Tag Archives: Mycroft Holmes

Cypser, Darlene. * The Consulting Detective Trilogy, Part I: University. Morrison, CO: Foolscap and Quill, 2012.

“Of all ghosts, the ghosts of our old loves are the worst.”

When I was a kid, I loved reading in the car. So much so, in fact, that twice I missed my school bus stop because I was too engrossed in a book to notice. Now that I’m an adult, however, that’s changed. Not because I get motion sickness, or anything like that, but because I need to see what’s going on, and offer my helpful observations to the driver.**  On a recent trip back from the Gulf Coast, however, it was a wonder we made it home in one piece, because I was far too distracted to play co-pilot.

Distracted by this book.

In fact, once I pulled it up on my Kindle, during spring break, I was torn between the desire to “make it last” and the need to “readitallrightnow.” To achieve the former, I tried reading only when conditions were absolutely perfect–e.g., when everyone was in bed and I had the living room to myself with a bottle of real Coke. But then came the car trip home, and all self-discipline was lost. In fact, I wouldn’t blame you if you navigated over to your favorite bookseller right now and bought a copy, leaving me hanging in the blogosphere. But, since you’re polite enough to stay….

Darlene Cypser begins this first volume of her Consulting Detective Trilogy  right where she left off with its prequel, The Crack in the Lens.  At the conclusion of that book, Sherlock Holmes, still not recovered from the illness which almost took his life,*** struggles downstairs to his father’s study in an effort to salvage his opportunity to attend university. This scene is repeated in University, after which we follow Sherlock in his efforts to regain his mental and physical health in time to start his studies with the new term. Living as we do in an age where modern medicine both helps us diagnose, treat, and cure disease much faster than at any other time in history, it’s interesting to realize how long recuperation could last a century ago. However, his lungs are not Sherlock’s greatest problem. The events of November and December still haunt him, and it takes only his mother’s careless disclosure, a glimpse of the moor or a fencing bout into the shade of the outbuildings to throw him back into what his loyal manservant, Jonathan, calls an “attack” (and what we would call PTSD). Fearful of his father’s reaction should he find his son mentally compromised, Sherlock forces his way through these episodes until, by the time he leaves for Cambridge University’s Sidney Sussex College,† he believes he has them conquered.

Sherlock begins his college career uneventfully enough, settling with Jonathan into what seem to be very nice quarters, playing “the game” by observing his fellow students in chapel, and studying the mathematics his father has prescribed. He’s not overly thrilled with the subject, finding all of the memorization boring, but he wants out of Yorkshire, and becoming the engineer his father wishes seems as good a way as any. He doesn’t really mesh with the other young men at his college, and his reaction to their innocent questions about his illness puts them off even further. Still, things seem to be going well for him until, one day in November, he leaves the lecture hall and walks into a snowstorm.

There are some struggles that are never really over. Whether they have their roots in events, our own peculiar demons, or some unholy combination of the two, we are destined to fight and refight these battles throughout our lives. The ghosts of 1871 revisit Sherlock with a vengeance, taking him on a terrifying, dangerous journey through his unresolved guilt and grief, his only hope of recovery lying in the meager treatments available at the time. He doesn’t fight alone. Mycroft, the alienist Dr. George Mackenzie, university staff such as Senior Tutor Rev. John Clowe, Victor Trevor and his prescient father; and, most of all, Jonathan Beckwith, provide him with invaluable support. Still, in the end, it is Sherlock Holmes himself who discovers the one antidote which will keep his mind from “tearing itself to pieces.”††

It’s not what you think, people! Ok, not exactly what you think.

Perhaps in no small measure to Dr. Watson’s own efforts, we often come to see Sherlock Holmes as someone not quite human.††† He’s almost like a Victorian superhero–smarter than everyone else, able to bend pokers straight again with skinny arms and no exercise, defeating all comers with his expertise in fencing, single-stick fighting and baritsu. There’s the whole not-eating-or-sleeping thing, described by a man who needs humbugs on a stake-out. In his efforts to chronicle the detective’s exploits and (let’s be honest) sell stories, Holmes’ admiring Boswell sacrifices a bit of his flatmate’s humanity in the telling.

