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COLLINS CRIME CLUB
an imprint of HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk
First published in Great Britain by Cassell & Co. 1934
‘The Bunch of Violets’ published in The Specimen Case by Hodder & Stoughton 1924
Introduction © Tony Medawar 2018
Cover layout design © HarperCollinsPublishers Ltd 2018
Ernest Bramah asserts the moral right to be identified as the author of this work.
A catalogue copy of this book is available from the British Library.
This book is presented in its original form and may depict ethnic, racial and sexual prejudices that were commonplace at the time it was written.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008297435
Ebook Edition © September 2018 ISBN: 9780008297442
Version: 2018-07-16
Table of Contents
Cover
Title Page
Copyright
Epigraph
Introduction
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Chapter XIII
Chapter XIV
Chapter XV
Chapter XVI
The Bunch of Violets
Keep Reading …
The Detective Story Club
About the Publisher
‘Abellino,’ said the Doge, ‘thou art a fearful, a detestable man.’
—The Bravo of Venice, Heinrich Zschokke (1771–1848)
BRAVO (1) a daring villain.
—The Oxford English Dictionary
‘THE DETECTIVE STORY CLUB is a clearing house for the best detective and mystery stories chosen for you by a select committee of experts. Only the most ingenious crime stories will be published under the THE DETECTIVE STORY CLUB imprint. A special distinguishing stamp appears on the wrapper and title page of every THE DETECTIVE STORY CLUB book—the Man with the Gun. Always look for the Man with the Gun when buying a Crime book.’
Wm. Collins Sons & Co. Ltd., 1929
Now the Man with the Gun is back in this series of COLLINS CRIME CLUB reprints, and with him the chance to experience the classic books that influenced the Golden Age of crime fiction.
INTRODUCTION
Ernest Bramah Smith, born in 1868, was brought up in Lancashire, England, where he attended Manchester Grammar School. Smith did badly in his academic studies and, after leaving school in 1884, took up farming. While it was an unsuccessful experience, nearly bankrupting his father, farming gave Smith the material for his first book, English Farming, and Why I Turned It Up, which was published as by Ernest Bramah. Inspired by the book’s modest success, Smith took up journalism and secured a position working for the author Jerome K. Jerome at Today Magazine to which Smith contributed numerous short, largely humorous, pieces. He would remain a writer for the rest of his life, editing one magazine—The Minister—and contributing to many others including Chapman’s, Macmillan’s, The Storyteller, London Mercury, Everybody’s and the Windsor, as well as the prestigious title The Graphic.
In the late 1890s, not long after marrying his wife Lucy Maisie Barker at Holborn, London, Smith created the character that was to make him famous: Kai Lung, an itinerant storyteller whose tales and proverbs help him to outwit brigands and thieves in ancient China.
‘My unbecoming name is Kai, to which has been added that of Lung. By profession I am an incapable relater of imagined tales and to this end I spread my mat wherever my uplifted voice can entice together a company to listen. Should my feeble efforts be deemed worthy of reward, those who stand around may perchance contribute to my scanty store, but sometimes this is judged superfluous.’
While many modern readers would dismiss the slyly comic Kai Lung stories as literary yellowface, they were immensely popular on first publication and for many years later and, although Smith never visited China, his portrayal of the Chinese and their customs was accepted as a guide to a country about which most contemporary readers and reviewers knew very little. However, the character of Kai Lung has dated badly and Smith’s purple prose, replicating what he and others considered ‘Oriental quaintness’ and ‘the charm of Oriental courtesy’, means that his many stories of Kai Lung and other Chinese ‘characters’ are little read today.
While continuing to write about Kai Lung, Smith showed himself something of a domestic satirist with, in 1907, The Secret of the League, ‘the story of a social war’ inspired by the success of the then nascent Labour Party in the 1906 General Election. In Smith’s novel, a Labour Government is elected and, crushed by ‘the dead weight of taxation’ and other socialist ‘evils’, the middle classes rise up and, by undermining the coal industry and coal-dependent businesses, cause the Government to collapse. While it anticipates elements of Chris Mullin’s 1982 satire A Very British Coup by more than sixty years, Smith’s novel may seem offensive and naïve. Nonetheless, his predictions of the kinds of policies that a Labour Government would introduce proved in some instances to be not that far off the mark and, despite the anti-democratic tactics of Smith’s ‘Unity League’, his novel was widely praised at the time by Conservative Party politicians and their supporters at the Spectator and elsewhere.
