Showing posts with label Edna Stratemeyer Squier. Show all posts
Showing posts with label Edna Stratemeyer Squier. Show all posts

Thursday, March 5, 2026

Will the Real Carolyn Keene Please Stand Up - the Lives of the Creators of Nancy Drew

When I stumbled across this on Amazon.com, I was not sure if I really wanted to buy it.  After all, there are already a number of books out there about the "creators" of Nancy Drew - ones that focus on the Stratemeyer Syndicate itself, others that focus on Mildred Wirt Benson, and some that focus on the evolution and impact of the character, Nancy Drew.  Did I really need another one?  And I had no knowledge of the author, Christine Keleny, other than the brief information provided on Amazon about her.  So, I debated back and forth, but I finally listened to that insistent voice in the back of my mind that kept saying, "if you want all things Nancy Drew related, then you must have this," and I bought it.  Took me a bit before I finally picked it up and read it, but now, I can honestly say, I am so thoroughly glad I bought it, because this book is not just another analytical study of the individuals who created and wrote Nancy Drew - no, this book is actually a well-written, well-researched prose biography of the three people who had the most influence in the character of Nancy Drew - Edward Stratemeyer, his daughter Harriet, and his young ghostwriter, Mildred Wirt!
 
Will The Real Carolyn Keene Please Stand Up gives fans a fresh new look at the history of Nancy Drew's creation. For a character that has been around for nearly 100 years, with new stories continuously published over the course of those nearly ten decades, Nancy Drew has had plenty of books look at her creators, her longevity, her enduring appeal, her pop icon status, and just about every other aspect you can think of as it relates to the girl detective.  Authors like Melanie Rehak, Michael G. Cornelius, Carolyn Carpan, Bobbie Ann Mason, LuElla D'Amico, Emily Hamilton-Honey, Geoffrey S. Lapin, and many others have offered so much insight over the years with books, essays, and countless hours of research on the subject of Nancy Drew and her creation; yet, surprisingly, in all of that time, not once has there ever been a historical look at those creators told in a prose, biographical fashion.  Until now.  Author Christine Keleny (Christine Keleny Books) is not only a writer, but she is also an editor, book designer, and publisher, whose works cross into historical fiction, mystery, adventure, and memoir.  This particular book, while offering well researched biographies on Stratemeyer, Adams, and Wirt-Benson, is also infused with a certain level of historical fiction - since a lot of the conversations and character-thoughts expressed throughout the book are not necessarily factual - but based on everything we knew about these three, they very well could be!
 
Keleny opens her book in the most obvious place - the now-infamous 1980 trial that resulted from the lawsuit filed by Grosset & Dunlap against the Stratemeyer Syndicate and Simon & Schuster over the rights to Nancy Drew, Hardy Boys, and the numerous other series G&D had been publishing for the Syndicate for more than half-a-century.  An aging Harriet Stratemeyer Adams is on the stand, being questioned regarding the creation of Nancy Drew and the books' original author, which sends Adams on a trip down memory lane ... a trip that the reader gets to follow as we turn back the pages of time to 1887, when a young Edward Stratemeyer is striving to become an author, feeling it in is veins, despite his father's and brother's attempts to dissuade him to pick a more steady career.  The book progresses at a fairly fast rate, as we jump ahead one, two, three, or even more years at a time, following Edward as he meets his wife ... as he begins selling his stories ... as he has two daughters ... as his books become so popular he creates a syndicate of writers to help him get his ideas into book form faster.  We read how the twentieth century saw a huge rise in the success of his children's series - The Rover Boys, The Bobbsey Twins, Tom Swift, Ruth Fielding, and many others, eventually leading to 1927 and the publication of The Hardy Boys.  This, as we all know, led to his creation of a companion series for girls, a girl detective that only one person could write - a young ghostwriter who had taken over the Ruth Fielding series for his Syndicate - Mildred Augustine Wirt.
 
Keleny alternates between the various players.  Some chapters focus on Edward, while others look at what Mildred was doing, while others take a look at Harriet and her sister, Edna.  Keleny's story is so well-written, that the reader can visually picture each of the characters as they act and speak on the page, and honestly, this would transition so beautifully into a movie, or even a television mini-series.  Edward, Harriet, and Mildred are all developed far beyond their typical "this is what research tells us about them" found in most books; instead, we get living, breathing characters with emotions, with hopes and dreams, with frustrations and losses, with times of happiness and times of mourning.  Yes, the scenes portrayed throughout the book come from the Stratemeyer Records on file with the New York Public Library ... from the Iowa Women's Archives at the University of Iowa ... from researchers such as Geoffrey S. Lapin (to whom the author credits having done considerable work to uncover Wirt's connection as the original author of the Nancy Drew books) and James Keeline ... and to the descendants of the Stratemeyer family itself ... however, they are expressed through a prose tale that draws the reader in until, just like the children's series that are the subject matter of these individuals, he or she cannot help but turn page after page after page to see what is going to happen next!
 
