The Lord Peter Wimsey Companion

By Stephan P. Clarke

Yesterday, in an imposing carton that my kids are using up to create jewelry and photo mountings, my copy of the Lord Peter Wimsey Companion (LPWC, because I can be lazy if I want to, and have to take some care with my wrists) arrived. I don’t claim to have read its 773 pages yet, but I’ll be dashed if I don’t give it a notice.

  • Compiler and editor: Stephan P. Clarke
  • Publisher: The Dorothy L. Sayers Society
  • Published: 2003
  • Edition: Second, first printing
  • Pages: 773
  • ISBN: 0-9518000 8 6

A noble book is a like a song to my soul — the original, in Lord Peter Views the Body, the story of Uncle Meleager’s Will, has this about an old book. But a new book works just as well, if it’s a book like the LPCW.

Don’t be fooled by the meager pagecount — only 773 pages, which, surely, cannot do justice to all the allusions and context the Lord Peter Wimsey books contain. These are larger-than-A4 pages. And the print is very small.

Inside the book you find information on anything that might be obscure in the LPW books — books that since they were first published seventy years ago might be supposed to contain a lot that was clear at the time but is dark at present. There are maps (for instance of Talboys or Pym’s), explanations of the constant allusions that are the result of the novelist’s habit, notes on popular culture of the thirties and cross-references for characters, places and other items worty of note appearing in the books.

The latter I consider superfluous; I know the books by heart, so I don’t need to be reminded about Bill Thoday, for instance. But the maps are a delight. And, being comparatively (to DLS, that is) illiterate, I never knew how much was quotation, and whence the quotations came.

It’s a pity, though, that the contributors haven’t been able to trace some of the famous phrases that I’ve always considered quotes — phrases like ‘I have no information on that point’, that occur both in Gaudy Night and in the Unpleasantness in the Bellona Club have a ‘quoty’ ring to them.

Did I need the ten lines on Karl Marx — no — but I did need the explanation on ‘Marx said that man…’. (p. 385). And so the book is like a singularly rich beach, every ten grains of sand one of gold. I wish there were a like companion to Wodehouse. And to Martin Lodewijk’s Agent 327.

Hangman’s Holiday

By Dorothy L. Sayers on Wednesday January 15, @10:07PM

I knew I’d read the word bromide somewhere, and still I couldn’t get it right in a silly intelligence test that tests English, or more accurately, Latinate English vocabulary. But how can this bit of trivia be relevant to a book notice of Hangman’s Holiday? Simple — this is the book where I read the word. Second story, page 41.

  • Author: Dorothy L. Sayers
  • Publisher: New English Library
  • Published: 1974 (1933)
  • Pages: 188

Dorothy L. Sayers is, of course, the second-most famous author of mystery novels and short stories: Agatha Christie is the most famous of the breed. But DLS’ books are often deeper than Christie’s, and very often more literate, too. This means that DLS’ novels are not for everyone; she expects you to be able to read enough French to know the difference between a masculine and a femine article (in the story ‘The Entertaining Episode of the Article in Question’ in Lord Peter Views the Body). And, apparently, scatters words like bromide through her texts. I, for one, am glad of that: most of my English vocubulary seems to originate from her books.

What of the collection under advisement? DLS’ short stories always bordered a bit on the fantastic, not to say on the improbable. While most novels fit neatly into a Lord Peter Wimsey timeline, stories like ‘The Incredible Elopement of Lord Peter Wimsey’ don’t seem to fit. That, however, has very little to do with the quality of the stories on their own, and Hangman’s Holiday contains several of my favourite stories, such as ‘The Image in the Mirror’ or, again, ‘The Incredible Elopement of Lord Peter Wimsey’.

Both ‘The Queen’s Square’ and ‘The Necklace of Pearls’ are Christmas stories, and I’ve never been very excited by them. That’s it for the Lord Peter stories; but then we get to the Montague Egg stories. I must confess a weakness for this commercial traveller in wines and spirits. He is cheerful and bright, and, as it were, always on the spot.

We have ‘The Poisoned Dow ’08’, ‘Sleuths on the Scent’, ‘Murder in the Morning’, ‘One too many’, ‘Murder at Pentecost’ and ‘Maher-shahal-hashbaz’
with Montague Egg here. Especially ‘The Poisoned Dow ’08’ is a favourite, with its very clever murder weapon and finely drawn character, even of the victim.

The final two stories in the collection are ‘The Man Who Knew How’ and ‘The Fountain Plays’. These are very much also-rans, keeping an uneasy middle ground between mystery and horror. I like horror, sometimes, some kinds, but I’m not really fond of these stories.

It’s hard to be fresh about the stories in this collection: not only have they been around for seven decades, I first read them about ten years ago, and I guess there hasn’t been a year since that I didn’t re-read them. I will probably re-read them again, and again until the paperback falls apart. And then I’ll buy a new copy. But I will generally stop two stories before the end of the book.