It was in 1913 that Smith created his other great character, Max Carrados the blind detective, who first appeared in a series of stories written specially for The News of the World, a British weekly newspaper. Carrados was immediately hailed as something new and the stories about him were read avidly. He was not the first blind detective but he was the first whose other senses more than compensated for the loss of his sight, which was the result of a riding accident; Carrados therefore has much in common with Lincoln Rhyme, Jeffrey Deaver’s quadriplegic New York detective. And while Carrados and his friend, Louis Carlyle, owe something to Holmes and Watson, the detective’s closest fictional contemporary would be the preternaturally omniscient Dr John Thorndyke, the creation of Richard Austin Freeman. There are also many similarities between the characters of Carrados’s South London household and their North London equivalents in Freeman’s Dr Thorndyke stories, while more than one contemporary critic suggested that Carrados might have been inspired by the career of Edward Emmett, a blind solicitor from Burnley, Lancashire, who achieved some celebrity towards the end of the nineteenth century. If Emmett was an inspiration, Smith never acknowledged it, rebutting scepticism in later years about Carrados’s abilities ‘in the fourth dimension’ by pointing to the abilities and achievements of Helen Keller and Sir John Fielding, as well as to those of less well-known figures such as the seventeenth-century mathematician Nicholas Saunderson and the soldier and road-builder John Metcalf, better known as Blind Jack of Knaresborough.
In all, Max Carrados would appear in 26 short stories, including A Bunch of Violets, the only story about the blind detective not included in any of the three collections of Carrados short stories published in Smith’s lifetime. As well as the detective, Smith’s stories about Carrados feature some economically drawn but memorable characters: these include his amanuensis, Parkinson, who has an eidetic but erratic memory; the self-described ‘pug-ugly’ Miss Frensham, once known as ‘The Girl with the Golden Mug’; the brilliant ‘lady cryptographer’ Clifton Parker; and the detective’s school-friend Jim ‘Earwigs’ Tulloch. Moreover, the Carrados stories often feature contemporary concerns like Irish and Indian nationalist terrorism, the perils of Christian Science and the struggle for universal suffrage. Nonetheless, despite the stories’ merits, Carrados’s hyper-sensory brilliance can sometimes appear unconvincing, no more so than in ‘The Tilling Shaw Mystery’ when he is able to detect, by smell and taste, traces of whitewash on a cigarette-paper after it has been used as wadding and fired from a revolver.
During the First World War, in 1916, Smith enlisted in the Royal Defence Corps. This led to his writing non-fiction pieces for Punch and various other magazines on subjects as diverse as censorship and the military use of animals. When the war ended, Smith went back to journalism proper, writing a steady flow of short stories and articles, a book on British copper coinage in the sixteenth to nineteenth centuries and a comic fantasy, the novel A Little Flutter concerning a middle-aged city clerk’s unusual inheritance and the fate of a Groo-Groo, a giant Patagonian bird. Smith later adapted A Little Flutter for the stage, and he also adapted two of the Carrados stories, ‘The Tragedy at Brookbend Cottage’ and ‘The Ingenious Mind of Rigby Lacksome’, though there is as yet no evidence that any of these scripts were ever performed. But that is not the case with Smith’s only original stage play to feature Max Carrados, Blind Man’s Bluff, which opened at the Chelsea Palace of Varieties on 8 April 1918. Smith had written the play for the actor Gilbert Heron who, the previous year, had had great success with an adaptation of the Carrados story, ‘The Game Played in the Dark’. Heron’s play, In the Dark, had opened at the London Metropolitan Music Hall in February 1917 as a dramatic interlude in a programme that featured the famous ventriloquist Fred Russell and other variety acts. The play was reviewed positively, not least for its ‘great surprise finish’ when, as in Smith’s short story, the final scene was performed in absolute darkness. Blind Man’s Bluff also includes a blackout, which Carrados brings about in the thrilling climax of a battle of wits with a cold-blooded spy, and—betraying its origins as a music hall act—his play also ingeniously accommodates an on-stage demonstration of ju-jitsu. Both of the plays continued to be included in variety bills until the early 1920s, while In the Dark was broadcast on radio by the fledgling British Broadcasting Company (later ‘Corporation’ from 1927) several times including, for the last time, in 1930.
The last of Smith’s 26 short stories about Carrados was published in 1927 but Smith revived the character for the novel-length thriller The Bravo of London, which was first published in 1934 and later adapted—by Smith—for the stage, though again no performances have yet been traced. Although the novel has something in common with the short story ‘The Missing Witness Sensation’, first published in Pearson’s Magazine eight years earlier, Carrados’s return, in which he faces the monstrous forger Julian Joolby, was welcomed by readers and critics alike, with one reviewer praising the author for ‘a sound sense of the macabre and a grim humour which raises his work above the average level of thrillers’. A year later, Carrados took his last bow in a profile written and narrated by Smith for the radio series Meet the Detective, broadcast on the BBC’s Empire Service in May 1935. While Carrados was not to appear again, Smith continued to write stories about Kai Lung, with the final collection of stories, Kai Lung beneath the Mulberry Tree, appearing in 1940, forty years after the wiliest of philosophers’ first appearance in The Wallet of Kai Lung.