The one thing I think Keleny does perfectly with this book is acknowledge the fact that there was never just "one" Carolyn Keene.  Sure, Edward Stratemeyer created the idea and the initial outlines for the Nancy Drew series.  Sure, Mildred Wirt (Benson) wrote the original books in the series.  Sure, Harriet Stratemeyer Adams took over the character and molded her into the later image that so many adults today remember her as.  Yet, it was not just one of these three that "created" Nancy Drew; rather, it was the amalgamation of all three - Stratemeyer, Wirt, and Adams - that ultimately defined Nancy Drew and gave her the characteristics and charisma that has helped her endure for nearly 100 years non-stop.  While so many other series fell away, many long forgotten - Nancy Drew is still at the forefront, still recognized as the quintessential girl detective (let's face it - any book, any movie, any television show that features a female detective will always make at least one, if nor more, reference to Nancy Drew).  And this book is the perfect story of how these three individuals, in their own special ways, combined to make (literally!) the world's greatest amateur female detective.
 
Now, for all this praise (and I really did enjoy the book!), that's not to say it's perfect.  It is always a bit off-putting when I come across grammatical errors or misspellings in a published book - and this book had a number of them.  When talking about the gala thrown by Simon & Schuster after they took over publication of the Stratemeyer properties, it states, "[w]asn't Nancy's popularity proven at the gala 15th anniversary party put on by Simon & Schuster for Nancy Drew..." (p. 5).  This was actually referring to the 50th anniversary gala. Later, when we read about Edward acting out a story he is writing, his wife "knew that this roll-playing was important to Edward..." (p. 20).  I believe the author meant "role" playing.  These are only a couple - there are others that could be listed, but it is a reminder that books are no longer edited with precision as they used to be.  While these are small things, and they don't make the book any less readable, they do (for me, at least) present a jarring moment, at which I'm taken out of the story as my mind immediately focuses on the error.
 
As an aside, Keleny does throw in a moment of Hardy Boys history for us, as she gives us a few pages of Leslie McFarlane and his first communications with Stratemeyer (pp. 108 - 114), which ultimately led to his taking on the Hardy Boys books, and later, the first few Dana Girls stories.  There are also moments with members of the Garis family, as well as the addition of Andrew Svenson as a partner of the Syndicate.  Thus, the author gives readers a well-rounded story of everything that was going on in the lives of these three creators, and how it all impacted their work on, and in Harriet's case, her utter devotion to Nancy Drew.
 
Who was the real Carolyn Keene?  Well, once you read this book, I believe you will be in a much stronger position to answer that question, and you will be sparked to delve deeper and do your own research and studies to get a better understanding of everything (and everyone!) that went into creating our favorite teen detective!  Is every word of this book true, and did every thing that is described in this book actually take place the way it is written here?  Probably not.  But that does not in any way lessen this book's value in the annals of Nancy Drew studies, and it certainly should not detract from anyone's enjoyment in reading the story.  
 
RATING:  10 last ditch attempts to sell the Syndicate out of 10 for a well-researched, superbly written story of the lives, loves, hardships, and successes of the three individuals who, in one way or another, created Nancy Drew.

Wednesday, August 13, 2025

Kay Tracey Mystery Stories No. 1 - The Secret of the Red Scarf

The year was 1934.  The Ruth Fielding series saw her last book published, while the Dana Girls and Beverly Gray both had the first books in their respective series published.  That year also saw the start of another new Stratemeyer Syndicate series - the "Kay Tracey Mystery Stories," written by Frances K. Judd (which, of course, was a house pseudonym used by the Syndicate).  Having finished the complete Penny Parker series, and having read the first four Dana Girls books, our book club decided to branch out and try another series, and Kay Tracey won the vote!  It has been quite a number of years since I had read the Kay Tracey series, so re-reading this first book was nearly like reading it for the first time.  And, quite frankly, I was a bit surprised at how little I enjoyed the book (as I do not remember disliking the series when I first read it).
 
The Secret of the Red Scarf
introduces readers to Kay Tracey and her supporting cast, but the book reads much as if this were not the first book in the series (and, in fact, there are mentions in the story that Kay has solved other mysteries, although they are not identified).  This first book in the series was outlined by Edna Stratemeyer Squier and ghostwritten by Elizabeth M. Duffield Ward, who wrote more than 70 books for the Stratemeyer Syndicate (including books in the Radio Girls, Outdoor Girls, Ruth Fielding, and Billie Bradley series, as well as the entire Blythe Girls series).  Ward also wrote a number of books under her own name, apart from the Syndicate.  While I have the Outdoor Girls, Ruth Fielding, Billie Bradley, and Blythe Girls series, I have not read any of those (with the exception of one Outdoor Girls book set in Florida, which was written by Howard Garis and not Ward).  Thus, this is my first taste of Ward's writing, and I have to say - I'm not overly impressed.
 