Carry On, Jeeves

By P.G. Wodehouse

“I was sent by the agency, sir,” he said. “I was given to understand that you required a valet.”
I’d have preferred an undertaker; but I told him to stagger in.

  • Author: P.G. Wodehouse
  • Publisher: Penguin
  • Published: 1980 (1925)
  • Pages: 235
  • ISBN:: 0 14 00.1174 9

Carry On, Jeeves is a collection of Jeeves and Wooster stories; what’s more, it’s the collection of the first Jeeves and Wooster stories. The first story is the one where Jeeves enters the employment of Bertram Wooster, and the other stories give us the details on the various episodes Bertie keeps referring to in the rest of his works.

It’s in this book that we learn how Anatole came to enter the employment of Aunt Dahlia (Clustering round young Bingo), where we see Bertie being sentenced to a fiver by the beak of Bosher Street (Without the option), where the engagement with Florence Graye falls through (Jeeves takes charge) and finally the gastly entanglement with the Girl’s school (Bertie changes his mind).

The stories are clearly quite early; the extreme fluency that is such a hall-mark of the later Jeeves and Wooster stories is not really there, especially not in the stories that are set in New York; but there’s also a freshness about many situations (like the memoirs that should be stolen; an idea that Wodehouse has reused later, in Summer Lightning).

The one story I do not care for at all is the last one: Bertie Changes his Mind. It’s written from the viewpoint of Jeeves, and that might sound interesting, but it isn’t really. I much prefer to view Jeeves through the eyes of Bertie, who is a far more fluent prattler. A long stretch Jeeves is extremely tiring.

Anyway, if you’ve never read a Jeeves and Wooster story before, you start here, because the events depicted in this volume are referred to time and again in the later works. Those books are readable enough in their own light, and you work out what happened soon enough, but the joy of recognition is particularly pleasant.

The “Spectator” has, on the occasion of the republication of Wodehouse’s complete works (in hardback, but sadly unavailable in the Netherlands) published a very fine article: The music of the language by Philip Hensher. He argues that Wodehouse’s mastery lies in his mastery of the language; and that is true. But there’s more. The fine men and women that people his books are just as sheerly enticing.

Cutting the Sweetness

By Peta Tayler

Another one that goes back to the stack… I like the premise of the book. According the little library card stuck in front, it’s about a middle-aged woman who’s caught in a boring marriage. A pregnant 17-year old barges in and gingers up stuff. A situation ripe with pregnant possibilities, and my imagination was fired.

  • Author: Peta Tayler
  • Publisher: Headline
  • Published: 1996
  • Pages: 282
  • ISBN: 0-7472-1705-X

Perhaps last week (the second week of January 2003, for the record) was a better week for writing than for reading. This isn’t the only book I returned to store. I didn’t finish The Code of the Woosters, either, but that one is still on the to-read, or more accurately, the to-read-again stack. I only discontinued reading the Master’s immortal prose because I acquired Carry On, Jeeves, whereas I quit reading this book because I plain didn’t like it.

The first few pages are a bit turgid, but not devoid of imagination. The setup of the situation is adequately done: woman has married a dry, boring accountant. Accountant is fired from his job, and masks that by going to the library and hiding there. Woman has a small job on the side and enjoys that.

Everything is ready for the appearance of the promised pregant 17-year old, who, if I’d written this book, revitalizes the marriage in no uncertain way.

Except that that doesn’t happen. A lot of intrigue and stuff going on, ending with a divorce. Blech. Not imaginative at all. All books where the wife is shackled to a boring accountant-type end with divorce, and her settling down with a happy new relationship, leaving the man behind in the doldrums. It might be realistic, but it’s not interesting any more.

So I’ve put this book away, and taken up something else.

Blood Relation

By Andrew Taylor

(review by Irina)

Yet another part of my Quest for the Ultimate English Mystery Novel. I actually realized when I was on page 15 or so that I’d read it some years ago, but could only remember one scene – not a good sign. Not that the book is at all bad, just not memorable.

  • Author: Andrew Taylor
  • Title: Blood Relation
  • Published by: Victor Gollancz, London
  • Year: 1990

It turns out that this isn’t Andrew Taylor’s first novel by far, and that he’s even written some more books with the same protagonist. I’d probably pick them up in the library or buy them second-hand for one euro or less as a nice undemanding read when tired or miserable.

There’s nothing actually wrong with the book. The plot is interesting, the background well thought out (and means more to me than the previous time I read it, because large parts of it are set in the publishing world; I hadn’t started writing seriously then), the good guys are likeable, the bad guys are hateable, the in-between guys are ambiguous, just as it should be. It’s not even so predictable that it becomes boring: the ending has a nice unexpected twist that makes everything fit.

