Monday, April 21, 2025

A Zebra Mystery Puzzler #15 - Time to Kill

This fifteenth book in the Zebra Mystery Puzzler series introduces readers to a new author and a new crime solving young woman (yes, at this point it is pretty obvious that this series will always have a woman as the lead character).  This is author Miriam Lynch's first entry into the series, but it is certainly not her first mystery novel.  Lynch, who has written under the pseudonyms Dolores Craig, Claire Vincent, Moira Lord, and Mary Wallace, was first published in 1957, and between then and the early '80s, she wrote more than 35 novels - mystery, romance, and gothic.  She only wrote two Zebra Mystery Puzzlers - this book and no. 25 (You'll Be the Death of Me).  She had books published under a number of various lines - Candlelight, Ravenswood, Ace, Paperback Library, Coventry, Lancer, Pyramid, and others.  I notice on the blogs I have read which feature reviews of her books, all of them raved about her writing. While this particular book put forth a fairly decent mystery, I'm not sure I would hold her in the same high standard as these other bloggers (although, to be fair, they were reviewing her gothic work, and this is a mystery).
 
Time to Kill
(not to be confused with John Grisham's novel of the same name, which came out 10 years after this one) introduces readers to Nell Willard, a young woman working hard to make it as a reporter. Unfortunately, her editor seems to think she is only capable of handling obituaries or simple social functions and refuses to give her any assignments that could give her a chance to shine.  I suppose that even in 1979, when this book was published, women were still fighting for their equal rights in professions that had been male-dominated for so long (after all, 9 to 5 came out a year after this book, and that film was all about how men continued to hold women back from succeeding in the work place).  So much has changed since then, so in reading this story and the manner in which the men treated poor Nell, I had to keep reminding myself of the time period the book was written.  Lucky for Nell (but not so lucky for the victim), she happens to be in the right place at the right time (or the wrong place at the wrong time, depending on your perspective) when a not-so-famous actress' longtime friend is murdered!
 
When Nell is assigned to interview an aging actress who has returned to her small town after years in Hollywood, Nell expects to have to sit through photo albums of memories and hours of boredom.  Instead, she meets an agitated older woman who seems nervous about something.  When they discover the body of the actress's friend at the bottom of the cellar stairs - shot in the back! - Nell goes into action, calling the police and the newspaper.  Suddenly, Nell is thrust into the limelight as a possible witness for the murder investigation.  Nell feels sorry for the actress and takes time off from work to stay with her so she is not alone in the house.  From there, things only escalate.  A strange man is seen watching the house from the shadow of the trees out back.  The actress disappears for hours at a time without any explanation (or, at least, without explanations that make sense).  And Nell is knocked unconscious by an intruder in the house - was it because someone mistook her for the actress, or is someone wanting Nell to stop looking into the murder?  And how does any of this connect to a young teenager who disappeared years ago after attempting to rob a bank, a case that the local police were never able to solve?
 
Lynch does provide readers with a determined young detective in Nell Willard, as nothing deters her from getting to the bottom of all the mysteries thrown into her lap.  A grouchy detective who does not want her interfering ... a self-absorbed actress who does not want Nell to leave for even one second, yet disappears herself without explanation ... a chauvinistic editor who is making snide remarks about Nell at every turn ... and a house that holds more secrets than Nell can possibly count.  A torn up photograph, a hideous lamp, some old receipts, and a secret staircase provide important clues that lead Nell (and the reader!) to figure out what is really going on in that house - but will she put it all together before it is too late and the killer strikes again?
 
While the cover artist is not identified, the interior illustrations are signed simply by "Hoffman."  A little research reveals this interior artist to be Sanford 'Sandy' Hoffman (1937 - 2017), who was a commercial illustration in New York for most of his life.  Hoffman did the art for a lot of album covers back in the late '60s and into the '70s, as well as concert posters of that era.  This is the first Zebra Mystery Puzzler for which he provided interior illustrations, and they are very distinct in their style.  Hoffman tends to "box in" his images, and the characters are defined with dark lines and shading, with considerable detail in the picture itself.  Interestingly, the clues in the illustrations are pretty straightforward (when viewed in conjunction with the story), and so it does help in solving the mystery (which, honestly, was not overly difficult to figure out - like any good Nancy Drew book, the two mysteries that appear unrelated are ultimately tied together at the end).
 