As one of the members of our book club pointed out - this story was nothing special.  There was nothing particularly different about the title character to make her stand out from all the other sleuths out there at the time; nor was there anything unique or spectacular about the mystery to make it more engaging or more interesting than any of the other myriad of series books on the shelves at that time.  Just like many of her contemporaries, Kay Tracey is a sixteen-year old girl with "light, waving hair that was almost golden in the sun" (p. 4).  She has two best friends (sound familiar), one of whom is Wilma, named after her father, William (gee, is there another series with a best friend who has a boy's name?), and other is Betty, named after her mother Elizabeth (hmmmm, do we know another sleuth who has a best friend whose realy name is Elizabeth?).  Wilma and Betty - funny, as this book was more than 25 years before that first episode of The Flintstones aired, yet they shared the names of the wives from that show! - are twin sisters who grew up with Kay, and the three are inseparable.  Kay lives at home with a widowed parent (in this case, it is her mother), but her uncle Bill also resides with them, and he is a lawyer (wow, that is original - I can't think of any other teen detective who lives under the roof of a lawyer who helps her out all the time, can you?).  Rounding out the cast is Ethel Eaton, a classmate of the girls who seems to have no other purpose than to try and foil every plan Kay has (a nemesis looking to cause trouble for the sleuth - I can hear Lettie Briggs crying out "copyright infringement" right now!).
 
The mystery involves a young boy, Richard Ludlow (referred to by everyone as "Dick"), who is trying to make his own way ever since his sister, Helene, disappeared.  Coincidentally enough (and let's face it, none of these mysteries would ever be solved without the coincidences), the red scarf Kay has on hand for her gypsy costume she is putting together for an upcoming school masquerade is the exact same scarf that Dick's sister wore!  Kay volunteers to help him find his sister, and after he shows her a picture, Kay knows she has seen the girl in town before.  The hunt begins, and it turns out the Ludlow children come from a wealthy family, whose parents are now dead, and a fortune lies waiting for them to claim.  Plenty of fortuitous circumstances lead Kay and the twins to locate Helene, who has been living under a false name while pursuing a career in acting, having run away from home when her father forbid her to take to the stage.  As fortune would have it, Kay strongly resembles the girl, and her gypsy costume and red scarf lead to a case of mistaken identities, which give her the opportunity to not only uncover Helene's true identity, but also reveal the culprit who has been trying to trick her into getting her fortune!
 
Surprisingly, there is only one internal illustration, which depicts a scene from the first chapter when Kay is racing to stop a runaway horse.  It is odd to see a frontis piece that shows a scene from so early in the book; however, considering the lack of exciting scenes in the book, I suppose this was the most exciting one that the publisher could find to be drawn.  The artist is E.A. Furman (1879 - 1965), who illustrated a number of books for the Saalfield Publishing company during the early part of the 20th Century.  In the 1930s, Furman worked part time as a freelance artist while keeping a full time job as a receptionist at a local bank (E.A. Furman, Artist).  I do give Cupples & Leon some credit for the creative cover design, which shows a book opened to a picture depicting a scene from within the book (in this case, Kay in her gypsy costume, peering out from behind a curtain).   It is definitely unlike any of the other series books being published around that time.
 
Despite the mediocre mystery, there were a couple of things about the book worthy of notice.  The poems that were constantly recited by Wilma were not made up by the author; they are lines from actual poems and/or songs - such as the poem on page 12 comes from the hymn, Only Wait; the poem on page 60 comes from an Alexander Pope poem, Windsor Forest; the poem on page 77 is a well-known expression from Sir Walter Scott; the poem on page 115 is from one written by Lord Byron; and so on.  I would be curious to know whether the Syndicate included these in the outline to be used, or if Ward integrated them herself into the story.
 
There is also the subject of Kay Tracey's name.  One has to wonder if the name was not perhaps a nod to the comic strip character that debuted barely three years prior, Dick Tracy.  It is an interesting coincidence (!!!!) that this new young female sleuth comes out with the similar last name to a comic strip detective who was gaining much popularity at the time.  Sure, there's an "e" added into Kay's last name to differentiate it, but c'mon - one does have to wonder...
 
