The Dusty Bookcase

03 August 2015

Mrs. Brown in the Conservatory with the Lead Pipe

In Passion's Fiery Pit
Joy Brown
Toronto: News Stand Library, 1950

In Passion's Fiery Pit features a misprint unlike any other I've seen:

Not Joy Brown's fault, of course, but it does say something about her publisher. News Stand Library didn't much care what it published or who it published. In its stable, Joy Brown stands as lone mare alongside Hugh Garner, Ted Allan, Al Palmer, Raymond Souster and H. Gordon Green in having had something of a writing career. Given her early struggles with punctuation, this is truly remarkable.

In Passion's Fiery Pit was Brown's second novel. The first, Murdered Mistress, had been published by News Stand Library a few months earlier. Night of Terror, her third, was a pre-romance Harlequin. It hit the stands about eight weeks later.

Three novels in one year. Do not be impressed.

This one begins with a bit of a cheat. What's depicted as murder will later be revealed as assault. The victim, Alicia Wallace, turns up dead on the very next page just the same. Her body is discovered amongst the exotic plants in the conservatory of wealthy bachelor Robert Roget.

Yes, a conservatory. Roget builds upon the cliché, sniffing: "It's damned embarrassing… I mean with a houseful of guests."

Houseful? Well, there's Paul Stewart, wife Gwyneth and brother Bridge. The Greys – Tim and Trixie – are also there. That's five, right? Not really a houseful, not for a mansion, though things get a touch more crowded when the police show up. Detective Dan Weaver leads the investigation.

Dan's an interesting fellow. The novel's hero, when first seen he's drinking in the beauty of Alicia's cooling corpse… the curve of her cheek, her full lips and her shapely calves. "She was the kind of girl Dan Weaver had been wanting to meet for a long time. Unfortunately, she was dead."

The trail leads straight to the Three Bells nightclub:

Dan Weaver did a double take. The somebody sitting on the piano should have been lying in a steaming conservatory with her skull crushed. But here she was singing in a hushed, tuneless voice. Nobody seemed to care what sort of a singer she'd make.

Here the author dodges cliché by making Alicia's doppelgänger, torch singer Phyllis, a younger sister. Alicia may have been as bad, but she was no evil twin.

Because Dan clearly has a type, he falls for Phyllis, and redoubles his efforts to solve the murder. He's not afraid to cut a corner in getting at the truth. This Canadian is fully prepared to walk into a room without knocking first.

Sergeant Cummings, Dan's superior, is infuriated by this maverick behaviour:

"I've mentioned that to you before. You're still on the force, you know, even if you're not in uniform, and the rules are that..."
"But you find out more this way. I make a few exceptions to a few rules. I like a variation of a theme. And see what happens? I find two boudoir scenes in one afternoon." Dan waved his hand, "What is this thing called procedure."
Cummings frowned. He had mentioned things like this to Weaver before, but the younger man paid no attention.

The two boudoir scenes aren't all that much – a fully clothed woman walks out of a bedroom, a man comforts a grieving widow – and neither is pertinent to the case. Dan is overselling things. He really has no idea what he's doing. I'm not sure Brown did, either. In the course of his investigation, Dan settles on Alicia's former husband Jeff Wallace as the murderer, for no other reason than they divorced. You know, acrimony and all that. Blackmail, too, though this makes no sense.

As Alicia's ex doesn't seem to be around, Dan becomes convinced that one of the men present on the night of the murder is in actuality Wallace. He's proven wrong in a most public way by Phyllis, but feels no embarrassment. Dan's big break comes at the end of the novel when the murderer drinks too much and spills the beans. Sergeant Cummings is impressed.

In truth, Dan isn't much of a detective, and In Passion's Fiery Pit isn't much of a mystery. It's no wonder that News Stand Library tried to sell the thing as something spicy: "GREEN EYES - RED HAIR - and FLAMING LIPS", but no mention of murder. Sadly, the hottest action involves women primping before mirrors and crossing rooms in varying states of undress. There's lots of lingerie, though much of it is superfluous:

She scampered ahead of him into the bedroom, and then proceeded to dress before his interested eyes in such a flurry of panties, garter belts, bras and stockings that she was fully clothed in a brief moment.

Brief moment.

No pun intended.

To my great surprise, the word "diaphanous" doesn't feature.

Object and Access: A typical News Stand Library production with requisite 160 pages. The cover is by Syd Dyke.

My copy was purchased in June from a New York bookseller. Price: US$4.00. I was lucky. Just four copies are listed for sale online, the cheapest of which goes for C$20.00. At C$140.00, the one you want to buy is graced with another of those odd and uncommon NSL dust jackets.

Not listed on Amicus or WorldCat.

My thanks to Bowdler at Canadian Fly-By-Night for the image of Murdered Mistress.

Related post:

Ontario Gothic (with the scent of Brut)

22 July 2015

Hugh Garner: Article Lost, Article Found

Toronto: McClelland & Stewart, 1962

Toronto: Ryerson, 1968

Markhan, ON: PaperJacks, 1983

Toronto: Dundurn, 2011

A Bonus:

Regarding the sales of "The Silence On The Shore" [sic] I think it has done remarkably well, considering that its publisher didn't want to sell any copies of it at all. I think, however, that had I not wanted to sell it I would have kept its sales down below 1,400, even if I would have to burn the books.

My personal feelings to you are friendly, but from a business and professional point of view I think it better that we do not involve each other with the other any more.

