This is another truly captivating story that will leaving you wanting for more by the end - and there had better be more adventures of Veronica and Stoker, because that last page has left me wondering if A Grave Robbery is the end of the rails for our dynamic duo! Please say it isn't so!!

 

RATING:  10  awls out of 10 for an inspired mystery of stolen corpses, horrific experiments, deadly weapons, and one exuberant little golden lion tamarin with a deep affection for Stoker!

Harlequin Gothic Romance Series No. 32006 - Double Masquerade

"She was unaware of the bizarre web of deceit being spun around he - until it made her its target..." (cover blurb)

 

This is the second of the two Harlequin Gothic Romance novels written by Dulcie Hollyoak, the other being published just two books prior to this one (An Innocent Madness).  Hollyoak is the first author in this series to have two books published in it (although there are other authors who have more than one book in the series - Hollyoak is simply the first).  As with the first book, this one is set in Ireland during the 19th Century, during the great potato famine that occurred between 1845 and 1852, which resulted in mass starvation, disease and emigration in the country.  As with Hollyock's prior entry into this series, the story is dark, and the young lady in distress faces some what appears to be inescapable circumstances!

 

Double Masquerade (the title made me think of the Nancy Drew mystery, The Twin Dilemma) is the story of Hannah McCabe, an adopted peasant on the Irish countryside during the harsh conditions of the potato famine in the year of of our Lord, 1848.  Hannah's adoptive father has died, and her mother is being evicted from their home.  Hannah assumes she will go with her mother, Anna, and her two adopted sisters; however, fate has other plans.  It seems Anna has willingly given Hannah to be returned to the Big House, Balaleigh, where she was born to a lady's maid to the countess who resided therein.  The house is run by Mr. Scott-Ryan and his wife, Mrs. Scott-Ryan, with the overly stern housekeeper, Mrs. Rundle, and her nosy maid, Katie.  The countess, who will 103 this particular year, only returns to Balaleigh on special occasions.   Hannah is uncertain why she was brought back to the great house, and no one will tell her - but one thing is crystal clear - no one wants her there, and everyone things she is up to some devious trickery.

 

Poor Hannah is a lot like Victoria Winters was during her tenure on Dark Shadows - completely clueless as to what is going on around her, and sadly naive enough to believe the things she is told. Hannah even has the same dark hair as Victoria, and the disclosure of her ultimate true identity bears a striking similarity to the revelation that would have occurred with Victoria had she remained on the show.  But in the early part of the book, Hannah is filled with questions that remain unanswered and succumbs to the fact that she has no other choice but to do as she is told in a household of people who appear to resent her.  Well, not everyone does.  There is Richard Ralston, a man whose position in the house is unclear, but to whom, Hannah finds herself becoming attracted, even if only because he treats her with some small level of respect.  It does not take long, however, for the terror to begin.

 

Hannah gets tricked into being locked in a dungeon, only to escape with the help of a wild-haired old man that she thinks may be a ghost! She is nearly crushed by a rock that comes crashing down from the high wall of one of the turrets (p. 39).  This seems to be a common trope in these gothic novels, as I can recall several books other than this one where someone pushes a rock, a gargoyle, or some other heavy object from a high wall in an effort to do away with the young ingenue.  She is sexually assaulted (but thankfully not raped!), and she is tricked several times into wearing clothes that belonged to the master's dead wife or going into places where she has been warned never to go.  Ultimately, she learns the truth behind the countess' longevity and Mr. Scott-Ryan's plans for her, which all lead to her being locked up like Rapunzel in the high tower room with no hope for rescue.  And even after all this, Hollyock is not content to give her a reprieve, for when she does find a way of escape, Hannah is tricked a final time, where she finds herself trapped in a workhouse with other orphan girls, all of whom will be shipped off to Australia to become servants to the upper class living there!  Does the poor girl have any chance at a future?  Well, this is a typical gothic, so what do you think?

