Have His Carcase, first published in 1932, is another brilliant book – completely different from the last book I wrote about (see my previous post) but just as fascinating and absorbing. It’s crime fiction from the **Golden Age (see the note below), that is between the First and Second World Wars, and is the second of Dorothy L Sayer’s books featuring Harriet Vane, a crime fiction writer, and the seventh featuring Lord Peter Wimsey. They first met in Strong Poison, in which Harriet was on trial charged with the murder of her former lover.
In Have His Carcase Harriet is on a walking holiday when she comes across a dead man, his throat cut from ear to ear, lying on the top of a rock, called locally the Flat-Iron, on a deserted beach. Fortunately she has her camera with her and takes several photos, which come in very useful as by the time that she can alert the police the body has been washed out to sea. It appears that he committed suicide. Wimsey arrives soon after and he and Harriet they set out first of all to identify the body and then to prove that it was murder.
It is an example of the puzzle type of crime fiction – incredibly complicated and seemingly impossible to solve. It involves numerous characters who are not who they first appear, complete with alibis, disguises and false trails. Sayers, helpfully included a schedule of things that Harriet and Wimsey noted about the victim and the suspects, which I found useful as this is a long novel that took me several days to read; with so much information I just couldn’t remember it all as I read the book.
It all hinges on the timing of the discovery of the body and the movement of the tides. As in The Nine Tailors (and in fact in all the books by Dorothy L Sayers that I’ve read) there is a lot of detail, all of which is essential to the plot; detail about the body, how it was found, how the throat was cut , and what the blood was like when Harriet found the body. In the hands of another writer this could have been too graphic for me, but I had no difficulty reading such detail at all!
Also added into the mix are Bolsheviks, rumours of aristocratic connections, spies and a secret code to be deciphered. There are jealous lovers, itinerant hairdressers, a schoolteacher with Communist sympathies, taciturn locals, an antagonistic future son-in-law and gigolos and dagos. (Written in the early 1930s this is not a politically correct novel.)
An underlying theme is the relationship between Harriet and Wimsey as he is constantly proposing marriage and she rejects him each time. Although at one point, as they walked along the beach together in search of clues, it did look briefly that her resolve was weakening:
She suddenly saw Wimsey in a new light. She knew him to be intelligent, clean, courteous, wealthy, well-read, amusing and enamoured, but he had not so far produced in her that crushing sense of utter inferiority which leads to prostration and hero-worship. But she now realised that there was, after all, something godlike about him. (pages 213-4)
and then she came to her senses and laughed. Earlier she had noted his physique as they inspected the Flat-Iron in the sea:
‘And he strips better than I should have expected,’ she admitted candidly to herself. ‘Better shoulders than I realised, and, thank Heaven, calves to his legs,’ (page 104)
Here are some more of my favourite quotations:
I question this first one!:
To be tried for murder is a fairly good advertisement for a writer of detective fiction. (page 1)
and on seeing what appears to be a man asleep Harriet says:
Now, if I had any luck, he’d be a corpse, and I should report him and get my name in the papers. That would be something like publicity. “Well-known Woman Detective-Writer Finds Mystery Corpse on Lonely Shore.” But these things never happen to authors. (page 7)
Well, she got her wish.
Next, here is Wimsey remarking on his use of quotations, which he does throughout the book:
I always have a quotation for everything – it saves original thinking. (page 58)
and Wimsey to Harriet after she apologised for being ‘a rotten dancer’:
Darling if you danced like an elderly elephant with arthritis, I would dance the sun and moon into the sea with you. I have waited a thousand years to see you dance in that frock. (page 157)
I loved the complexity, the details, and the various solutions Wimsey and Harriet considered. It kept me guessing throughout the book right from the start – just who was the victim, even when he was identified there was more to it, who murdered him, why was he murdered and above all just how and when was he murdered. It’s brilliant!
**Note: I must get a copy of Martin Edwards’ new book The Golden Age of Murder, investigating how Agatha Christie and colleagues in the Detection Club transformed crime fiction, writing books casting new light on unsolved murders whilst hiding clues to their authors’ darkest secrets.
It’s due to be published on 7 May.