A very private man throughout his life, Smith died in Weston-super-Mare, Somerset, in 1942.
TONY MEDAWAR
March 2018
CHAPTER I
THE ROAD TO TAPSFIELD
‘A TOLERABLY hard nut to crack, of course,’ said the self-possessed young man with the very agreeable smile—an accomplishment which he did not trouble to exercise on his associate in this case, since they knew one another pretty well and were strictly talking business; ‘or you wouldn’t be so dead keen about me, Joolby.’
‘Oh, I don’t know; I don’t know, Nickle,’ replied the other with equal coolness, ‘There are hundreds—thousands—of young demobs like yourself to be had today for the asking. All very nice chaps personally, quite unscrupulous, willing to take any risk, competent within certain limits, and not one of them able to earn an honest living. No; if I were you I shouldn’t fancy myself indispensable.’
‘Having now disclosed our mutual standpoints and in a manner cleared the ground, let’s come down to concrete foundations,’ suggested Nickle. ‘You’re hardly thinking of opening a beauty parlour at this benighted Tapsfield?’
The actual expression of the man addressed as Joolby at this callous thrust did not alter, although it might be that a faint quiver of feeling played across the monstrous distortion that composed his face, much as a red-hot coal shows varying shades of incandescence without any change of colour or surface. For such was Joolby’s handicap at birth that any allusion to beauty or to looks made in his presence must of necessity be an outrage.
He was indeed a creature who by externals at all events had more in common with another genus than with that humanity among which fate had cast him, and his familiar nickname of ‘The Toad’ crudely indicated what that species might be. Beneath a large bloated face, mottled with irregular patches of yellow and brown, his pouch-like throat hung loose and pulsed with a steady visible beat that held the fascinated eyes of the squeamish stranger. Completely bald, he always wore a black skull-cap, not for appearance, one would judge, since it only heightened his ambiguous guise, and his absence of eyebrows was emphasised by the jutting hairless ridges that nature had substituted.
Nor did the unhappy being’s unsightliness end with these facial blots, for his shrunken legs were incapable of wholly supporting his bulky frame and whenever he moved about he drew himself slowly and painfully along by the aid of two substantial walking sticks. Only in one noticeable particular did the comparison fail, for while the eye of a toad is bright and gentle Joolby’s reflected either dull apathy or a baleful malice. Small wonder that women often turned unaccountably pale on first meeting him face to face and the doughty urchins of the street, although they were ready enough to shrill ‘Toady, toady, Joolby!’ behind his back, shrieked with real and not affected terror if chance brought them suddenly to close quarters.
‘The one thing that makes me question your fitness for the job is an unfortunate vein of flippancy in your equipment, Nickle,’ commented Joolby without any display of feeling. ‘No doubt it amuses you to score off people whom you despise, but it also gives you away and may put them on their guard about something that really matters. This is just a friendly warning. What sort of business should I be able to do with anyone if I ever let them see my real feelings towards them—yourself, for instance?’
‘True, O cadi,’ admitted Nickle lightly. ‘People aren’t worth sticking the manure fork into—present company included—but it’s frequently temptatious. Proceed, effendi.’
‘The chap who has been at Tapsfield already was a wash-out and I’ve had to drop him. He’ll never come to any good, Nickle—no imagination. Now that’s where you should be able to put something through, and I have confidence in you. You’re a very convincing liar.’
‘You are extremely kind, Master,’ replied Nickle. ‘What had your dud friend got to say about it?’
‘He came back sneeping that it was impossible even to get in anywhere there because they are so suspicious of strangers.’
‘To do with the mill, I suppose?’
‘Of course—what else? He couldn’t stay a night—not a bed to be had anywhere for love or money unless someone can guarantee you bona fide. The fool fish simply dropped in on them with a bag of golf clubs—and there wasn’t a course within five miles. You’ll have to think out something brighter, Nickle.’
‘Leave that to me. Just exactly what do you want to know, Joolby?’
‘Everything that there is to be found out—position, weaknesses, precautions, routine, delivery and despatch: the whole business. And particularly any of the people who are open to be got at with some sort of inducement. But for God’s sake—’
‘I beg your pardon?’
‘No need to, Nickle. I only want to emphasise that whatever you do, not a shadow of suspicion must be risked. We haven’t decided yet on what lines the thing will go through and we can’t have any channel barred. I can give you a fortnight.’
‘Thanks; I shall probably take a month. And it’s understood to be five per cent on the clean-up and all exes meanwhile?’
‘Reasonable expenses, Nickle. You can’t spend much in a backwash like this Tapsfield.’