 

Hollyock keeps the story set entirely in Ireland, and in particular, the slowly dying area around Balaleigh. While no such house exists (that I was able to find), there is a townland in Ireland called Balally in County Dublin.  There is also the Thoor Ballylee Castle near the town of Gort in County Galway, Ireland.  Thus, Hollyock may have taken her name from either of these Irish settings.  However, Hollyock does make several mentions of Australia in the story, as Richard Ralston is establishing a life for himself there and intends to take his new bride (will it be Lady Caroline or Hannah?) to live there as well.  Yet, Hannah seems to have no knowledge of Australia, and Richard must tell her about the koalas and kangaroos and the fight for survival there.  Some research reveals that Hollyock based her workhouse girls on historical facts, as it seems more than 4,000 young female orphans from Irish workhouses were deported to the Australian colonies during the years of the potato famine to be sold as household servants for the wealthy.  As for Hannah's lack of knowledge of Australia, that is somewhat odd to me, since the research shows that Irish were going to Australia as early as the late 18th Century; however, in the early years, a large portion of those transported were convicted criminals - free settlers did not really start emigrating there until the 1840s when the famine began.

 

Another factual reference in her story is Hannah's reading of the serial, "Vanity Fair," in Punch (p. 60). As it turns out, Punch was a weekly British magazine which began publication in 1841, just seven years prior to the setting of this story.  The story, "Vanity Fair," written by William Makepeace Thackeray, was a 19-episode serial published from 1847 to 1848 in Punch, and therefore, when Hannah is said to be reading the issue (Spring of 1848), she would have been near the end of the story, since it concluded in the July 1848 issue.  Thus, once again, Hollyoack is accurate in her use of factual instances, whether it be historical events or published works.

 

I do like the fact that the author uses a locket as a key focal point of the story.  From the moment Anna McCabe thrusts the locket into Hannah's hand just before she is whisked off to Balaleigh, to the time when it is taken from her and she is accused of stealing it from the Scott-Ryan family, the reader knows that the locket holds something vital that could change everything.  The gold locket seems to go from hand to hand and person to person (sort of like that pesky bleeder valve in Dark Shadows), and when the contents are finally revealed and Hannah learns the truth, it comes as a huge relief to the reader - a sign that, in the end, everything is going to work out and Hannah will finally get the happiness she deserves.  There always seems to be some inanimate object that is the focal point of these gothic stories - whether it be lockets, broaches, letters, albums, or other items - and they manage to become the clue that provides a solution to whatever mystery is lurking behind the ancient walls of the dark, brooding homestead where the young, innocent woman finds herself.  It is part of what makes the gothic mystery so enjoyable, and it is something that carried over into the early children's mysteries of the first half of the 20th Century, such as in Nancy Drew (The Clue of the Broken Locket, anyone?), the Dana Girls, and their contemporaries.

 

Another great win for both the Harlequin Gothic Romance line and for Dulcie Hollyock, librarian and author!

 

RATING:  10  plates of stale bread and cheese out of 10 for spinning a gothic tale of terror, mystery, and suspense that keeps the reader fully engaged from the first page to the last!

Carol Plays Summer Stock a/k/a Carol in Repertory - the Second Carol Page theater story

Reading this series is pure joy for me, as it brings back so many wonderful memories of performing in community theater.  The author, Helen Dore Boylston, properly captures the excitement, the hard work, the disappointments, the backstage drama, the camaraderie, the hopes and dreams, the last minute mishaps, and everything else that goes into getting a play ready for that opening night!  And the continuing drama of what happens once the play begins - well, there's plenty of that, as well!  Boylston even offers up a word of thanks in an Author's Note at the beginning of the book - acknowledging how much she "looked to Jane Cobb for her lively suggestions and her true ear for dialogue.  In this new story of Carol she has cheerfully assumed the role of collaborator and godmother, and in gratitude I should like to dedicate the story to her." According to a tribute to Cobb in the New York Times (Jane Cobb - Author), she was a writer, too, having stories published in numerous magazines and a silent co-author of the Sue Barton books.  Thus, it is nice to see Boylston acknowledge her part in the creation of this series.