Ms. Cypser’s Holmes, however, is extremely relatable. Unlike other writers who take on the project of exploring Sherlock Holmes’ unrecorded youth, she doesn’t bring in unusual characters or spectacular adventures. Sherlock’s dilemmas are, instead, familiar to all of us. He wonders how to reconcile his skills and interests with the courses and careers available to him. He has difficulty making friends and runs afoul of a student known for his ability to destroy reputations with a few well-placed rumors.  He tangles with authority, both academic and familial, building the confidence he needs to make that final, necessary break. In the second half of the book, he begins to try his hand at detective work, but his “cases” are such as one might expect to find in a university setting; not a stolen jewel or secret weapon among them. Most importantly, however, he grapples with the puzzle of his own mind. Without asking for a show of hands, I imagine that quite of few of us have come to realize the uncomfortable truth that, due to trauma, biology, or a nasty concoction of both, our minds can venture into places we would never willingly go. And while psychology was still in its infancy some 140 years ago, you’ll likely find Sherlock’s attempts to regain control of his mental health very familiar–and will come to see how they may have continued to affect him in as an adult. None of this is spelled out for the reader. Instead, Ms. Cypser skillfully and subtly takes the events of Sherlock’s university career and, just as she did in The Crack in the Lens, leaves it for the reader to deduce how they helped to create the detective of Baker Street. Some, such as the experimental medication Dr. Mackenzie prescribes to help Sherlock through an especially difficult time, are obvious. Others are less so.

Which is great, because, like its predecessor, University stands up well to re-reading. As a matter of fact, the reading upon which I am basing this review is my fourth–since April.  University is impressively well-researched and documented; several characters are based on actual people, and there is an essay on sources in the back of the book. When it comes time for Holmes to spend time with Victor Trevor and his father at Donnithorpe–a crucial event which Watson records as “The Gloria Scott”–canon and book are expertly combined. Ms. Cypser’s own prose is plain and workman-like. She will likely never be accused of waxing rhapsodic about moss-covered brick walls.‡ Still, Holmes’ world is vividly drawn and compelling; once you enter, you won’t want to leave. Occasionally, I found myself wishing for a little more detail. When Sherlock goes home for the Christmas holidays during his first year at school, for instance, I had to wonder what the local young women thought of him. Was he desirable, as the son of a Squire with at least a few prospects in life? Had the rumors of his relationship with Violet Rushdale and his subsequent illness damaged any cachet he might have had with them? Does he have to avoid them? Were there awkward encounters? Wouldn’t Mrs. Holmes, with her social instincts and lack of perception, push both Sherlock and Mycroft to come away from the punch bowl and mingle? Ms. Cypser does briefly address Sherlock’s (and Mycroft’s) views of women in two instances, and I am sure the question will figure in future volumes, but I felt there was a missed opportunity here. What I loved most about University, however, was the suspense. Although I enjoyed The Crack in the Lens immensely, there were times when I wondered why a particular scene was included and, for me, this slowed down the story.  University presents no such problems. Every scene has an ultimate purpose, and nothing is wasted. I was pulled in from the first, and had no desire to resurface. During one particularly suspenseful chapter (there are several), I found myself beginning to worry about Sherlock–then realized with a start that *spoiler alert* the very existence of the canon meant that he would be able to fight his way through. My advice? Forget chores, ignore the laundry, order takeout for dinner and just settle in for the ride. You’ll miss it when it’s over.

Have you read either The Crack in the Lens or University? Got a comment or question to share? First commenter wins their choice of either book–plus a copy of one of several books for which the authors have designated profits to go to the Undershaw Preservation Trust’s efforts to save Arthur Conan Doyle’s home. A list of these books will be provided for you with your notification e-mail.

The Consulting Detective Trilogy, Part I: University is available at all major online booksellers, and a large number of brick-and-mortar shops. For a comprehensive list, see http://www.foolscap-quill.com/booksellers.html. It can also be had in e-book format. Both of Ms. Cypser’s Sherlock Holmes books have Facebook fan pages. Other information is available at http://www.foolscap-quill.com/.

Star Rating: 5 out of 5–“This is a wonderful book which gets it right.”

Notes:

* In the interests of full disclosure, I will tell you that the author asked me (and several others) to read her book and make comments pre-publication. Other than providing a list of typos, I contributed nothing to its content. I am reviewing the published version of the book.

**This is how I prefer to see it. My husband calls it being “an annoying control freak,”  but long drives make him irritable.