The story does contain a number of gothic elements, leading me to believe Lynch was more comfortable with the gothic romance tales than a straight up mystery story.  We have the dark house where the protagonist goes to stay; we have the two men fighting over the young protagonist; we have all of the secrets surrounding the house and its inhabitant; we have the secret panels and hidden staircases, the stranger outside watching, and the creepy attic filled with cryptic clues as to the past of the aging actress.  I could easily seen this book having been published as a gothic story just five or ten years prior (and with only a few minor revisions, such as Nell's relation to the actress).
 
While not exactly the best book in the series, it was still a decent enough read, and I am curious as to where Lynch will take Nell in her next mystery (10 books from this one...).
 
RATING:  8 bouquets of red roses out of 10 for a fast-paced mystery that provides the necessary clues to figure it all out before the end (although several are a bit too obvious).

Friday, April 18, 2025

Murder on the White Cliffs - A Posie Parker Mystery, Book 8

I really need to pay more attention, because it has apparently been more than a year and a half since I read my last Posie Parker mystery novel, and I am already way behind on this series - I mean, here I am just now reading book eight, and and according to Amazon, there are sixteen published books in the series!  Which means, I am only half-way through the series.  Egads!  But that's okay, because it seems a number of other series I read have either already ended, or are coming to an end, so at least this gives me some comfort in knowing I still have eight more books to go with this one (and how know how many more L.B. Hathaway will write while I'm trying to get those eight read?!).  This book is considerably thicker than the seven prior books, but the larger page count was definitely needed for Hathaway to tell this story.
 
Murder on the White Cliffs provide us with a prologue to murder - a young woman heading off to a clandestine meeting on a dark, stormy night, high atop the cliffs overlooking the treacherous rocks and ocean below.  A mysterious man meets her, and they fight, the man accusing her of having written to Posie Parker for help.  Help with what?  The next thing you know. the young woman is pushed, sent flying over the edge of the cliff, and the last thing she hears is someone crying out her name ... Elsie .. or was that Elise?  With that cryptic crime, Hathaway then switches to Bloomsbury, London, where Richard Lovelace has been left getting his fiance's top-floor flat ready for him and his two daughters to move it.  Yes, the marriage of Posie Parker and Richard Lovelace is still on, but the question is - does Posie have cold feet?
 
Just when they are preparing to wed, move in together, and share their lives, Posie heads off to St. Margaret's Bay to look into the mysterious circumstances surrounding Elise Moncrieff's death.  It may at first glance appear to have been an accident, Posie's gut tells her otherwise.  Why else would the woman have written to her months before, asking for her help?  She had not gone to help her, and now the woman was dead.  For Posie, something did not add up.  The fact that St. Margaret's Bay is also the location of Maypole Manor, the site of another murder three years prior that Posie and Richard had solved ... the site where Posie first met the mysterious secret agent, Max ... a man she had been strangely attracted to ... a man who she had learned died in service of his country ... a man who, oddly enough, turns out looks nearly identical to the now deceased Elsie Moncrieff!  Yes, the stage is set for a superbly written mystery that connects the present to the past, interweaving a story of spies, secret love, deceit, murder, and hidden identities (as well as a scheming little maid who manages to learn quite a bit about everyone at White Shaw - perhaps too much, since she winds up dead before the end of this tale!). Not everyone in this story is who they say they are, and the more you read of it, the more you realize why Hathaway needed nearly 400 pages to write the story.
 
The mystery centers around the fashion design house known as White Shaw, and its owners - the American heiress, Petronella Douglas, and her Scottish husband, Anthony Stone.  The lavish parties thrown, the high-profile guests who attend, the alcohol and drugs that flow freely at those parties, and the scientist who goes missing at one of those parties are all a part of the mix, as Posie slowly discovers as she digs deeper and deeper into the death of Elsie Moncrieff - a woman who, as it turns out, has no past.  In fact, she does not seem to exist at all.  So, who was she?  Why did she reach out to Posie?  What involvement did she have with Douglas & Stone fashion house?  How did she create her own network of spies within the house without anyone knowing?  When did she decide it was time to leave?  And, most important of all - what information did she discover that led her to her not only receiving a letter of termination from Petronella Douglas, but ultimately led to her death?  The housekeeper ... the cook ... the chauffeur ... the handyman ... the escort ... an entire crew of people, each hiding secrets regarding Elsie and the day her body was found.  Plus, Posie has a very unexpected visitor in her hotel room ... a ghost from the past who is trying to give her the clues she needs to solve this mystery before she becomes the next victim, as there are forces at work far beyond the fashion world.  Spies, traitors, and secret agents play a huge part of it, and someone Posie thought she could trust turns out to be the worst villain of them all!
 