It’s set comfortably in England (and partly in Wales), without the foreign local colour that seems to be fashionable but tends to put me off when I pick up a book. The conversations are natural. There’s human interest.

But it doesn’t have “a certain je ne sais quoi” and, frankly, je ne sais quoi.

Mediaeval Latin Lyrics

By Helen Waddell

Not having benefitted from a classical education, I have never been able to teach myself enough Latin to read anything but the simplest books a vue — the Legenda Aurea or the Vita Karoli Magni and the easier bits from the Colloquia. So, when the Holy Nicholas of Myra presented me with a bilingual compilation of Medieval Latin verse, I was tickled to death.

  • Author: Helen Waddell
  • Publisher: Penguin Classics
  • Published: 1962 (1929)
  • Pages: 352

And not for nothing. Finally I have a compilation of Latin verse where even I, with my meager knowledge, can correct the translator. When Ausonius writes olim regum et puerorum nomina, it is surely essential to get the contrast that is caused by the juxtaposition of kings and children in the translation, and not merely give up with “once bewailed names of kings.” The Dutch translation that springs to mind is “eens de namen van koningen en kinderen”, but I have to admit that I cannot so readily phrase that in alliterating English.

There are other places where Helen Waddell, who is otherwise about as far above my touch as a person can be, is busy rhyming instead of translating. A pity, since I now cannot use the volume as a crib to aid my own imperfect understanding.

The usefulness as a crib is further diminished by the printing of the Latin text in a slightly smaller font than the translation. It does not succeed in its apparent goal of focusing attention on the English, and means that English and Latin line up even worse than usual. Add to that that English is usual wordier, and the outline of the problem will be clear.

As to how her translations fare as poetry in their own right: even though they do not always accurately transfer the sense of the original, they are nice, as poems go. But I do think that the original authors generally produced a stronger bit of poetry, with more meaning, oomph and espieglerie to it. Even if they wrote in a timid, half-articulate Latin, as Helen Waddell reminds us in the preface.

Of course, in the end, this is a very famous and very class compilation that I just happened to stumble against (or rather, that Sinterklaas) stumbeled against — and criticism about seventy years after the fact is a bit silly. But I’m still glad I caught the kings & kids’ names.

Errantes silva in magna et sub luce maligna
inter harundineasque comas gravidumque papaver
et tacitos sine labe lacus, sine murmure rivos,
quorum per ripas nebuloso lumine marcent
fleti, olim regum et puerorum nomina, flores.

Summer Lightning

By P.G. Wodehouse

This is the third Blandings Novel, and a treat I’d saved myself for when I thought I’d really need it.

  • Author: P.G. Wodehouse
  • Publisher: Herbert Jenkins
  • Published: 1929
  • Pages: 318
  • Alternative title: Fish Preferred

I know I’m a strange kind of fish — there’s no use denying it. There are a few books I know I’m going to like that I only read small pieces from. A chapter here, a chapter there, saving the real treat for some other time. This is what I did with Summer Lightning. However, feeling rather miserable with one thing and another, I figured the time had come to allow myself a long draught of the Master’s tonic.

Which, in itself, means that by know you know what I think of this book. It is, as Plum acknowledges in the preface, the familiar old story with the all the old Wodehouse characters under the same names.

But how does the book stack up qua book, instead of as a warm bath?

Pretty well, actually. Even if there’s no doubt about the eventual rejoining of the various sundered hearts, there’s a lot of genuine suspense — will the infernal Baxter manage to insinuate himself in Blandings Castle again, will we hear the story of Gregory Parsloe and the prawns, and, finally when lover B engages lover D, will A and C reciprocate? It is a testimony to Wodehouse’s talent that one never loses track of the developments, because they are as complex as in any C18 French comedy.

No words of mine, a mere L2 speaker of the language can do justice to Wodehouse’s polished English. Suffice it to say that I have seriously thought of dedicating my own book (GUI Application programming with Python to Wodehouse, because he has taught me real English. (That’s not to disparage the efforts of my high school teachers, but they, too, will know what I mean.)

Shall I give an outline of the story? Or will you rush out to your nearest second-hand bookshop and secure yourself a copy? Or perhaps splash out on a new printing (but take care and don’t buy those horrible Penguin pockets that are printed with ragged right edges, the ultimate insult).

Right, a short summary, then. Ronnie Fish, son of Julia Fish, is engaged to the chorus girl Sue Brown, daughter of Dolly Henderson, erstwhile fiancee of Galahad Threepwood, the brother of Lord Emsworth. Meanwhile, Hugo Carmody is engaged to Millicent Threepwood.

Needless to say, Sue is unsuitable for Ronnie because she’s a chorus girl, even if her father was captain of the guards, and Hugo is equally ineligible because he hasn’t got a bean.