***It started out as pneumonia, but became something much more serious. Although it isn’t absolutely necessary to have read The Crack in the Lens before University, I do think it helps the reader understand Sherlock’s struggles in a more visceral way.

†Doyle tells us that Holmes attended university, but exactly which university is up for spirited debate. For a good Cambridge (and Sidney Sussex) argument, see: Dorothy Sayers’ essay, “Holmes’ College Career” in her book, Unpopular Opinions.  For Oxford, consult Nicholas Utechin’s Sherlock Holmes at Oxford. Both books are available at a reasonable price from Amazon. For a nice online write-up on the history of Sidney Sussex College, see http://www.sid.cam.ac.uk/aboutus/visitors/history.html. And, by the way, University explains exactly why we have to have this debate at all.

††”The Man With the Twisted Lip”

†††In some instances, he isn’t human at all. See Robert Lee Hall’s Exit Sherlock Holmes.

‡See Watson’s description of just such a wall in “The Retired Colourman.”

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Filed under Darlene Cypser, Five-star reviews, Foolscap and Quill, Holmes and Drugs, Holmes and Love, Holmes and Sex, Holmes as a Youth, Holmes Family, Real Historical Personages

Thomas, Amy. The Detective and the Woman: A Novel of Sherlock Holmes. London: MX, 2012

“Sorry, old man, can’t do that stake-out with you tonight. I’ve got to bring up my word count for NaNoWriMo.”

If you’re a writer, and I know some of you are, you’ve probably heard of “NaNoWriMo,”* the annual event that encourages you to make November the month you write your novel–or at least 50,000 words of it. Have you ever done it? I have, twice. This is how it went:

1. Determine I will do it. This time.

2. Sign up.

3. Write about 1,000 words per day in current WIP (work in progress). For, like, two days.

4. Evening out.

5. Sick kid.

6. Intense FB debate about…something.

7. Veteran’s Day

8. Who am I kidding?

And that’s it for another year. Do you know what Amy Thomas** did for NaNoWriMo 2011?

1. Wrote a book.

This alone is a praiseworthy achievement. But then, she…

2. Published it.

The Detective and the Woman is that book.

Now, I can hear what some of you are saying. “Holmes and Irene again! He wasn’t in love with her! He just kept her photo to remind him to be humble/for a paperweight/to hide the morocco case in the drawer from Watson!”  Relax! Although I myself have no problem with Holmesian hookups, I have to admit I was dubious as well, mainly because I am not a fan of Miss Adler, particularly as she is often portrayed. Still, I was curious, and that curiosity was rewarded.

If you remember, Irene Adler was the woman who outwitted Holmes in “A Scandal in Bohemia.”  At the end of this story, she keeps her indiscreet photograph of the King of Bohemia, marries her barrister, Godfrey Norton, and manages to tweak The Great Detective at his doorstep. Watson writes of Mrs. Adler-Norton, “To Sherlock Holmes, she was always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex.” He then rushes on to explain to us that Holmes was not, in fact, in love with her, just…impressed.***

Ms. Thomas begins her book some three years after this event, as Irene stares down at the body of her husband, who’s just died of a heart attack. She isn’t sorry he’s gone. The congenial, popular man she’d stood with in the church of St. Monica turned out to be a controlling, abusive husband who’d married her primarily so he could use her fortune to maintain his newly-inherited Yorkshire estate. Her dreams of a bucolic life away from the constant demands of performance and society dissolved into a horror of physical and mental cruelty at the hands of a sociopath who convinced everyone else that he was an adoring spouse. Fortunately, Godfrey Norton didn’t expect to die young; Irene’s money was never made a part of his estate. As she manufactures tears for the physician and servants and plays the part of the grieving widow, she waits for her solicitor, James Barnett, to legally disentangle her bank account. That done, she resumes her singing career and heads to the States for a tour; in the end, it’s what she knows best. She will never again, she resolves, trust her fate to a man.

Clearly, Ms. Adler does not know how to pick ’em.

It’s during a performance in Orlando, Florida, that she notices someone strikingly familiar in the audience, and she’s not surprised to find him waiting for her in her dressing room afterwards. Perhaps she should be; after all, he’s supposed to be dead, but instead of fainting, she offers him (bad) coffee, and they trade stories.

