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| A Stranger in My Grave Margaret Millar New York: Random House, 1960 |
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| How Like an Angel Margaret Millar New York: Random House, 1962 |
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| The Fiend Margaret Millar New York: Random House, 1964 |
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| Beyond This Point Are Monsters Margaret Millar New York: Random House, 1970 |
I may admit from the outset that I have no grievances to air. The French Government considered itself justified in dismissing me, and it did so. In this action it was quite within its right, and I should be the last to dispute that right; but, on the other hand, I consider myself justified in publishing the following account of what actually occurred, especially as so many false rumours have been put abroad concerning the case.
Some years ago I enjoyed the unique experience of pursuing a man for one crime, and getting evidence against him of another. He was innocent of the misdemeanour, the proof of which I sought, but was guilty of another most serious offense, yet he and his confederates escaped scot-free in circumstances which I now purpose to relate.Valmont's triumphs are few, though significant: the recovery of a lost inheritance, the rescue of an imprisoned man, and the thwarting of an anarchist bombing. In "The Clue of the Silver Spoons," the private detective achieves his client's objective, the return of stolen bank notes, but only with the help of the man he'd wrongly believed guilty of the theft. My favourite story in the collection, in the telling Valmont reveals that he very nearly didn't take the case:
The name of Bentham Gibbes is familiar to everyone, connected as it is with the much-advertised pickles, whose glaring announcements in crude crimson and green strike the eye throughout Great Britain, and shock the artistic sense wherever seen. Me! I have never tasted them, and shall not so long as a French restaurant remains open in London. But I doubt not they are as pronounced to the palate as their advertisement is distressing to the eye. If, then, this gross pickle manufacturer expected me to track down those who were infringing upon the recipes for making his so-called sauces, chutneys, and the like, he would find himself mistaken, for I was now in a position to pick and choose my cases, and a case of pickles did not allure me. "Beware of imitations," said the advertisement; "none genuine without a facsimile of the signature of Bentham Gibbes." Ah, well, not for me were either the pickles or the tracking of imitators. A forged check! yes, if you like, but the forged signature of Mr. Gibbes on a pickle bottle was out of my line.Valmont is one of Canadian literature's greatest snobs (though, I remind, he is not Canadian). He disdains much about the land that has afforded him refuge. English justice and methods of policing are targets of his most biting most criticism. "I have had my failures, of course," he acknowledges in "Lady Alicia's Emeralds":
Did I ever pretend to be otherwise than human? But what has been the cause of these failures? They have arisen through the conservatism of the English. When there is a mystery to be solved, the average Englishman almost invariably places it in the hands of the regular police. When these good people are utterly baffled; when their big boots have crushed out all evidences that the grounds may have had to offer to a discerning mind; when their clumsy hands have obliterated the clews which are everywhere around them, I am at last called in, and if I fail, they say:The last Eugène Valmont story, I consider "Lady Alicia's Emeralds" the detective's most humiliating failure. Does Valmont? This reader came away convinced of his abilities and delighting in his humour:
"What could you expect; he is a Frenchman."
Many Englishmen, if you speak to them of me, indulge themselves in a detraction that I hope they will not mind my saying is rarely graced by the delicacy of innuendo with which some of my own countrymen attempt to diminish whatever merit I possess. Mr. Spenser Hale, of Scotland Yard, whose lack of imagination I have so often endeavoured to amend, alas! without perceptible success, was good enough to say, after I had begun these reminiscences, which he read with affected scorn, that I was wise in setting down my successes, because the life of Methuselah himself would not be long enough to chronicle my failures, and the man to whom this was said replied that it was only my artfulness, a word of which these people are very fond; that I intended to use my successes as bait, issue a small pamphlet filled with them, and then record my failures in a thousand volumes, after the plan of a Chinese encyclopaedia, selling these to the public on the instalment plan.Would that there were more Valmont stories; I would happily spend more time with the man. As it is, I'm left looking for another Barr character with whom to pass my evenings. This young lady looks most promising:
What advantages and economies would such a scheme bring? Mr. McLorg believes we can look forward to the day when Canadians will be able to grow oranges in their back gardens, watch roses bloom in December and cherry trees blossom in February; when they can play golf and tennis all winter, count on the same fifteen minutes to get to the office in January that it takes in July, buy a topless convertible for their wives, laugh when the heating bill arrives, and hang up their snow shovels for ever.This uncommon reference to environmental impact is typical. In many ways, Target 2067 reads like a Victorian work. The environment doesn't much factor into anything, except as something that must be overcome. Bertin identifies only two "obvious snags" associated with T.H. McLorg's plastic covered city: airplanes and lightening strikes. If an airplane were to strike the city's cover, he acknowledges that the loss of air pressure might bring the whole thing down on the city. What then would happen to the orange trees, roses, and cherry blossoms? What he doesn't acknowledge is the environmental impact of such a structure on indigenous plants and wildlife. Migratory birds? He doesn't give them a thought.
One moment the slim cloudflakes seem to lean
With their sad sunward faces aureoled,
And longing lips set downward brightening
To take the last sweet hand kiss of the king,
Gone down beyond the closing west acold;
Paying no reverence to the slender queen,
That like a curved olive leaf of gold
Hangs low in heaven, rounded toward the sun,
Or the small stars that one by one unfold
Down the gray border of the night begun.
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| From Canadian Poets, John W. Garvin, ed (Toronto: McClelland, Goodchild & Stewart) |
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| From Jean Blewett's Poems (Toronto: McClelland & Stewart, 1922) |
A House Full of OrphansI wish I could say I liked the novel. I didn't. Given its cover, I was at the very least expecting a fun read. It wasn't. Regular readers may remember my enjoyment of Murder Without Regret. Now that was fun!
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| The Poems of Archibald Lampman (Toronto: Musson, 1900) |
Along the waste, a great way off, the pines
Like tall slim priests of storm, stand up and bar
The low long strip of dolorous red that lines
The under west, where wet winds moan afar.
The cornfields all are brown, and brown the meadows
With the blown leaves' wind-heaped traceries,
And the brown thistle stems that cast no shadows,
And bear no bloom for bees.
As slowly earthward leaf by red leaf slips,
The sad trees rustle in chill misery,
A soft strange inner sound of pain-crazed lips,
That move and murmur incoherently;
As if all leaves, that yet have breath, were sighing,
With pale hushed throats, for death is at the door,
So many low soft masses for the dying
Sweet leaves that live no more.
Here I will sit upon this naked stone,
Draw my coat closer with my numbed hands,
And hear the ferns sigh, and the wet woods moan,
And send my heart out to the ashen lands;
And I will ask myself what golden madness,
What balmed breaths of dreamland spicery,
What visions of soft laughter and light sadness
Were sweet last month to me.
The dry dead leaves flit by with thin weird tunes,
Like failing murmurs of some conquered creed,
Graven in mystic markings with strange runes,
That none but stars and biting winds may read;
Here I will wait a little; I am weary,
Not torn with pajn of any lurid hue,
But only still and very gray and dreary,
Sweet sombre lands, like you.