 

Carol Plays Summer Stock (a/k/a Carol in Repertory) picks up shortly after the conclusion of the first book.  For those who do not recall, at the end of the last book, Carol and her friends, Julia Gregg, Mike Horodinsky, Keith Macdonald, and Nan Walton were all selected to spend the summer at the Richards Village Theater in Winasser, Maine - Mike as a stage manager, Julia, Keith, and Nan as apprentices, and Carol in her first paying job as second ingenue!  The book opens as they arrive at the small town theater, full of hope, dreams, and excitement about the summer that lies ahead of them - and little do they know just how much drama they are going to experience - both on stage and behind the scenes!  Boylston ups the ante for this story, as her characters now have a bit of experience under their belts, so she puts them through some true challenges that test not only their dedication to the theater, but also their loyalty to one another.

 

With this book, readers are introduced to a small batch of new characters - Pete Gregory, Remember Hingham, and Orchid Wynton - two of whom become fast friends with the group, and one of whom defines the epitome of acting, both on and off the stage!  Pete, Julia, and Nan are relegated to classes and backstage work, while Mike becomes the assistant to the theater's own stage manager, Bill Dolan.  Carol is given a script for her first play, at which time she learns that Jane Sefton - the actress who gave Carol a ride in her car in the first book - is going to be performing at the theater that summer, and she has high hopes that she will have the opportunity to share the stage with her.  And it seems like she may get her chance, until a very sly Orchid Wynton decides she wants the role, and she tricks her way into it!  Yes, the story features an ongoing feud (of sorts) between Orchid and Carol, as Orchid is determine to keep her "star" status at the theater, even if that means making Carol look bad on stage.  But once Carol figures out what the other girl is up to, she manages to circumvent the mishaps and, once again, save the theater in the most imaginative way.

 

While I suspected in the first book that Carol and Mike were destined to get together - after all, it's the oldest trope in the world to have the two people who can't stand each other at the start end up together in the end! - this book seems to further the idea that while Carol and Mike have mutual respect for one another, their relationship is nothing more than friends in the theater.  That is not to say their friendship is not tested, as Boylston uses Orchid to come between the two in some rather devious ways, but despite her flaws, the one thing that can be said about Carol Page is that she is loyal to those she cares about - and it is her loyalty to Mike that helps save him from destroying his future by the end of the book.

 

There was an interesting comment in the book, when Mike gets irritated and makes the comment, "What's the Wonder Girl going to do now - imitations?" (p. 132).  As a long-time fan of the Wonder Woman comics from DC Comics, I was curious as to the name.  It seems this reference, published in 1942, actually predates the first appearance of Wonder Girl in DC Comics, who did not make her first appearance as a teen-age Wonder Woman until 1947!  However, the character of Wonder Woman had made her first appearance in All-Star Comics issue 8, published in 1941, just one year before this book was published, thus leaving one to wonder if the "Wonder Girl" reference was a simple play on words from the Wonder Woman character.

 

 Something that did surprise me in the book is a reference to divorce.  Remember (the character) admits to Carol that her father and mother were divorced, and that her father has re-married three times since then, and her mother twice (p. 155)!  While divorce was not necessarily uncommon by the 1940s, it was still unusual to see if mentioned in a young adult novel - and to think that the divorced man and women remarried multiple times after that, why, it is shocking!  According to a study by Bowling Green State University, in 1940 "approximately 3% of ever-married women in all education groups were separated or divorced"; however, the '40s basically started the increase in divorce rate, which grow higher and higher with each passing decade.  Now, it is fairly common to read about divorces; but in the early 1940s, it was a completely different story.  As such, I'm surprised not only that Boylston chose to give her character such a background, but that the publisher (Little Brown & Company) allowed it to be published.