According to Jennifer White's website (Series Books - Kay Tracey), the Kay Tracey series has been republished a number of times.  I have the Books, Inc.paperback editions that were republished around 1960, and while looking through it, I discovered that the story was drastically revised (which would account for the new 1952 copyright date on the inside copyright page).  One of the many revisions included changing Dick and Helene's last name from Ludlow to Corning.  Yes, that's right - that means Helene's name became Helene Corning.  Now, tell me, where have we seen that name before?  Of all the names they could have chosen, they chose "Corning"?  Apparently, all of the other similarities to the Nancy Drew series was not enough, so they thought, "Let's throw in another one, just in case readers missed all of the others!"  
 
Geoffrey S. Lapin indicates the cover art for the Books, Inc. reprints were provided by an artist by the name of "Elaine."   While the cover to this book does not identify the artist, later books in the series published by Books, Inc. have a signature of "ELAINE" (in all caps) - however, there is no way to identify who this artist is.  Some research online does not give credit to the cover artist, nor is there any site that provides information about an artist who signs his/her work with simply "ELAINE."  Even the Stratemeyer Syndicate records at the New York Pubic Library appear to have the color painting for In the Sunken Garden, and it merely states the artist as "Elaine [?]".  Thus, the artist for the Books, Inc. editions is a mystery that, for now, remains unsolved.  Not sure if this Elaine person also provided the line drawings inside the books, or if a different artist assumed that chore.
 
This book was definitely not a great start to this series, and so, I am curious to see how the second book will fare.  It was also written by Ward, but it was outlined by Edna sister, Harriet, so there is a potential for it to be somewhat better. I suppose we shall have to wait and see...
 
RATING:  5 crumpled portions of a torn letter out of 10 for at the very least attempting to cash in on the girl sleuth phenomenon of the 1930s with a new series of mysteries. 

Monday, June 2, 2025

Dana Girls Mystery Stories No. 3 - In the Shadow of the Tower

Book three of the Dana Girls Mystery Stories is author Leslie McFarlane's third entry into this girls' series from the 1930s, and I can see from this book how McFarlane was struggling with his writing of this series.  In the first two books, the stories flowed fairly well, and there was plenty of excitement and fun to move the story along; however, this book had considerably more unnecessary exposition that was not readily seen in the first two.  Perhaps he was simply more comfortable writing stories about boys, or maybe he simply could not settle into a groove with the Dana Girls; whatever the reason, this third book falls a bit short from the first two, with too many mysteries and too many convenient coincidences.
 
In the Shadow of the Tower
continues the time line of the Danas, with this story being set in December (after the first book was September and the second was November).  The story center around a young girl who the Danas not only befriend but offer to help after accidentally causing her to lose a very important letter that also contained a thousand dollar bill (yes, you read that right!).  I have to admit, I was rather surprised to think that this girl, still in her teens, would be carrying around a thousand dollar bill in the early 1930s!  In today's money, that bill would be worth nearly $24,000!  Can you imagine carrying that amount of money with you everywhere you went?  But, that's exactly what Josephine "Josy" Sykes was doing when the Dana Girls happened upon her in the woods near Mohawk Lake.  Now, it is up to Jean and Louise to find that letter and the missing money and restore them to their rightful owner.
 
The story has some very odd elements to it.  First, when the Danas first see Josy, because of her deformity, "a hump that distorted [her] back, giving [her] a grotesque and dwarfed appearance" (p. 3), and the tattered clothes she is wearing, they mistake her for a boy.  They quickly learn Josy is a girl who ran away from the Home for Crippled Children at Bonny Lake (p. 13).  She ran away because at the same time she received the letter from her uncle with the money in it, the cash proceeds from a charity to benefit the Home was also stolen, and Josy was afraid she would be accused.  The sisters agree to help her, of course, but they find it will not be easy, because upon their arrival at Starhurst, Lettie Briggs and Ina Mason are the first to see Josy and immediately make fun of her, causing her to run off.
 
Throughout the entire book, there is an emphasis on Josy's hunchback and deformed nature, causing people to shun her, make fun of her, be shocked at her appearance, and fear her.  In fact, one of the characters in the book - Mammy Cleo, a cook - describes her as a "supernatural creature" that is "twisted and deformed" (p. 56).  McFarlane goes on to write how "the colored folk in the vicinity ... built up monstrous and weird legend" about Josy and her appearance (p. 71).  All of these descriptions and reactions would lead the reader to believe that Josy is horridly disfigured and frightening to look at, and so, I thought it admirable that the Danas overlooked her physical appearance and offered her their friendship and their aid in finding the missing money.  But then, at the end of the book, once the girls have successfully solved all the mysteries (and there are plenty of them in this book!), we suddenly learn that Josy's deformity is not so bad after all - "[w]ith the help of the Dana girls she had done some shopping ... New dresses had been chosen so that her deformity was scarcely noticeable. Happiness and good fortune had erased the pitiful lines from her face, and her natural attractiveness had been given a chance to assert itself" (p. 205).  Utterly amazing what a beautiful dress can do for a girl - transform her from a grotesque girl with a distorted back to a naturally attractive girl whose deformity was barely noticed!  (I realize there is a high level of sarcasm there, but such a transformation defies all ability to believe - and we cannot blame McFarlane for this one, as the change was specifically dictated in the outline from Edna Stratemeyer Squier.
 