– Hugh Garner, letter to Jack McClelland, 28 August 1963

15 July 2015

The Man Who Hated Toronto

Present Reckoning
Hugh Garner
Toronto: Collins White Circle, 1951

Tom Neelton has arrived too late for the party, but he doesn't care. It's the morning after V-J Day and he has just stepped off a train at Union Station. Outside, steamers hang limply from lampposts and confetti clogs the gutters.

What is he doing here?

Tom hates Toronto. Though born and raised in the city, "it had been something he had had to fight, an enemy of brick and stone and smug condescension." Tom's mother and father are dead. His nearest kin is a dishonest aunt with whom he made the mistake of storing his civilian clothes before shipping out. She'll claim that the moths got to them.

Again, what is he doing here?

At first, I thought the answer lay in Carol Berkett. Seven years ago, when he was twenty-five and she was seventeen, they'd gone out for a bit. She'd even brought him home to meet her mom. Roast was served. Tom and Carol did some necking on the chesterfield. He never called on her again.

He's now thinking he made a mistake. Tom imagines a better life, one in which Carol would have been waiting at the train station. He returns to familiar digs, a cheap room in the Pentland Hotel (read: Warwick Hotel), determined to track her down. But it turns out that she's not in the phone book. Her mom's not in the phone book either. Then, "like a soft slap against his consciousness", it occurs to him that Carol might be married.

So he gives up and is soon snogging Margaret, the buxom blonde who works the front desk.

Tom guessed right about Carol. We know because Garner devotes several chapters to her marriage.

Happy?

Not unhappy. Husband George, a punch press operator, has come to accept that his passion for amateur radio is not shared. He sometimes gets a good chuckle out of Blondie, which is his wife's favourite comic strip. Carol, who often thinks of her brief romance with Tom, becomes much more contented after the birth of baby Harold.

Clearly, Tom and Carol are destined to meet, but this doesn't occur before the second half of the novel. Until then, the returning veteran kills time drinking with friends in the local beer parlour. Margaret decamps for Kamloops, Tom takes up with bohemian art school student Louise Kramer and Garner runs up the word count.

Biographer Paul Stewe is dismissive of Present Reckoning, focussing in on what he considers a melodramatic climax. In the monograph he penned for the Canadian Writers & their [sic]Works series, George Fetherling describes it as "a little novel which depends far too much on chance meetings, coincidence and on the double-whammy at the end and is nowhere near the level of Garmer's best prose."

I agree with that last bit. That said, I count only two coincidences or chance meetings:

Louise sees Tom in a museum one week, then spots him a library the next.
Twelve months after returning to town, Tom encounters old flame Carol on the street.

These things happen.

I won't spoil the ending, other that to say that I found it believable, strong enough, more than a little upsetting and not the least bit melodramatic. But what I really took away from Present Reckoning – what is really of value – is its depiction of Toronto in the months after the war.

Carol lives in a new development, ever aware of the prying eyes of neighbouring housewives. George's company prepares for the new peacetime economy. Tom looks over glasses of beer, gauging the progress of a disfigured drinking buddy's reconstructed face. He'll also make the mistake of returning to an old haunt where he's confronted by "young punks in zoot-suit pants and girls in Eisenhower jackets." Tom later describes the scene to Carol:

"They danced differently than we did, wore their hair in brush cuts and feathered bobs, and stared at me standing on the sidelines as though I was a bouncer. I moved over near the orchestra and spent an hour or so listening to the music trying to recapture the feeling I had in the old days, but it was no use. I didn't belong there."

There's something not to like about Present Reckoning. It meanders in a way that had me wondering whether Garner wasn't drawing from unpublished stories and other jottings. After all, he'd done just that the year before with the pseudonymous Waste No Tears.

Again, I agree with my friend George that this is not Garmer's best prose. And yet passages like this, in which newly arrived Tom is confronted by his first sight of the Royal York Hotel, are just about the greatest things he ever wrote:

The hotel – Largest in the British Empire – squatted sullenly against the opposite sidewalk, daring those leaving the station to pass it by without a glance. He forced his eyes along its self-satisfied exterior and thought back to the days of its opening fifteen years before. There had been much fanfare then, with big-wigs by the score. Ben Bernie's orchestra, a porter for every bag and doormen garbed in coachman's habit. During the depression the coachmen had disappeared along with many of the other opulent ostentations, and for years the edifice had gone on like a bankrupt dowager, bravely pretending that things had not changed and that its hundreds of empty rooms were full of guests. To him it symbolized the city: smug, part good taste and bad, a brave thing formed of a maladmixture of decency and sham.

What was Tom Neelton doing back in Toronto?

Better the hell you know.

He'll come to wish he'd never returned.

A Bonus: Over at Canadian Fly-By-Night, Bowdler identifies the corner depicted on the cover as Bay and Richmond. The scene does not feature in the novel.

Object and Access:: A 158-page novel with a further two pages advertising Peter Cheyney's Lady Behave and One of Those Things. Present Reckoning was Garner's third paperback original, and was printed but once. My copy, a Reading Copy in every sense, was purchased last month at London's Attic Books. Price: $7.50.

Sixty-four years after publication, the novel has become scarce. I've found just three copies listed for sale online – all Fine, they range in price from US$75 to US$100.

All of six university libraries and the Toronto Public Library have the book in their holdings. As might be expected, Library and Archives Canada fails.