‘My expenses always are reasonable—I mean there is always a reason for them. But I notice that you don’t kick at the other item. That doesn’t look as if you were exactly optimistic of striking a gold mine, Joolby.’
‘In your place I might have thought that, but I shouldn’t have said it. Now I know that you will make it up in exes. Well, let me tell you this, Mr Nickle: no, on the whole I won’t. But what should you say if I hinted not at hundreds or thousands but millions?’
‘I should say much the same as the duchess did—“Oh, Hell, leave my leg alone!”’ languidly admitted Mr Nickle.
The road from Stanbury Junction to Tapsfield was agreeably winding—assuming, of course, that you were at the time susceptible to the graces of nature and not hurrying, for instance, to catch a train—pleasantly shady for such a day as this, and attractively provided, from the leisurely wayfarer’s point of view, with a variety of interesting features. For one stretch it fell in with the vulgarly babbling little river Vole and for several furlongs they pursued an amicable course together, until the Vole, with a sudden flirt like the misplaced coquetry of a gawky wench, was half way across a meadow and although it made some penitent advances to return, the road declined to make it up again and even turned away so that thereafter they meandered on apart: a portentous warning to the numerous young couples who strolled that way on summer evenings, had they been in the mood to profit by the instance. Its place was soon taken by a lethargic, weed-clogged dyke, a very different stream but profuse of an engaging medley of rank grass and flowers—tall bulrushes and swaying sedge, pale flags, saffron kingcups and incredibly artificial-looking pink and white water-lilies, and the sure resort of countless dragonflies of extraordinary agility and brilliance. This channel at one point gave occasion for a moss-grown bridge whereon the curious might inform themselves by the authority of a weather-beaten sign that while the road powers of the county of Sussex claimed the bridge and all that appertained to it, they expressly disclaimed liability for any sort of accident or ill that might be experienced there, and in fact held you strictly responsible and answerable in amercement.
Everywhere was peaceful shade and a cool green smell and the assurance that anything that was happening somewhere else didn’t really matter. A few small, substantial clouds, white and rotund like the puffs of smoke from a cannon’s mouth in an old-type print, floated overhead but imposed on no one to the extent of foretelling rain. Actually, it was the phenomenally dry summer of 1921.
The single pedestrian who had come that way when the 3.27 down train steamed on appeared to be amenable to these tranquil influences, for he continually loitered and looked about, but the frequency with which he took out his watch and the alert expectancy of his backward glances would soon have discounted the impression of aimless leisure had there been anyone to observe his movements. And, in truth, nothing could have been further from casualness or lack of purpose than this inaction, for on that day, at that hour and in that place, the first essential move was being made in a design so vast and far-reaching that the whole future course of civilization might well hang on its issue. So might one disclose a tiny rill in the uplands of Thibet—and thousands of miles away the muddy yellow waters of the surging Whang Ho obliterate an inoffensive province.
Presently, following the same route, the distant figure of another pedestrian had come into sight, and swinging along the road at a fine resolute gait (indicative perhaps, since he wore a clerical garb, of robust Christianity) promised very soon to overtake the laggard. It is only reasonable to assume that in his case there was less inducement to examine the surroundings, for while the first could be dismissed at a glance as a stranger to those parts, the second was the Rev. Octavius Galton, vicar of Tapsfield, who, as everyone could tell you, paid a weekly visit on that day to an outlying hamlet with its little tin mission hall, straggling at least a mile beyond the Junction.
With the first appearance of this new character on the scene the behaviour of the loitering man underwent a change—trifling indeed, but not without significance. His progress was still slow, he continued to take interest in the unfolding details of his way, but he studiously refrained from looking round, and his watch had ceased to concern him. It was, if one would hazard a speculative shot, as though something that he had been expecting had happened now and he was prepared to play a part in the next development.
‘Good afternoon,’ called out the vicar as he went past—he conscientiously greeted every wayfarer encountered on his rounds, tramp or esquire, and few were so churlish as to be unresponsive.
‘Glorious weather, isn’t it?—though of course rain is really needed.’ The after-thought came from over his shoulder, for the Rev. Octavius did not carry universal neighbourliness to the extent of encouraging prolonged wayside conversation.
‘Good afternoon,’ replied the stranger, quite as genially. ‘Yes, isn’t it? Splendid.’
He made no attempt to enlarge the occasion and to all appearance the incident was over. But just when it would have been, Mr Galton heard a sharp exclamation—the instinctive note of surprise—and turned to see the other in the act of stooping to pick up some object.
‘I don’t suppose this is likely to be yours’—he had stopped automatically and the finder had quickened his pace to join him—‘but if you live in these parts you might hear who has lost it. Looks more like a woman’s purse, I should say.’