Another strange thing about this book is the mystery surrounding the stolen money at the children's home. The Danas assure Josy they will find a way to clear her name and solve that mystery, and more than once, a nurse taking care of Constance Melbourne (an artist who lives next to Bessie Marsh, the Danas' cousin with whom they visit during the Christmas holidays), tells Jean and Louise she believes a Mrs. Rita Rye, a Trustee for the home, is the guilty party.  At no time during the entire book do the Dana girls actually visit the Home for Crippled Children at Bonny Lake, but suddenly, in the very last chapter on the next to the last page, the Danas announce that Josy has been cleared and the "real thief has confessed" (p. 216).  The thief did, indeed, turn out to be Rita Rye, who admitted to taking the money to pay overdue bills (p. 216).  For something that played such an important factor in Josy running away, one would have thought it would have made for a good mystery for the girls to solve; instead, it merely becomes an afterthought, mentioned only in passing at the very end to tie up that loose end.
 
Yet another mystery in this book centers around a stolen piece of art, painted by Ms. Melbourne.  A scam artist by the name of Claude Fayle, steals the portrait and passes it off as his own at an art show in the city of Majestic.  As it just so happens, Mrs. Crandall has plans to take the girls of Starhurst to that very art show.  And, by pure coincidence, Mrs. Crandall has invited Mr. Fayle to the school to discuss his art, unaware that the Dana girls have already met him and know he is a thief and a fraud.  This part of the mystery actually plays up nicely, as the sisters have a difficult time meeting Mr. Fayle and accusing him of his theft, and it ultimately becomes a climactic revelation made at the art show itself, just as Mr. Fayle is about to be awarded a medal for the portrait.  Of all the mysteries in this story, this one was probably the one I most enjoyed reading. 

One thing I do want to make note of is that this book features the internal illustration upon which the end pages for these early Dana Girls books was based.  The illustration by Ferdinand Warren inserted between pages 66 and 67 of the story features Jean and Louise finding a note from Josy left under their door at their cousin's house (see illustration to the left here).  It depicts Jean kneeling down to pick up and read the strange note, while Louise stands behind, looking over her shoulder.  The same scene was redrawn (whether by Warren or not is a good question) and expanded upon for the double-spread end pages (see above).  The end pages go beyond the door shown in the illustration and give way to a chair, a painting on the wall, and a grandfather clock standing beside them.   We also get a better view of Louise in the end pages, as she is closer to the wall, so that we can see her full face rather than a hidden profile as in the internal illustration.  

Last, but certainly not least, I must point out McFarlane's habit of inserting the name of the book into his mysteries.  In the first two books, the titles were casually inserted into dialogue at the very end of the story.  In this book, however, McFarlane really outdid himself - he managed to work the title into the story not once, not twice, but a total of NINE TIMES!  And this does not even count the title to Chapter XVI ("The Shadow Beneath the Tower").  

        p. 56 - in the snow "in the shadow of the tower"
        p. 86 - transpiring "in the very shadow of the tower"
        p. 93 - I wonder if she is down there "in the shadow of the tower"
        p. 93 - there was no one "in the shadow of the tower"
        p. 140 - "in the shadow of the tower" Josy was restored
        p. 143 - girls were standing "in the shadow of the tower"
        p. 214 - "shadows" fell across ... "beneath the shadow of the tower"
        p. 214 - down "in the shadow of the Tower" she saw movement
        p. 214 - I just saw them "in the shadow of the tower" 

I almost had to wonder if perhaps this phrase should not become a drinking game (although, if it did, I think most readers would become quite drunk before they finished the book!).  

Of these first three books in the Dana Girls' series, I have to admit, this was my least favorite.  There was too much going on, a couple of the mysteries were solved as mere afterthoughts in the last three pages of the book, and the miraculous manner in which Josy went from grotesque to attractive by just donning a beautiful dress was too much for me. Plus, I miss the practical jokes / pranks that the Danas and Lettie pull on one another.  This particular book only had one attempt at a joke, and the sisters easily defeated it.  We will have to wait and see what McFarlane's final Dana Girls book has in store when we read the next book in this series!
 