 

As with the first book in this series, the plays referenced in the story are actual plays - from Dear Brutus, by J.M. Barrie (p. 21) to The Red Coat, by John Patrick Shanley (p. 33) to the musical Camille (p. 190) and even Seagulls Crying (p. 190), which is probably a take on Chekhov's 1895 play, The Seagull - while others are fictional in nature, such as The Upper Brackets (p, 68) and The Merry Woods of Windsor (p. 89), which is likely a take on the real play, Merry Wives of Windsor, as well as Run for Your Money (p 190), which, interestingly enough, was the name of a film in 1949.  Likewise, the location of this small town theater, Winasset, Maine, is fictional, but bears a close resemblance to the town of Wiscasset, Maine (although I could not find any community theaters in Wiscasset back in the 1940s when this book was written and published).

 

The artist on the internal illustrations changed - while the first book featured illustrations by Frederick E. Wallace, this book features internals by Major Felton.  From what I could learn online, Felton provided book illustrations and painted posters in the 1930s, '40s, and '50s, and his biography page on Wikipedia ( Major Felton - Artist) even acknowledges his work on the Carol page and Sue Barton series!  And like the first book, the British edition published two years after the first American edition, changed the title, this time more drastically to Carol in Repertory.  The British edition does feature the same internal illustrations, but the cover art is merely the same painted headshot that appeared on the cover of the first book.

 

This second book confirms my love of the series and the characters, and as indicated in the final chapter of this book, Carol and Mike are off to Broadway to see if they can make a name for themselves!

 

RATING:  10 carefully carried cups of tea out of 10 for another fun romp in the world of theater and acting with some very real, very flawed, and very enjoyable characters!

Secret of the Forest - a Children's Press mystery (the second Roger and Jimmy Keene mystery)

The Children's Press (London and Glasgow) seems to have published a number of books for boys and girls back in the mid-20th Century under "The Boys' and Girls' Library" heading.  I own and have read a couple of books from this series of titles (Kit and the Mystery Man and The Headland Mystery), and since both of those books were fairly decent reads, I will pick up books from this publisher when I happen across them - which is not too often.  This particular book was found by a friend of mine in Canada (as I rarely see these titles here in the States), and when she sent me an image, I immediately said, "Yes!"  Three teens - two boys and a girl - held at gunpoint by a white-haired villain in what appears to be a cave - yes, there could be no doubt in my mind this would make for an interesting story!

 

Secret of the Forest, as it turns out, is the second mystery to feature Roger Keene and his younger brother, Jimmy. I was not aware of this when I bought it and started reading it, but now that I do know, obviously, I need to find a copy of the first book in this 2-book series.  The author is H.J. Goodyer, and there is not much information out there about this particular writer, other than the fact that he/she wrote three books - this one, the first Keene Brothers book, and a third book entitled Time for Reflection: Love is Every Child's Birthright (which is clearly not a mystery like the other two!).  I find it odd that there is little to nothing on the internet about Goodyer, leading me to wonder if the name is simply a pseudonym.  In any event, Goodyer does offer readers a rather tense mystery involving World War II, spies, and counterfeit money.

 

The adventure begins as brothers, Roger and Jimmy Keene, are traveling the German countryside with their Uncle Arnold, headed for a guesthouse  named "Der grun Specht," which translates into The Green Woodpecker.  Back during the war, the building was taken by the British and used as a temporary headquarters for the Colonel and his men. Eventually, it was purchased and turned into a guesthouse, and a former soldier friend of Uncle Arnold's had offered them a stay at the old place.  Upon arrival, though, they begin to find things are a bit off.  Herr Holz appears cordial enough on the surface, but his wife, Frau Holz, seems extremely fearful and nervous.  The young chap, Willi, who seems to be the hired help, is anything but friendly.  There's also the waiter, Hans Gruber, who Uncle Arnold remembers from the war - but Hans begs his former friend to forget he ever knew him!  And then there is General von Tarkenheim and his daughter, Grizelda.  The General owns the guesthouse, but he does not communicate with his guests and appears to be angry most of the time.  And last, but not least, we must not forget Paul Konrad, who is all smiles, yet, behind those pearly whites, he is hiding a very important secret...