Hathaway does integrate Guy Fawkes Night into the story, and as I read mention of this celebration, I had to wonder where I had heard of this before?  Had a prior Posie Parker story mentioned it?  Well, looking back, it seems those precocious pre-teen sleuths, Wells & Wong, happened to have a mystery that involved the same celebration (Jolly Foul Play).  It seems those night time bonfires are the perfect place for a murder to happen!  And for those who don't know (which included me, until I looked it up), Guy Fawkes Nigh, also referred to as "Bonfire Night," is an annual event in November that commemorates the failure of Guy Fawkes plot to blow up the Houses of Parliament and kill King James I.  

Something else that caught my attention in this story are the references to Posie's prior boyfriend, the adventurous Alaric Boynton-Dale (who died in a previous book).  While I had not thought about the name before, when I was reading this story, it suddenly struck me as funny how similar Alaric's name is to the author of the Sue Barton and Carol Page series for young adults - Helen Dore Boylston.  It made me wonder if Hathaway was giving just a minor nod to that author; perhaps Hathaway even read some of Boylston's books growing up.
 
I thoroughly enjoyed the mystery, and as Posie begins to put the pieces together, if the reader has paid close attention throughout the story, one will be able to figure out who is who and what really happened that fateful night. It is a well-plotted tale of murder and intrigue, and it not only puts to rest a part of Posie's past, the final chapter sets the stage for Posie and Richard's wedding, with a huge surprise thrown in to boot!
 
RATING:  10  blue, fake-silk headscarves out of 10 for a post-war, spy-filled murder mystery spattered with fashion and bonfires!
 

Tuesday, April 15, 2025

Harlequin Gothic Romance Series No. 32007 - The Fourth Letter

"She thought the past was laid to rest - only to discover that it threatened to destroy her future" (cover blurb).
 
I can't believe I am already seven books into the Harlequin Gothic Romance series.  Even more shocking, I can't believe how much I am thoroughly enjoying each and every one of the books in this series!  But here I am, and I have no intention of slowing down - although, I will admit, I'm beginning to already feel a bit of sadness at the idea that the series only had eighteen books in it.  That means I only have eleven left to go.  Oh, well, there are plenty of other gothic books from the '60s, '70s, and '80s out there waiting for me to read them, so I suppose I should not be too disheartened.  But, honestly, I don't know that any of them have as beautiful art and as creative titles as this series does, and the uniformity of the covers is a huge plus to someone who loves uniformity and consistency, particularly in series books.  And this one has its series books moments, believe me!
 
The Fourth Letter is written by Alison Quinn and is her second (and final) book in the series.  As previously indicated in my review of her first book (The Satyr Ring), which also happens to be the first book in the series, Quinn is likely the real name of the author and not a pseudonym, since the copyright page on both books indicate the copyright is owned by "Alison Quinn."  Other than that, and the fact that she wrote the first and seventh book in this series, I am not able to find anything else about the author.  I can saw, however, that she is a very talented writer and definitely knows how to write a great gothic mystery.  In this instance, the mystery involves a young woman named Nicole Lord, whose father has died and she has left her home in Paris, France to fulfill her father's dying wish - see her grandmother and resolve the issues that caused him to leave home so many years ago.  The only thing is, Nicole is not prepared for the various secrets and machinations that exist within the walls of the Lord mansion in the hills of Vermont!
 
While Quinn integrates a number of standard gothic tropes - the isolated mansion, the secrets held by pretty much every member of the household, the dangerous cliffs, and the mysterious sounds in the dead of night - she also manages to sneak in some twists into the story and challenge what the reader thinks they know or have figured out.  Quinn throws a couple of very unexpected curve balls that have great impact on the story and the relationships among the characters. Nicole arrives to find a grandmother that is at first resistant and distrusting; a housekeeper and confidant that makes it clear Nicole is not wanted there; a housekeeper's son who is hot and cold - distant at times, friendly at others; and a doctor who is a renowned ladies' man and has set his eyes on Nicole.  The poor girl does not know who to trust, and all she wants is to pass along her father's message and move on to New York.  And therein lies the problem...
 
Nicole's father had previously written his mother three times before, but never received a response.  Nicole has in her possession a fourth and final letter her father wrote just before he died, telling Nicole to give it to her grandmother when she feels the time is right.  But Nicole cannot determine when, or even if, there will be a right time.  And why does her grandmother have this irrational hatred of art of any kind?  Why is the house filled with mirrors on the walls rather than works of art?  And what is that constant tapping she hears at night, coming from the small patroon house at the edge of the woods?  The answer to that final question ultimately leads to a deadly encounter which results in Nicole being locked in the burning building, left to die!  And I suppose there is one more question that must be answered - why in the world does everyone get so distraught when Nicole and Mark announce their engagement?  What secret could their families possibly be hiding that would prevent them from consummating their love?  Well, let's just say that Flowers in the Attic could take a queue from this story!
 