RATING:  7 radio dramas set on the Florida coast out of 10 for at least trying something different with this mystery - a handicapped child, a village of superstitious folk, a sleazy con artist, a missing relative, and a thousand dollar bill!

Wednesday, April 9, 2025

Dana Girls Mystery Stories No. 1 - By the Light of the Study Lamp

Now that we finished the Penny Parker series, our reading group tossed around ideas on what series to start on next, and those spectacular sister sleuths, The Dana Girls, won the vote.  Looking back, the idea for the Dana Girls came shortly after the success of Nancy Drew in 1930.  In August 1932, Grosset & Dunlap agreed to move forward with another series written under the pseudonym of "Carolyn Keene" - after all, her Nancy Drew series was a success, so why not take advantage of that author's name while the property was still hot?  It was not until December 1932, however, that Harriet Stratemeyer Adams wrote to Syndicate ghostwriter Leslie McFarlane to ask if he was interested in writing books for a new girls' series.  McFarlane, best known for his work on the Stratemeyer's other popular series, The Hardy Boys, agreed to take on the project (he needed the money).  Thus, in January 1933, McFarlane received a sample book (which was none other than a copy of the first Nancy Drew mystery, The Secret of the Old Clock), as well as the outline written by Edna Stratemeyer Squier.  And with that, The Dana Girls were born!
 
By the Light of the Study Lamp
is the first of The Dana Girls Mystery Stories, published in 1934, along with the second and third books of the breeder set.  The title is definitely not what one would consider a typical mystery title - there is no "mystery" or "clue" or "secret" anywhere in the name! - but it certainly conjures up some unusual, almost gothic imagery.  In fact, the 1949 wrap-spine dust jacket cover for this book (which was taken from the third internal illustration of the original printing) provides an almost gothic scene - a dark mansion in the background, with a light in the upper window, and a young girl (well, in this case, two young girls) in the foreground.  And, of course, the story itself has some minor gothic tropes, what with the hidden panels, double identities, and the missing fortune.  The mystery itself, though, is not gothic at all.

McFarlane does a decent job introducing all of these new characters to his readers.  Louise Dana is "a pretty, dark-haired girl of seventeen" (p. 1), while her sister Jean has "fair hair" (p. 1).  The girls are described as orphans, living with their Uncle Ned and Aunt Harriet (p. 3).  We know from outlines and other documents that the Syndicate provided the character names, but one has to wonder if the names for the uncle and aunt did not come from Edward Stratemeyer ("Ned") and his daughter, Harriet Stratemeyer Adams ("Harriet").  It would be too much of a coincidence for them not to be.  In any event, Uncle Ned is the girls' "bluff, elderly relative" who was the "captain of the great Atlantic liner Balaksa" (p. 3).  Their Aunt Harriet is "a good-natured, attractive maiden lady in her middle forties" (p. 3).  This is one of those rare times when a series book plainly sets forth the age of on their adults - usually they are simply described as older or elderly or middle-aged or some other vague reference.  Readers are also introduced to Ben Harrow, the "stuttering hired man" who is also said to be clumsy (p. 3), as well as Cora Appel, the Danas' maid whose "aggravating stupidity ... kept life interesting for Aunt Harriet" (p. 3).   The maid, who is affectionately nicknamed "Applecore" by the girls, is also described as "buxom" and "red-cheeked" (p. 6).   Buxom, by definition, means a plump woman, normally one with large breasts.  I was surprised to see such a description in a children's series book, but being written by a man, I suppose it should not be surprising that such an attribute would be focused upon. And with that, readers are prepared to enter the world of The Dana Girls and follow along as they find themselves embroiled in their very first mystery!
 
The mystery begins by the end of chapter one, when an antique lamp that Uncle Ned had delivered to the house as a gift for Louise and Jean before they head back to school at Starhurst School for Girls is stolen.  The girls decide to try and follow the thief, which takes them into Oak Falls to a rather seedy second hand shop owned by Jake Garbone, who is described as a "stout, swarthy individual with beetling eyebrows, dark eyes, nose like a beak, [and a] thin, cruel mouth" (p. 17).  The description alone is enough to set off warning signals in the reader's mind that this man is going to be a villain.  And that name - "Garbone."  Perhaps it was a deviation of the name, Paul Bonnaventure Carbone, who was a well-known criminal in the Marseille underworld from the 1920s until the 1940s, when he died.  In any event, the girls head back home by taking the river road, which runs along Oak River, described as "a rough, tumultuous body of water that rin swiftly between high, rocky shores that became sheer cliffs in many places ... [and] ended in the roaring cataract known as Oak Falls, a wild, fifty-foot plunge of foaming water" (p. 25).  Interestingly, there is a real town of Penfield (where Starhurst is located) in New York, which has a park that runs along Irondequoit Creek, "where it drops over 90 feet in the course of one mile. The relatively steep drop in an otherwise flat region leads to some interesting rapids along its path towards Irondequoit Bay and eventually Lake Ontario" (Waterfalls - Channing H Philbrick Park).  Is it possible this area was used as the inspiration for the fictional Oak Falls and its river and waterfall?  This trip ultimately leads them to save the life of a man and his dog - the man turning out to be a friend of Uncle Ned's who becomes a very integral part of the mystery.  The dog, on the other hand, must be supernaturally enhanced, as the girls see the dog hit by a car, watch as it flies through the air; in fact, McFarlane describes the scene by saying the dog was struck with such force that it was thrown clear of the road, rolled down the side of the cliff, and lands with force in the torrent of water below (p. 27).  Yet, miraculously, that dog walks away without one scratch!
 