 

Robert and Jimmy are not really looking for a mystery, yet, at every turn, they come across more and more strange happenings.  When they notice the things in their room are being rifled through, and some things even go missing, they decide it is time to start investigating.  Then Grizelda comes to them for help, as someone is blackmailing her father, the General.  The three teens (hmmmm, Frank and Joe Hardy with Nancy Drew, perhaps?) team up to uncover the truth of what is going on at The Green Woodpecker.  It quickly turns into a very deadly game, as Gruber is run down and killed, and a merciless treasure hunter takes the brothers and their new friend deep within a cave and leaves them there to die with no way to escape!  This story is definitely not your typical children's mystery fare, but a much more mature tale of war heroes, unrepentant villains, deadly killers, and ruthless treasure hunters. 

The story mentions several places in Germany, and I was curious as to whether any of them were real.  The small village of Kallendorf that the Keenes and their uncle pass through early in the story (p. 10) is likely a variation on the real city of Allendorf, Germany.  The author does make reference to Hanover, Brunswick, and the Harz Mountains (p. 27), all of which are actual places in Germany.  The boys also indicate they "thought of running down to Goslar," which Konrad describes as "a delightful town ... much of the medieval so well preserved..." (p. 30).  Such town does exist, and it is an historic town that is famous for its ore mines.  It is also just south of Brunswick and southeast of Hanover, which would fit with the other cites the Keene brothers were planning to visit during the stay.  The ore mining would certainly explain the caves in which the teens find themselves captive, and the details of the location lead one to think the author might have visited there or otherwise be familiar with the area.  Again, I'm a sucker for books that integrate factual locations or other elements into the stories, as it tends to ground them a bit more, making even the most unbelievable tales somewhat more believable.

 

While it is definitely more of a mature story than the standard children's mysteries here in the States, this is a pretty good book and worth the read.  Leaves me with a desire to find that first Keene brothers' book and read it!

 

RATING:  8 wild boars with wicked-looking tusks out of 10 for a suspenseful story with a rather intricate and at times very dangerous plot.

 

 

DC 100-Page Super Spectacular No. 5 - LOVE STORIES

Comic fans who remember comics of the '50s, '60s, and '70s will remember the "romance" craze that littered the comic racks at the local convenience stores and newsstands.  Pretty much every publisher out there (with maybe the exception of Gold Key) was publishing romance comics, with titles ranging from Young Romance to Our Love to Teen-Age Romance to Career Girl Romance to Secret Hearts and so many more.  DC Comics, who is most famous for Superman, Batman, and Wonder Woman put out their fair share of romance titles during that period, and in fact, they held out the longest, with their comic, Young Love, being the series that closed out the genre.  In the early 1970s, DC published a line of 100-Page Super Spectaculars, which was not necessarily a regular ongoing series, but rather, an oddly numbered series of reprint titles featuring Weird Mystery Tales, World's Greatest Super-Heroes, Superman, Batman, Our Army at War, The Flash, Superboy, Justice League of America, Tarzan, and others.  The numbering was hard to follow, since there were no issues 1, 2, and 3; rather, the series started with issue 4 (being the Weird Mystery Tales issue), and with issue 7, it was published as part of the regular line of series (issue 7 being Superman #245, issue 7 being Batman #238, and the like).  While I do have several of the super-hero related issues, issue 5 is the specific issue that is the focus of this post.

 

DC 100-Page Super Spectacular: Love Stories is not an issue of which I was aware.  To be honest I was not aware of the separate 100-Page Super Spectacular series until I got this issue and began looking into it.  But at a local comic convention last year, I obtained a copy of this particular issue from a comic dealer I know, because he was aware of my love of romance comics. The issue is a bit worse for the wear, with a part of the cover torn (although the missing piece does not really affect the cover art, nor are any words missing), some tears here and there, and a few stains on some of the pages throughout the comics - none of which affects its readability.  The less-than-perfect condition does not bother me in the least, since I get the comics to read and enjoy them, not to worry about their value (although when I went on line to research this particular issue, I was absolutely SHOCKED to discover what this issue sells for!).