I love the fact that Quinn does not even try to hide who the villain of this story is; nor does she give readers a clear line of good and bad when it comes to Nicole's two suitors - instead, we get plenty of gray areas with both of them.  And the contents of that mysterious, sealed fourth letter, the burning of the patroon house, the threats to Nicole's life, and the secrets that everyone in the house is hiding - well, they all add up to a great gothic mystery that, in some ways, reminds me of a good Nancy Drew mystery.  In fact, the cover art (by yet another unidentified artist) is similar to the original cover art of the Nancy Drew mystery, The Clue in the Diary, by Russell H. Tandy.  Both covers feature the burning buildings in the background, both covers feature a young woman in the foreground - one reaching down for a book, the other clutching a sealed envelope. 
 
Then again, the cover also resembles a much later Nancy Drew mystery, Race Against Time, which cover art was provided by the very talented Ruth Sanderson.  In this particular cover, we see the burning building in the background (as with this book), and the young woman is now facing the fire, her hand raised up to her mouth, similar to how the young woman on the cover of this book has her hand raised up to her chest as she looks back at the burning building.  Perhaps it is mere coincidence that all of these covers feature similar aspects; I mean, after all, the Nancy Drew mysteries have always incorporated a lot of gothic elements into the stories, so why should it be any surprise the covers should not also mirror certain gothic themes?  

One thing I did find odd about the book has nothing to do with the story or cover art; rather, it is the two-page spread in the back of the book advertising the various Harlequin series.  The advertisement urges readers to "Indulge in the pleasure of superb romance reading by choosing the most popular love stories in the world."  Below this tag are six different Harlequin series:  Harlequin Romance, Harlequin Presents, Harlequin Temptation, Harlequin Superromance, Harlequin American Romance, and Harlequin Intrigue.  Surprisingly, the very series in which the ad is placed is not mentioned at all. One would think they would want to advertise the Harlequin Gothic Romance series as well, but apparently it did not make the cut for this particular advertising campaign.  Perhaps that might be part of the reason the series did not last beyond 18 books - without advertising, one cannot expect a series to succeed!
 
This was yet another fantastic addition to the world of gothic romance/mystery novels, leaving me excited and anxious to read the next one in this series!
 
RATING:  10 seven-eights leopardskin fur coats out of 10 for a superbly-written gothic tale of secrets, suspense, and soap-opera style surprises!

Saturday, April 12, 2025

Carol on Broadway a/k/a Carol Goes to Broadway - the Third Carol Page theater story

First, she served as an apprentice at the Stuyvesant Theatre under Miss Marlowe.  Then, she was able to play summer stock at the Richards Village Theatre in Winasser, Maine.  Now, after a year of theater training, Carol Page is ready to head for Broadway - the ultimate goal of all theater actors!  This is the third book in Helen Dore Boylston's series about a young woman whose love of acting and the theater is awakened after participating in a high school play and getting the opportunity to serve an apprenticeship under an experienced actress.  The series has followed Carol, and her two friends, Julia Gregg and Mike Horodinsky, as they have pursued their careers - Carol as a series actress; Julia as a comedic player; and Mike as a director.  Thus far, the series has given a pretty accurate portrayal of theater life, and so I was anxious to see how Carol's attempts to get a part on Broadway would play out.
 
Carol on Broadway
(a/k/a Carol Comes to Broadway) opens as Carol is packing, ready to begin her new life in New York City as an aspiring actress.   Carol and Julia already have a room reserved in a "brownstone on a dingy side street west of Eighth Avenue" (p. 20).  It is there we get to meet our new cast of characters, with whom Carol and Julia will share their New York and Broadway adventures!  And these characters are some of the most fun and unique ones to appear in this series to date.  The first is Mrs. Garrentt, who runs the boarding house. Aldred Dean, who was the leading lady at Richards Village Theatre in the previous book, recommended  the place as a "respectable, old-fashioned theatrical boardinghouse" (p. 21).  Mrs. Garrett (and, yes, the first person I pictured is Charlotte Rae from TV's The Facts of Life - in fact, her image pretty much stuck with me during the whole book!) is a real hoot.  When she opens the door to Carol, Julia, and Mrs. Page, Boylston describes her as an "enormous woman dressed in purple filled the doorway like a sequin-embroidered mountain.  Her frizzed hair was dyed a color between red and blond which could only be classified as nasturtium, and in it she wore an artificial red rose" (p. 22).  With this description, my mind pictured a cross between Charlotte Rae's Mrs. Garrett and Audra Lindley's Mrs. Roper, from Three's Company.  She turns out to be a very caring person, who looks after and protects her tenants as if they were her own children.
 