And Galahad Threepwood is writing a book about the daring exploits of the English gentry in the 1890’s. The same English gentry thirty years later is not amused by the prospect.

Oh, and Emsworth is potty about his pig.

Buy this book and visit The Junior Ganymedes for the Wodehouse FAQ and other goodies. Do yourself the favour.

Father Frank

By Paul Burke

(reviewed by Irina)

An Irish priest in London wrestles with himself – not his vocation, but with celibacy and the fact that he doesn’t believe in God and never has. Now when have we heard that before? In the nineteen-sixties. But this book is from the twenty-first century, if only just. The premise isn’t new; the resolution isn’t, either. But the way Burke handles it is fresh enough to keep it interesting.

  • Author: Paul Burke
  • Title: Father Frank
  • Published by: Flame (Hodder & Stoughton), London
  • Year: 2001

Frank Dempsey may not believe in God, but he believes in people. I suspect that the way he drifts into the priesthood is God’s doing: where he ends up he’s the right man in the right place. But then he falls in love…

Sarah Marshall is a successful professional woman, but when she meets Frank her moral side starts to show up. And her emotional side. She knows it’s hopeless: she has God and the whole church for a rival. She doesn’t fight; but she wins.

Father Frank Dempsey breaks his vow of celibacy. They get married. And in that, the novel is exactly like any soul-searching-priest novel from the nineteen-sixties. I’d have liked to read a novel about a priest who didn’t succumb, who chose the Church over the woman, God over himself. But then, we know on page four that Frank doesn’t believe in God, though it’s clear that God believes in Frank.

That’s a minor nitpick, though. It’s a very enjoyable book and I’d like to read his second novel, Untorn Tickets, as well.

The Blood of a Dragon

By Lawrence Watt-Evans

  • Author: Lawrence Watt-Evans
  • Publisher: Del-Rey (Ballantine)
  • Published: 1991
  • Place: New York
  • Pages: 231

I remember I’ve tried reading this book before; when I noticed Lawrence Watt-Evans posting on the rec.arts.sf.composition newsgroup that I frequent, too. And what he has to say about writing is quite often very interesting (for Usenet values of interesting, of course).

And when I saw that he’s been working on an imaginary world (Etshar) since he was sixteen years old, I was doubly interested. I have one of those worlds (Andal), too. And I’m writing novels in that setting, too. And I’ve used my world a game setting, too. The main difference is that I had been working on the world for years before I even knew role-playing games existed.

It’s a pity therefore that the book couldn’t grip me. It’s a nice world, thoroughly worked out, but so very D&D-ish, or perhaps more Runequestish. I’ve got nothing against an iso-standard pseudo-medieval-europe world, with the regulation kinds of magic and the regulation guilds.

But if you throw in a boy who makes good through ambition despite a negative ability to work magic, I start to skim. After all, little chance of finding anything, is there? The setting is already known, the characters look very familiar, too, and the familiar dance can begin. Dragons, too. And dragons’ blood as a magical ingredient. In the end, even the twists are familiar — perhaps a function of this book being over a decade old. Fantasy (and science fiction) doesn’t age well. More beaujolais primeur than vintage port.

I skipped to the end, I’m ashamed to say, and then put the book back on the shelves. One of these days I will come back to it, to investigate whether there are surprises in the middle part of the book, but now I’m going to finish Death in Springtime, another Magdalen Nabb which I found in a second-hand bookshop yesterday.

Death in Springtime

By Magdalen Nabb

The third Marshall Guarnacci mystery I’ve read, and coincidentally also the third Magdalen Nabb has written. It shows a marked progress from the first book (Death of an Englishman), and is, in itself, a worthy precursor of The Marshall and the Madwoman. The same meticulous attention to people, and again a very, very tight plot.

  • Author: Magdalen Nabb
  • Publisher: Fontana
  • Published: 1984 (1983)
  • ISBN: 0-00-617032-3
  • Pages: 155

Now I’ve got about ten reviews — or rather book notices, since reviews ought to be a bit more full-bodied, and more critical — I begin to see where I should work on Squishdot to provide better support. Indexes by author, for instance, and better search functions. No doubt I’ll get the itch one of these days, and hack it in.

But that’s all irrelevant. Death in Springtime is very good. The plot is
as tight as a pair of tights. Young Bacci is back, and again falls in love with a foreign girl — resulting in some very, very touching scenes. There is a Substitute Prosecutor who is a very memorable character. And again there is a crime that is peculiar to the setting, and that is handled with complete confidence.

Maybe there’s not quite enough of our beloved Marshall in this book; but that’s understandable since he’s very concerned about poor Cipolla, the murderer — no he isn’t a murderer, he’s just killed somebody — in book one.

And in this book Nabb does it again: the person who will really pay for the crime is almost innocent. To misquote Sayers, altogether, poignant is the mot juste.