 

The issue is a mix of new stories (prose and comic) and reprints (from previously published romance titles from DC).  Like most comics of that era, the stories do not give credit to the creators, so I had to turn to the Grand Comics Database (GCD - Love Stories) to uncover names of the writers and artists, if known.  Turns out some pretty big names in comics contributed to this issue - Bob Oskner provided that fantastic cover (100 Page! The Biggest Love Mag Ever! the cover cries out), and the work of great artists like Tony DeZuniga, Win Mortimer, Jay Scott Pike, Vince Colletta, Art Saaf, John Romita, John Rosenberger, Bernard Sachs, Ric Estrada, Wally Wood, Morris Waldinger, Norman Nodel, Mort Drucker, Bob Lander, and Mike Sekowesky graced the interior pages (all ad-free!).  And the back cover is a rather unique, almost psychedelic, word-free art by Charlie Armentano - who also provided a similar style cover to a sister title, DC's Super Giant #S-21 - Love (1971).  It's interesting to note that Oskner's cover has a young couple almost kissing, while Armentano's back cover has the young couple fulfilling that desire by actually kissing - perhaps a commentary on the stories inside, which always open with hesitancy or lost love, but always end with a happy reunion and that all-too-important true love's kiss.

 

The first comic story, "How Do I Know When I"m Really in Love?" and the fifth tale, "The Wrong Kind of Love," seem to be the only non-reprint comic stories.  While there are a few prose features scattered throughout the issue, all of the remaining comic stories are reprints from Young Love (1967), Girls' Love Stories (1962), Girls' Romances (1953, 1960, 1964, 1968),  and Heart to Heart Romance Library (1958).  The stories range in length,the shortest being 6-pages and the longest being 24-pages (a two-part tale titled "Made for Love," each chapter being 12-pages).  One thing I thought was rather humorous (in my opinion) was the two-page spread titled "How to Look Fabulous" by Ted Long, described as the "hip" hairdresser from the Today Show. "He's the gentleman who helps to prettify Barbara Walters," the first paragraph reads, "and other stars for the camera ... and he's quite a doll himself!"  Interestingly, I could not find any information online to verify whether Ted Long was an actual hairdresser or not (although I did find a Ted Gibson, who is a more recent hairdresser for the Today Show and other television shows).  The spread features a photo of Long, with four illustrations by Morris Waldinger that depict young women applying make-up, exercising, enjoying a steam treatment, and simply walking home with a courteous gentleman.  I would be curious to know how many girls read this article and took these tips to heart!

 

While a number of the stories are typical romance comic fare, there are a couple that stood out to me as I was reading them.  One was "My Sister Stole My Man," reprinted from DC's Girls' Love Stories #91 (December 1962).  It features a young woman whose sister is in a wheelchair following an accident.  Ellen feels she will never have love while stuck in a chair, so Jane convinces her boyfriend to encourage her - not realizing that as he spent more and more time with Ellen, he would come to love her and ultimately leave Jane for her wheelchair-bound sister!  An unusual tale where the heroine (Jane) not only does not win her love in the end, but instead, willingly gives him up for her sister, thinking to herself in the last panel, "I'll find love again - a love that will last!"  Written by Robert Kanigher and drawn by John Romita, the Grand Comic Database indicates the pencils and inks for this reprinted version were "extensively revised" to update hairstyles and fashions, and even the lettering is revised to change emphasis in the narrative.