As for the other tenants - Mitzi Katherine Malloy is another aspiring actress who is somewhat shy and who is beholden to the whims of her boyfriend, "who wants her to dress like those girls in the Russian Drama School" (p. 24); Miss Iverson is an aged actress, who is a bit high-strung and a bit jaded; Charlie Anders is a pasty-looking young man who is quite sure of himself, as well as a self-proclaimed ladies' man; and then there is Billy Beaseley, the former clown and current comic, whose sidekick, Herbert, makes the most unexpected appearance on the stairs of the boardinghouse, startling Carol, Julia, and Mrs. Page alike - for you see, Herbert is a skunk!  Thankfully, the girls soon learn his scent glands have been removed, and he has been trained to be a part of Billy's act,  The girls make fast friends with all of the other tenants (well, except maybe Charlie), and Carol especially gains some valuable knowledge from each of them, in their own way.
 
Boylston does not go easy with the girls.  Carol and Julia are both excited as they head out their first day to "make the rounds," as the saying goes.  They hit up every casting agency they can find, only to discover that no one is willing to see an unknown.  It seems that in order to see a casting agent, one must have experience on Broadway; yet, the only way to get experience is to get cast in a play through a casting agent!  The girls are discouraged, but they remain determined. For a while, at least.  Billy ends up providing Carol with some much needed advice, which ultimately gets her in to see one casting agent - Arthur G. Sweetster Theatrical Enterprises.  While he does not get her cast, he does provide some encouragement that eventually leads her to taking a job doing a radio commercial.  Eventually, just as Carol is about to give up hope, she falls into the good fortune of getting a small role in a play at the Valencia Theater - which, by the way, is an actual theater in New York City, located in Queens, New York.  The real Valencia Theater opened its doors in 1929, which means it would have been in existence at the time this book was written and published.
 
One thing I enjoyed about all of the tension that Carol discovers while rehearsing for this play is how realistically it is portrayed.  As a professional Broadway play, rather than just a community theater production, it's less of a family-generating atmosphere where everyone pulls together and more of a dog-eat-dog arena, where everyone is out for themselves and looking to prove they are better and more talented than everyone else.  At one point, as the cast are heading to New Haven (which is about four hours away from New York City) for the opening performance, one of the other cast members makes the snide remark that "it really won't matter how many mistakes you make, really.  After all, just remember you haven't got an important part" (p. 166).  Carol, already frustrated, replies with a stupendously catty remark, "Thanks so much.  I hope you'll be able to get some reset.  That part must be an awful strain on you.  You're looking terribly tired" (p. 166).  The insinuation that the other woman is old and tired looking would certainly strike hard to any actress, and Carol, being the nice person she really is, immediately regrets the comment.  Me, on the other hand, was happy to finally see her strike back a bit!
 
Boylston keeps Carol on a timeline that she has established with her father - if she is not steadily employed as an actress within one year, then she will return home and go to college.  Boylston builds some suspense for the reader, as the production in which Carol has a party is shut down, leaving the poor girl with very little time to find another role before she must return home.  Just as she has given up hope and is packing to leave, she gets a call from none other than Miss Marlowe, who is back at the Stuyvesant and ready to put on a new production written by a friend of Mike Horodinsky.  It is a big chance she is taking, but since the theatre is being converted to one showing films, Miss Marlowe believes she has nothing to lose.  Carol, of course, is cast in a large role opposite Miss Marlowe herself, and on the opening night, Carol is surprised to find her parents and brother were in the audience.  And, as fate would have it, so was Mr. Sweetster, who is so impressed with the play that he is going to have it produced on Broadway!  Thus, Carol finds herself in a guaranteed production just in time to beat that deadline, and it leaves us all wondering - just where will Carol go next?
 
While Carol's good fortune in getting in to see the casting agent, falling into the radio commercial gig, lucking into the role of her first Broadway play, and the instant success of her performance with Miss Marlowe reek of series book coincidences, the one realistic thing about it is that in order to truly make it, it all boils down to who you know.  And in each of these cases, that is exactly how Carol managed to succeed in each circumstance. 
 