Louise and Jean head off to Starthurst, where it turns out they are in the same grade (even though Jean is one year younger than Louise - sort of a mirror version of the Hardys, who were one year apart, yet in the same grade).  They meet four of their friends - Nell Carson, Doris Harland, Ann Freeman, and Margaret Glenn - on the train to Penfield.  It is rather amusing that the names of the four friends also happen to have connections to series books:  NELL Speed is a pseudonym used by the Syndicate; DORIS Force is a four-book series written by the Syndicate; ANN Sterling is another series; and MARGARET Penrose is yet another pseudonym.  Again, it could simply be a coincidence (I mean, let's face it, these series books basically depend on coincidences to get the mysteries solved!), but in real life, coincidences are few and far between.  Regardless, the train also furthers the mystery, when the girls witness a gypsy-like woman try to steal a wealthy woman's suitcase (pp. 60-61) and are able to prevent the theft.  The woman, Mrs. Grantland, ultimately plays an important part in the story, as it is revealed an expensive ring of hers was taken by the gypsy, and she aids the girls by allowing them use of her car (which is rather surprising, since she really does not know them - I suppose people were far more trusting back in the 1930s than they are now!).
 
At the school, readers are introduced to Mr. and Mrs. Crandall, who operate the school.  Mrs. Crandall is basically the one in charge, as her husband is more focused on a book he is writing about Ancient Greece (p. 62).  The name "Crandall" has both Irish and Welsh origins, meaning "ravine" or "iron dell," or in some cases, interpreted as "water course."  This is an interesting choice of names, considering the girls' earlier rescue of Franklin Starr from the rapids of Oak River just a few chapters earlier!  And here we also get to meet, for the first time, a character that plays an important part in the Dana Girls' lives through the rest of the series - the one, the only, Lettie Briggs!  The Dana Girls' life-long nemesis is said to be "a tall, anaemic girl whose arrogant, snobbish manner" made her unpopular with the girls at the school (p. 63), and she makes it clear her father is worth $10 million (p. 65), which is unbelievable for that time, as that would equate to more than $230 million in today's dollars!
 
The mystery heats up when the girls stumble upon their lamp at a thrift store in Penfield, where they buy it back (much to Lettie's chagrin!) and put it in their room at Starhurst (which also happens to be the very room Lettie thought she was going to get - yet one more reason for her to hate the Danas!).  The lamp seems to hold a lot of interest for a lot of people.  Lettie wants the lamp for herself, having seen it in the shop but not wanting to pay $10 for it; a handyman at the school seems to have taken a keen interest in the lamp, as the girls catch him looking at the lamp every time he is in their room (as depicted in the frontis piece illustration); and even Garbone and the gyspy woman, who turns out to be his sister, Fay Violette, are anxious to buy back the lamp, indicating it was sold to the thrift store by mistake and rightfully belongs to them. That name, Fay Violette, is interesting and begs the question if it was not perhaps taken from the song "Pretty Violette," which was sung by a young woman named Fay Templeton in New York during the late 1800s and early 1900s.  Again, the coincidence and timing are a bit much to be pushed asie.
 
Getting back to the focal point of the mystery, Lettie does manager to get her hands on the lamp, and as a trick, she gives it to the school's cook as a gift; the Danas find out and get it back, but Jean, as a way to get even, adds some very hot red pepper to some cream puffs the cook has just made and gives them to Lettie and her toady friend, Ina Mason (p. 106).  This is quite amusing, as you would never see Nancy or her friends taking such action against someone who wronged them.  This actually gives Louise and Jean a little bit more personality than their sister sleuths, as it reveals a more natural, human side to their characters. 
 