 

Another not-so-typical story was "The Other Girl," also written by Robert Kanigher and with art by Bernard Sachs.  This story was reprinted from DC's Girls' Romances #70 (September 1960) and features an African-American cast, which is surprising considering the era in which it was first published. Although, being in the last decade of the civil rights' movement, perhaps the creators (and even DC, as the publisher) felt it was only appropriate that such diversity be portrayed in their comics.  Whatever the cause, I was actually happy to see a story with a Black cast.  The story centers around Donna, who happens to spot through a restaurant window her boyfriend (Peter) getting cozy with another woman!  She immediately burns all of his letters and pictures, gives away every gift he ever gave her, and breaks off all the friendships that tied her to Peter.  But getting him out of her head is not that easy - everywhere she goes, something reminds her of the love they shared - the beach, the art gallery, the theater, and even the park.  And to make matters worse, while Donna is suffering over the loss, Peter has been out dating dozens of new girls ... but, of course, in the end, love wins out, and Peter returns, admitting he did everything he could to forget her, "...but it was useless.  I just can't stop loving you!" he exclaims as he pulls her into a passionate kiss for that final panel.

 

One story, which may be said to be somewhat standard romance fare, turned out to be my favorite of them all because it somewhat reminded me of my mother's own story.  "The Wrong Kind of Love," which is one of the two originals stories in this issue, was written by Robert Kanigher and penciled by Ric Estrada, with inks by the legendary Wally Wood.  The story is about star-crossed lovers Linda and Kenny.  They are so much in love, but Linda refuses to allow Kenny to meet her family.  It turns out Linda's family is rather well-to-do, and as Linda's mother puts it, Kenny is "from the other side of the tracks," reminding Linda that "He's not our kind, dear!"  No matter what Linda says, she cannot convince him that Kenny is a great man, despite his lower class status.  It is not until Kenny rescues Linda from a collapsing bridge and saves her life that her parents give in, finally admitting, "We didn't understand ... but we're learning!"  My mother told me that as a teenager, there was a boy she liked in high school; however, her mother refused to allow her to date the boy, saying "he is from the wrong side of the tracks."  My grandparents even drove my mother to the boy's house and showed her where he lived to emphasize their disdain for him.  Unlike the story, my grandparents never relented, and my mom never got the opportunity to date the boy - who later went on in the '60s to be in a somewhat famous singing group (but don't ask me which one, because I can't recall now...)

 

Overall, the issue was thoroughly enjoyable, and whoever chose the various stories to include deserves some praise.  No two stories are alike, and they offer a great variety of scenarios and characters, as well as some truly beautiful artwork.  As indicated above, my issue does have its mars (see image of the the cover to my copy of the issue to the right), but that in no way detracted from my savoring each and every story (although, I will admit, I just skimmed over the text articles, as I was not overly interested in make-up tips, love letters, or to hear how girls met their boyfriends!).  I am truly grateful to John Neville for sharing this issue with me, as I doubt I would have ever learned about it, let alone found it at a price I could ever afford, on my own.  This particular issue definitely has its special place now in my collection of romance titles, and it will always stay at the head of the stack!

 

RATING:  10 couples kissing in a soap commercial out of 10 for a collection of tantalizing love stories with some of the most beautiful art to grace a comic page!

That Girl - a gothic based on the popular ABC-TV comedy series...

"She's a frightened young maiden pursued on a haunted moor by a wrathful wraith.  Would you believe she's THAT GIRL" (from the front cover blurb)

 

Of all of the television shows in the world that I would have ever thought could be made into a gothic romance / mystery, the 1966-71 television show That Girl is probably one of the last that would come to mind.  I mean, let's be serious - a comedy television show about an aspiring young actress in New York City, who is forced to take a variety of odd jobs to temporarily make ends meet in between auditions and bit parts.  She is always hoping to make it "big," but never seems to land that starring role in any show.  It was pure comedy that lasted five season, and so it is surprising that someone would take such a premise and turn it into a gothic novel.  But that is just what happened.  In 1971, just shortly after the television show wrapped, Ann Marie appeared in her first, and only, novel (loosely - VERY loosely) based on the show ... 