There are plenty of other subplots that move the story along - Julia managing to land a role in a touring show; Mike meeting a young woman who is an aspiring playwright and who clearly has eyes for Mike; Mitzi's controlling boyfriend and her efforts to change; and Billy's desire to get back to performing in the circus like he and Herbert used to do.  The art in this book is once again provided by Major Felton, who did the illustrations in the previous book.  They do not really depict any exciting scenes (one is simply Carol pointing theater-goers to their seats, which another simply shows Carol taking bows at the end of a performance); however, they are clean and a little more refined than those in the second book.  Plus, the one illustration depicts the scene where the girls first meet Herbert!  And, just like the first two books, this book was also published in Britain, where it underwent a slight name change - instead of Carol simply being "ON" Broadway, for the British edition, the title tells reader that Carol "COMES TO" Broadway.  It follows the format of the first two books, with that same headshot of Carol, only it is outlined in blue, instead of the yellow of the second book or red of the first book.
 
One final thing worth mentioning is the dedication at the beginning of the book.  Boylston dedicates the book "FOR BUSHY - Who Was No Help at All."  I had to snicker when I read this, as Bushy Trott is the name of a villain from one of the Nancy Drew Books (Old Attic),  and it is also a nickname of a very good friend of mine.  The fact that Bolyston dedicates the book to Bushy with the comment that he was "no help at all" certainly keeps in line with the villainy of the Nancy Drew crook; as far as my friend?  Well, let's just say he would definitely get a kick out of this dedication!
 
RATING:  10 tattered, disreputable tramps on a park bench out of 10 for giving readers a taste for the darker, more difficult side of professional theater work - it's not all glamour and stardom!

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!

Sunday, April 6, 2025

Jacqueline Jones - a Crime Comic for Kids of All Ages

I was completely unaware of this comic, and likely would have never heard of it, had it not been for my friend Kevin.  He came across the comic, purchased it, read it, and liked it, so he told me about it, and well ... since it has a female lead, it was pretty much a given that I was going to get it.  Apparently, the comic was funded via Kickstarter back in 2023, and hard copies are now available via Etsy (which is where I got my copy, and it is autographed by the creator as well!).  While the premise is not necessarily new, the execution and production of the comic, and the story behind the comic, is definitely worth while, and the comic itself - all I can say is WOW!
 
Jacqueline Jones is the creation of Carrick Esquivel, who wrote and penciled the book, with the help of Jesse Hansen and Johnny B. Gerardy (inkers) and Jeromy Cox (colors and letters).  The title is the main character's name, Jacqueline Jones, a dedicated police officer in the 1950s who managed to become a cop because she "misspelled" her name as "Jack" on the application (because, let's face it, back in the 1950s, how many women were police officers, patrolling the streets and fighting crime?).  While DC Comics may have had Liza Warner as Lady Cop back in 1975, Esquivel gives readers a 6'2" Amazon-like officer nicknamed "The Lady in Blue" by the good citizens of the city of Themis (which is appropriate, since that is the Greek goddess of justice, divine order, and law).  Esquivel plays the story appropriately for its time period, as Jones faces discrimination because of her gender, gets heckled by her fellow officers, and gets underestimated by the criminals she takes down.   But she fights back, and she fights back hard!
 
One thing I definitely enjoyed about this first issue is that it is not a long, drawn-out origin tale.  In fact, Esquivel manages to give readers everything they need to know (for now) about Jacqueline Jones' backstory in just three pages - showing how she got into the policewomen's bureau and moved up from writing parking tickets to eventually becoming the city's first patrolwoman.  This leaves plenty of pages to tell the real story - Jones is tipped off about a cache of guns found behind a local bar, only to come face to face with some very deadly henchman of a crime lord named "the Czar."  An attempted bribe, a rough-and-tumble fist fight, an exploding patrol car, and a good, old-fashioned car chase with bullets flying fill the remaining pages, as Jones fulfills her oath to bring evil to justice.
 
And Esquivel gives readers a wonderfully surprising cliffhanger on that last page, as we find out the identity (sort of) of the Czar - which makes me anxiously waiting for issue two (which, based on Esquivel's Facebook page, appears to be nearing completion).  
 
The art is perfectly matched for the 1950s setting.  Each panel has the feel of a mid-20th Century cartoon (think Fleischer's Superman cartoons), and you can easily, and the action scenes give off an impression of real movement. The hair styles, the clothes, the cars, the architecture - Esquivel nails it.  The inks are not heavy, for which I'm thankful, as I feel that thick inks can ruin beautiful comic art; and the colors integrate so many wonderful shades of blue in pretty much every single panel, it keeps the focus on the fact that the main character in the book IS the Lady in Blue!  Readers even get some fun pages at the end of the book, including a Jacqueline Jones paper doll with Jackie's Crime-Fighting Gear!
 