Holmes isn’t there just to catch up, however. Mycroft, apparently more than happy to make use of his younger brother’s suddenly free schedule, has sent him to find Irene on the basis of a threatening letter which found its way into his hands through oddly coincidental circumstances.  The letter, which Holmes was instructed not to open until he reached Florida–possibly because Mycroft thought he would balk at another meeting with The Woman–seems to indicate that Irene is the target of a (possibly international) plot. Or is she?

After her experiences with the King of Bohemia, Godfrey Norton, any number of men in her past, and even Sherlock Holmes, Irene is not in a trusting mood. Holmes’ difficulties with women are well-documented.✝ Still, they’re able to put their doubts about one another aside (sometimes with difficulty) in the interests of solving the case. Their efforts lead them into both the highest echelons and lowest dregs of Floridian society, requiring quite a few costume changes, acting skills and outright subterfuge. Irene finds this last often difficult–particularly when it is directed at her. The plot has so many twists and turns that it’s actually hard to tell you much more than this without venturing into Spoilerville. Just remember, nothing is what it seems. Unless it is. When Mycroft’s involved, you never know.

It isn’t hard to write a Sherlock Holmes’ pastiche; people churn them out all the time. What’s hard is to write a good one. To achieve this, the writer must successfully address three factors: setting, character, and plot. Let’s break it down, shall we?

Many would argue that one of the reasons Sherlock Holmes has stayed popular for over a century is that his gas-lit, Victorian-on-the-cusp-of-Edwardian London carries a mystery, familiarity and poignancy that still fascinates. However, like many of us, Ms. Thomas couldn’t just spend months in London to soak up the atmosphere and get all the buildings right. So she wisely chose to set her story in the Ft. Myers area of which she has intimate knowledge. She does a good job of integrating its history and prominent people into the book. I was worried, for instance, when Thomas Edison made an appearance (the Edisons wintered in Ft. Myers). But he blended in quite well, and there was no magical invention to serve as deus ex machina in the final moments of the adventure.✝✝  I particularly liked how Ms. Thomas describes Holmes’ view of his new surroundings:

He had always been affected by atmospheres. The hubbub of London was like a steady hum that called to him and told him secrets about its inner workings. Florida was different, almost silent, save for the growl of the animals that prowled the night-time. He couldn’t feel a pulse…underneath the beating sun, and the lack of bearings unsettled him. (p.42)

At the same time, she avoids the temptation of having every other scene scream, “Look! Sherlock Holmes is in America!” No quirky characters, no allusions to Disney, no gratuitous mentions of US politics, no funny dialects. We do find out Irene doesn’t like the Coca-Cola Edison has delivered in; I felt a bit sorry for her.

Sherlockian pastiche plots are difficult because they generally require a mystery to be successful–and that mystery has to stay a mystery for most of the book. Authors vary in their ability to pull this one off. I’ve admitted before that I am not the best armchair detective; I’m along for the ride. But Ms. Thomas does an excellent job of parceling out information on a need-to-know basis. Even though the reader spends half of the adventure in Holmes’ head, the detective remains secretive, and even when I was fairly sure I had it all figured out, I still had one surprise coming. There were moments in which I felt my credulity strained, but within a few pages, Ms. Thomas addressed those lengthy marginal notes, reducing them to ballpoint bluster. In the end, however, the reader has to accept that the elaborate plot was necessary for the villain to achieve his ends, and that Holmes would be willing, so early in the Hiatus, to blow his cover. I can accept that the culprit would want to exercise that level of control over his plot, and the author does address the latter issue, but these are two instances in which you may need to play along. You won’t feel bad about doing so.

Finally, of course, there are the characters. Irene Adler is a polarizing character to many, and the idea of her having any sort of relationship with Sherlock Holmes even more so. I was very happy with the way Ms. Thomas portrays The Woman. Here, she’s not a vixen, not a thief, and not, thankfully, a Mary Sue. At one point, Holmes describes her as a “nor’easter,” but I think that just reflects his limited experience. She’s a regular woman emerging from an experience that challenged her every notion of who she is; most readers will be able to identify with her reactions and concerns. Her greatest strength is her ability to keep her head in trying circumstances. This is useful, not only when someone is holding a gun to the head of the woman next to you, but also when Sherlock Holmes is trying to explain why he didn’t tell you a rather important aspect of his plan–one that concerned you. Forced once more into trying circumstances due to others’ machinations, Irene Adler finds herself acting as Watson. She does a fair job, but in the end, it’s not a role she relishes.