 

That Girl, besides being the name of the television show and featuring the actress, Marlo Thomas, on the cover, has very little ties to its small screen counterpart upon which it is allegedly based.  While author Paul W. Fairman uses the names - Ann Marie and Donald Hollinger - and the fact that Ann is an aspiring actress, the characters themselves are a far cry from those viewers watched on their television sets each week for the previous five years.  Don't get me wrong.  The story itself is actually pretty good and most definitely gothic in its setting and scenes; however, it feels almost as if Fairman simply replaced the name of his title character with the name of that girl (get it?) in order to create a TV tie-in novel.  Which leads me to question - did he already have this story written (or at least in mind) when he was asked to do the tie-in novel; or did he come up with the idea after he took the job?  In either event, if you can read the story without thinking of Marlo Thomas or the television show, then I think you'll find the story is quite creative and fun to read!

 

I do have to give Fairman some credit with regard to the story - it is definitely a creative twist.  Ann Marie gets a chance to play the role of Cathy in Wuthering Heights in a small Maine town known as Berkeley Heights.  It's a summer stock show, and Ann will have the opportunity to play a lead role - a chance she has been longing for; and the icing on the cake is that all expenses are being paid!  Despite her fiance's misgivings, Ann boards the bus for Maine (where one little old lady looks at her Ann and immediately asks another old lady, "Who is that girl?" - a nice nod to the opening of each episode of the television show.  But it is only the first two chapters that are somewhat light-hearted.  Once Ann reaches Berkeley Heights, she begins to realize something is very wrong.  First, the bus drops her off on an empty stretch of highway, no crossroad, no house, no indication of civilization anywhere near it.  Then, a mysterious stranger on horseback shows up and tells her she is late, before taking off, leaving her to await a coach.  A coach?  Wait, what year is this...?  And why does this set up sound vaguely familiar...?   (Hmmm, perhaps because the same thing occurred during the opening of An Innocent Madness by Dulcie Hollyock nearly a decade later.)

 

Well, Ann soon discovers that someone has gone to great lengths to recreate Thruscross Grange and Wuthering Heights, including the moors, gardens, and grounds.  And what is even more strange is everyone is wearing costumes from the 1800s, and they are all referring to themselves as the characters from Emily Bronte's novel.  At first, Ann thinks they are simply rehearsing for whatever play is going to be performed.  Until she discovers there is no theater.  And the "actors" are afraid to step out of character for even one second.  And there are no dates for any performances of the play.  No, in this secluded part of Maine, someone is determined to bring Wuthering Heights to life and to keep it going ... and going ... and going.  Every actor has literally become their character, and it is expected that Ann will literally be Cathy!  Suddenly, Ann starts wishing she had listened to Donald and never taken the role!

 

In true gothic style, the story takes some dark turns, with a mysterious stranger appearing and disappearing - saving Ann from a deadly fall and leaving her a warning on her bathroom mirror.  Then there is the mysterious woman out on the moors.  And why is it that Ann is so tired all the time?  It seems the more tea she drinks, the more tired she becomes... Gradually, her fellow actors begin to let down their guards, and Ann begins to discover the truth about everyone there and what is really going on - and she realizes there is truly only one way to escape.  But then she comes face to face with the woman she replaced, and let's just say the original "Cathy" is none to pleased about her replacement!  This leads to probably the only disappointing thing about the story - the climactic confrontation with "Cathy" - and unlike most gothic heroines, Ann blacks out and is rescued by Donald in one of those last minute saves.  I was really rooting for Ann to not only solve the whole mystery, but also to conquer the villains; sadly, she becomes nothing more than a helpless victim who has to be rescued (thus, taking away all of the credit she deserves for all of the hard work she put into uncovering the truth about what was really going on there).

 

Nevertheless, I did enjoy the story (especially when I set aside any thought of this being a part of the TV show continuity) and loved the unusual plot twist - a gothic within a gothic, so to speak.  I've heard others speak highly of Fairman's work, and after reading this story, I would have to agree. 

 

8 disappearing telephones out of 10 for taking a television comedy and turning it into a serious gothic mystery with a unique and unexpected turn of events!