The last couple of pages offer fans a look at some real life ladies in blue, with photos of various female police officers that work in San Diego, and to whom Esquivel has shared his creation - after all, these lades were the inspiration for his fictional lady in blue.  Such a wonderful dedication to these hard working women who help keep our streets safe, not just in San Diego, but all across this great country. Jacqueline Jones is definitely a love letter to these officers, and one that's well worth the read!  Looking forward to reading the adventures of Officer Jones for many years to come!
 
RATING:  10 well-aimed garbage can lids out of 10 for bringing to the comic page a non-super-powered superhero that honors the real life superheroes who protect our streets every day!

Thursday, April 3, 2025

The Daughters of Ardmore Hall - an Ace Gothic by Dorothy Eden

This is a book that I picked up for a number of reasons:  (1) it is a gothic novel, (2) I enjoyed the last Dorothy Eden book that I read, (3) the cover art is gorgeous, and (4) the use of the word "Ardmore" in the title piqued my curiosity.  Dorothy Eden, author of Shadow of a Witch, a gothic that I read and reviewed last year, wrote quite a few gothic novels between 1940 and 1982, most under her own name (although she did write two books under the Mary Paradise pseudonym).  It is said that by the early 1980s, Eden was one of the 10 best-selling novelists in the world.  She was born in New Zealand, where she lived her entire life.  While her books are most well known as Gothic novels, they do not always follow all of the standard Gothic tropes.  This one certainly did not.
 
The Daughters of Ardmore Hall
, originally titled The Schoolmaster's Daughter when it was first published back in 1946, or 1948 depending on which site you research, tells the story of two sister (and, no, they are not Mary Campbell and Jessica Tate, so don't go there!) - Charlotte Castle, the older sister, and Truda Castle, the younger one.  Truda is the main character, and it is through her perspective that the reader is told the tale of these daughters of Ardmore Hall.  What's interesting is that, despite the revised title, neither Charlotte nor Truda ever actually lived in Ardmore Hall.  In fact, of the two, only Truda ever visits the place.  As it turns out, Ardmore Hall is very tangential to the story - the Hall is actually the ancestral home of the sisters' mother, which was sold many years prior, and Mrs. Castle was forced to take all of her prized possessions and cram them into the small schoolhouse where she and her daughters now lived with Henry Castle, the school master for the small town in which they lived.  I was honestly hoping that Ardmore Hall would play a bit more of a role in the story, since the name has appeared before in other books I've read - Mildred Wirt's Ghost Gables, as well as her book Courageous Wings; in addition, Ardmore was the name of the college in the Ruth Fielding series, some of which were written by Wirt; and it was mentioned as a college attended by a character in the Madge Sterling series, also, coincidentally, written by Wirt.  Thus, with so many references to Ardmore, the title to this particular book definitely caught my attention.  All of Wirt's books appeared prior to the first publication of this story (under its original title); however, living in New Zealand, it is likely Eden's inspiration for using the name more likely came from the fact there is a large, rural town named Ardmore in New Zealand.  As for Wirt's reason in using that name so often?  Well, there are several cities in the United States by that name...
 
In any event, when reading this book, do not expect to find any gloomy mansion or large castle with hidden rooms or falling cement gargoyles.  While the cover art depicts a rather large house, the story makes it clear the house is not very big, and the furniture Mrs. Castle brought with her from Ardmore Hall makes it cramped.  From the beginning, the reader gets a clear sense of Truda's relationship based upon how each of the members of her family and close circle of friends are addressed.  Mr. Castle is referred to as "Father," while Mrs. Castle is referred to by her proper name, "Fanny."  Right away, it is obvious there is tension between Truda and her mother.  Charlotte, Truda's older sister, seems to be the focal point of all that tension - her mother dotes on her, loves her, protects her, so much that Truda is merely an afterthought, brushed aside or insulted if her actions in any way interfere with her sister's glory.  Mr. Castle, on the other hand, sees the injustice and often comes to his younger daughter's defense, as does Miss Angel, the school teacher who is a very close friend of the family.  Charlotte, with her beauty and her strong personality, demands the attention of everyone around her, and as she has matured, she has learned how to manipulate people and situations to give the appearance that she is innocent of anything other then being in the right place at the right time.  Truda sees this, but she cannot seem to help herself and repeatedly gives in to her sister's wants and demands.
 