I liked Amy Thomas’ Sherlock Holmes as well. Holmes is always a tricky character; everyone seems to have a different view of him. This detective is, perhaps, a bit softer than others, but not by much. He’s not a misogynist at all, just a regular man bewildered by women’s more emotional reactions to life.In one priceless scene, for example, he thinks about how one of Watson’s bad moods could be easily short-circuited with ale and a pork pie, and doubts that would work with his new partner. He finds Irene a useful companion, someone intelligent to bounce ideas off of, but he’s not sure how far he can trust her, or of her ability to fulfill the assignments he gives her. In his other aspects–his facility with costumes, his faculty for working for days without rest, his quick reasoning and ability to sacrifice others’ interests to solve a case–he is the Holmes we all recognize. I did feel that, so soon after Reichenbach, there might have been a little more exploration of his thoughts and feelings on that split-second decision and all of its ramifications.He misses Watson, compares him (generally favorably) to Irene, but there’s less of this than one might think. And, as I mentioned before, he didn’t seem nearly as concerned about others learning his identity as might be expected. It could be argued, however, that Holmes’ ability to bury disturbing feelings under the weight of logic kept him sane during the Hiatus, and helped him become the Great Detective, so these are only minor caveats.

Speaking of which…. Because this is, after all, The Detective and the Woman, I must address the inevitable question: do they? Well, they don’t go off to Montenegro and have Nero Wolfe, if that’s what you’re asking, and Irene doesn’t show up later in Montpellier for, um, coal-tar derivatives.✝✝✝  But when they part–she to Sussex, and he to Tibet, they part as friends. If that’s enough for you, stop there. If, like me, you want the full misty-eyed experience, read on a little further.

NaNoWriMo encourages writers to just pour their guts out onto paper, without thought for plot, coherence, character development–the niceties of writing. I don’t think Amy Thomas took that advice. In The Detective and the Woman, she takes on one of the most challenging themes in Sherlockian pastiche and handles it deftly. It’s an excellent first book and not, hopefully, her last.

I’d like to know your thoughts on this book, Irene Adler, Sherlock in America, or the Great Hiatus. Leave your comments below. Second commenter gets a copy of The Detective and the Woman or another book in my stash.

The Detective and the Woman is available through traditional online sites. It is also available from the Baker Street Babes’ shop; purchasing it there will help the Babes continue to add much-needed bandwidth for their popular podcasts.

Star Rating: 4 1/2 out of 5  “Well worth your time and money.”

*National Novel Writing Month

**Yes, that Amy Thomas, of Baker Street Babes fame!

***He afterwards calls her “the late Irene Adler, of dubious and questionable memory.” Practitioners of  The Game have a field day with this one.

✝Particularly in fan fiction.

✝✝Don’t laugh. People do this.

✝✝✝For the first, see Baring-Gould. For the second, see Laurie King.

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Filed under Amy Thomas, Baker Street Babes, Four-star reviews, Holmes and Love, Holmes out of his Element, MX Publishing, Real Historical Personages, The Final Problem

Cypser, Darlene. The Crack in the Lens. Morrison, CO: 2010.

Yes, Watson, We Were Shocked, Too

As one reads through the canon, it’s easy to believe, along with Watson, that Sherlock Holmes is “an isolated phenomenon,” that he simply sprang forth a wholly-formed adult from…well, somewhere. And even after we’ve gone to the Diogenes and met Mycroft in “The Greek Interpreter,”* and learned the few facts Holmes provides about his family and youth, we really don’t know that much more about them. “My ancestors were country squires,” he says, “who appear to have led much the same life as is natural to their class.” To spice things up a bit, he then tells Watson that his grandmother was a sister of the French artist, Vernet,** and that, “art in the blood is liable to take the strangest forms.” And that’s pretty much all Watson ever tells us, thereby whetting the imaginations of pastiche writers everywhere.

Because, of course, Sherlock Holmes didn’t just appear one day. He has a family, a childhood, an adolescence, all three of which have inspired plenty of creative speculations in both film and print. In today’s book, The Crack in the Lens, Darlene Cypser takes her turn, taking us back to the year 1871, when Sherlock, then 17, faces two critical events which force him to learn hard lessons about the darker side of human nature, loss, and resilience.