The story evolves as the Danas, besides trying to learn the secret of the study lamp, also seek to aid a young girl at their school, Evelyn Starr, who is on the verge of having to leave due to a lack of money.  Yes, this turns out to be Franklin Starr's little sister (another coincidence!  what a shock!), and it eventually all ties into that antique study lamp, which provides Evelyn Starr with the means to stay at Starhurst and sets up her and her brother for many years to come.  And, oh yeah, that dastardly Jake Garbone and his thieving sister both end up in police custody, where they belong, and Mrs. Grantland's expensive ring is recovered and returned to her.  All in all, the Danas do a superb job of wrapping up their first mystery, and McFarlane finds a way to integrate the title into the very last line of the book, as Louise says, "I'll never forget how those precious jewels looked by the light of the study lamp" (p. 215).  However, just because they solve the mystery in spectacular fashion does not mean the story does not have some rather ... questionable ... moments!  Probably one of the biggest takes place in Chapter Nineteen, when Jean walks to the telegraph office in Penfield to send a message to Uncle Ned; when she returns to the school, she tells Louise she came back by way of the park where she saw Jake Garbone (p. 157).  The girls want to catch the man, so they borrow Mrs. Grantland's car (p. 158), and Louise drives the car through the traffic of Penfield until they are "speeding along the highway" that leads out of Penfield to get to the park before Garbone leaves (p. 159).  Now, I ask - how in the world did Jean walk, or even run, by the park and get back to the school so quickly, whereas the Danas are forced to use a car and drive outside of Penfield in order to get to that very same park to catch Garbone before he leaves?  Is Jean bionic, by chance, and she can run as fast as any car can drive?  Either that, or the distance and timing somehow changed between Jean's visit to the park and the girls' trip back to the park.
 
I will say, though, the girls' trip to the park does warrant a mention, as it is there the girls discover a pocket watch dropped by Garbone, which coincidentally (here we go again!) has an inscription to Franklin Starr.  The title to that particular chapter happens to be "The Clue of the Watch" - a title that, perhaps, pokes a little fun at the title to the very first Nancy Drew book, The Secret in the Old Clock?  And the internal illustration for that scene, when Garbone happens across the girls just as they discover the watch, bears an uncanny resemblance to an illustration from the Nancy Drew book, The Password to Larkspur Lane (p. 101), where Nancy is kneeling on the ground as a man comes barging through the bushes towards her.  In fact, oddly enough, another illustration in this book (from page 112) showing the girls watching as a man creeps up on the school is extremely similar to another illustration from Larkspur Lane (p. 9), where Nancy and Hannah are watching a man running up to the front door of the Drew house.  Larkspur Lane came out just one year prior to this book, so the question becomes: is it simply coincidence (again????) or did artist Ferdinand E. Warren, who illustrated this first Dana Girls mystery, take some inspiration from those earlier illustrations.  
 
And while we are looking at the illustrations from this book, the fourth illustration, which shows the Danas looking into Mr. Garbone's second hand store through the front window, is somewhat the same as one of the later illustrations in The Clue in the Old Album, when  Nancy, George, and Bess are looking through the window of the antique store and see one of Mrs. Struther's dolls.  Now, there is no denying that Warren's illustrations in this book are gorgeous.  The black and white drawings are highly detailed (take a look at the scene of the sisters looking into Garbone's store for an example - the backwards lettering on the window, all of the items on the window shelf, the car in the background, the stores across the street, the clothing, the overhead lamp, etc.), and the girls (Jean and Louise) look far closer to their ages than Nancy and her friends do in the Tandy illustrations throughout those early Nancy Drew books (where Nancy and her friends appear to be closer to 30 than 18!).  Warren (1899 - 1981) was a rather well-known artist later, being commissioned as the only artist to ever paint a posed portrait of the poet, Robert Frost.  Later still, he was chosen by NASA to paint the launch of Apollo 14, a rather prestigious honor!  He received numerous awards for his work, and he has paintings displayed in numerous galleries throughout the U.S.
 
I realize this post is a bit longer than normal, but there was so much to say about this book.  Before I close, I would be remiss if I did not mention the trouble McFarlane had in writing the book.  While records show that it only took him a month to write the book (from January 7, 1933 to February 4, 1933), they also reveal he had difficulty getting through the writing - sometimes to the point where he was "utterly fed up and discouraged" with the book!  It was during this period of writing By the Light of the Study Lamp that McFarlane's wife gave birth to their daughter, which may have been part of the reason he kept plugging away at the book and got it finished - so he could get the payment needed to pay bills!  In a letter from the Syndicate after receiving the manuscript, McFarlane was told they liked the story, describing it as "excellent" - and they informed him they would hear back within a week as to the next story.  And, thus, The Dana Girls Mystery Stories were born!
 
RATING:   8 dark skirts and matching sweaters out of 10 for a rather well-fleshed out opening mystery for Louise and Jean Dana, with a some rather intense, dangerous, and even shockingly violent moments!