 Until the fateful night of the big dance, when Charlotte is sick and must stay home, and Truda has a chance to go without her sister, where she meets Evan Wright.  For the first time, the world seems to be opening up and giving Truda a chance to shine and have a life of her own, apart from Charlotte.  Fate, however, has other plans.  While the synopsis on the back of the book describes how three years have passed since Evan left and Charlotte returns without a word of where she has been or what she has done, in actuality is is Truda who does the leaving, and it is actually four years that pass before Charlotte returns to the small schoolhouse.  Father has died, Truda's marriage to Evan fell apart (when she caught Evan kissing Charlotte), and Truda is raising her daughter, Honey, on her own (neither Evan nor Charlotte knows about the child).  But now Charlotte is back, and with her return (more than half-way through the book!), we finally start seeing some of those Gothic elements appear.
 
Truda meets the new town doctor, Luke, who seems to be attracted to her.  But Truda is still married to Evan, with whom she shares a child.  Charlotte, even from her sick bed, begins to shower Honey with attention, making it clear she wants to steal the child away from Truda just like she did her husband.  On the night Evan is supposed to arrive by train, a horrible storm hits.  Mrs. Castle's sister, Aunt Letty (and with that name, how could I not think of the Dana Girls' nemesis, Lettie Briggs? Thankfully, this Letty is nothing like that one!), arrives, saying she saw no sign of Evan on the train.  Mrs. Castle, Aunt Letty, Miss Angel, and Truda are all caught out in the rain and come back to the house (separately!) with muddied boots and wet clothes.  No sign of Evan.  But more odd, there is no sign of Charlotte, who everyone believes left to meet Evan on the train.  After the storm passes, Charlotte's fate is discovered - she is dead, having been forcefully drowned in a pond, formed by the rain, behind the house.  Who did it?  Evan shows up the next day, but Truda finds clues that indicate he was there the previous night.  All of the women were out, by themselves, when the storm hit, and none of them have anyone to give them an alibi.  It's actually a very well-crafted mystery, although astute readers will likely pick up on the identity of the killer pretty quickly.  I will give Eden credit for trying to play up the various suspects, but there is one that stands out as somewhat obvious, based upon that particular character's actions just prior to the murder.
 
While we do not get the typical "two men - one appears good, but is really evil, while the other seems not nice at all, but turns out to be the real hero" trope of Gothic novels, Eden does give poor Truda two men in her life (although Luke does not come into the picture until nearly three-fourths of the way into the story). There is also the small clue in Mrs. Castle's diary that raises questions in Truda's mind regarding Charlotte and why she is so important to their mother.  Throughout the entire story, it is easy to sympathize with Truda, and you quickly finding yourself rooting for her, hoping she will eventually stand up for herself and not tolerate all of the catering to Charlotte - and when she does, you will no doubt cheer like I did!
 
The cover art to my copy of the book was painted by Harry Barton (1908 - 2001), whose illustrations can be found in a number of old magazine and pulps.  His largest body of work, however, are found on the covers of books published by a number of recognizable publishing houses, such as Dell, Ace, Dial Press, and others.  This particular cover shows Truda, with the wind blowing against her (obviously just before the storm hits on that fateful night), and the house behind her with just one light on in an upstairs window (typical Gothic fare). While not completely accurate as far as the house goes, the scene appears to be straight from the opening two pages of the book, where Truda is contemplating what has happened and her mind prepares to go over everything that led up to that moment (and thus, the entire story from that point is a flashback).  What is interesting about this cover is that the copy with the glossy gold lettering has Truda heading to the right, looking back over her shoulder to the left; however, there is another copy of the book with plain white lettering which features the art reversed - or so I thought!  It turns out, by looking at Barton's signature on the painting, it is the one with the white lettering that shows the art in its original form, and it is the cover of my copy that has the reversed art (as Barton's signature appears backwards in the lower right corner).   There is yet another edition of the book which features a completely different cover, the artist of which I am unsure, since there is no signature on the cover art.  That cover (shown up above in this post) departs even further from the description of the house, making it more of a castle, and it shows one sister holding tightly to a man (presumably Evan), while the other sister stands back in the mist watching.  Honestly, I think I prefer Barton's cover better, as it not only depicts an actual scene from the book, but it definitely has a stronger Gothic feel to it.
 
Although it is not a typical Gothic tale, I did really enjoy the story (relating somewhat to Truda's position, not with regard to my parents, but with regard to my grandmother).  This book confirms my like of Dorothy Eden's work, and I need to track down more of her stories.
 
RATING:  9 fair daffodils out of 10 for family drama, dark secrets, soap opera reveals, and a good, old-fashioned murder mystery worth reading!