Of course he has no idea what’s coming. He’s just returned to his native Yorkshire with his parents, Squire Siger*** and his wife, from a two-year sojourn among his maternal relatives in the south of France, where they travelled in hopes of improving Sherlock’s delicate health. He has a tendency towards serious lung problems and, to his ex-cavalry officer father’s consternation, has been labelled “delicate” by the family physician. Despite this, he’s an active, intelligent young man, who can’t wait to take his horse and dog out for a ride on the moors around the manor house to explore his old childhood haunts, like an old stone hut. But the Holmes family is in transition, now. Sherlock’s oldest brother, Sherrinford✝ is about to be married and is taking on many of the duties that will one day be his as squire, while Mycroft is living and working in London as a government accountant. The squire is in the process of hiring a tutor in hopes of preparing Sherlock to gain admittance to university, where, he hopes, his youngest son will study engineering and find gainful employment in the rapidly expanding British Empire. This won’t be the only change in Sherlock’s life this year; on this, his first ride out onto the springtime moors, he encounters Violet Rushdale, the daughter of one of the Holmes’ tenant farmers.

The North Yorkshire Moors. Much More Interesting Than Mathematics.

She’s shot a hare, and her hands bear evidence of hard work, which makes no sense to him, as his father’s tenant farmers tend to be fairly prosperous. She claims that poor harvests have caused everyone hardship, but he doesn’t quite believe her. From Sherrinford, who took care of manor business while the squire was away, he learns that Violet’s mother died of cholera a couple of years before, and her father took to drink in response. Godfrey Rushdale is now barely functional, and it’s fallen to Violet to try to keep their lives together. When Sherlock visits the now-ruined farm himself, he learns that she’s done so by gathering herbs for some village women, and selling off livestock and family belongings–now in short supply. He helps her take some furniture to town, and to get a good price for the Rushdale wagon, thus beginning a friendship which deepens as weeks pass.

He is, in fact, much more interested in Violet than he is in the Greek, Latin, mathematics and astronomy lessons presented by his new tutor, James Moriarty (who has this strange, oscillating tic). Still in his twenties, Moriarty has already gained academic acclaim for his papers on the binomial theorem and asteroidal dynamics. Sherlock wonders why the professor resigned his chair at Westgate University, apparently giving up on a promising career to become a tutor.  He has an almost instant, intuitive distrust of the man, which he can’t explain; Moriarty seems nice enough, and works hard to curry favor with the family. When Sherlock begins to suspect Moriarty of subtly cruel manipulations, such as making it impossible for him to finish his work, then complaining to the Squire that he is lazy–or worse, altering the work itself– no one believes him. For his part, Moriarty  wonders why, exactly, Sherlock is so eager to have his afternoons free, why he wants to go out riding on the moors so often.

The answer, of course, is Violet. Sherlock finds her fascinating enough all by herself, but he also relishes the freedom and time away from his cold, demanding father, mentally absent mother and the reptilian Moriarty. One thing leads to another, with the predictable result and its predictable consequences. What could have just been a small family scandal, however, with Moriarty’s cruelty added to the mix, becomes a tragedy that threatens four lives and forces Sherlock out of childhood towards the man he will become.

In The Crack in the Lens, Ms. Cypser, long-time Sherlockian and current president of the Denver scion society, “Dr. Watson’s Neglected Patients,” has written a book which should appeal to both newbies and seasoned fans. There are plenty of nods to both canon and William S. Baring-Gould’s biography of Holmes (although she does not follow the latter slavishly), but one does not need to have either memorized to follow the plot. As a young man, Sherlock has many characteristics of the Great Detective already in place: he’s observant, for instance, and he and Mycroft play a little game of deduction which Sherrinford is not very good at. Cypser works glimpses of these traits into “slice of life” episodes, such as a visit to the Lammas Day Fair in Yorkshire, where Sherlock, serving as his sister-in-law’s escort, makes a fool of a thimblerig con and, through his kindness in discouraging some young purse-snatchers, ends up inspiring their loyalty later in the day. It’s during this trip that Sherrinford points out that his younger brother has a morbid streak–a fascination with the Newgate Calendar.✝✝ Some readers may find that these sections move a little slowly, but it’s interesting to imagine the Sherlock Holmes of Baker Street ribbing his brother about his wedding jitters, complaining about his annoying little cousin, George Challenger;  shooting grouse, teaching a dale boy to fence, looking for fossils, or working in area fields during the harvest.

This last, of course, isn’t what a country squire’s son would normally be doing. In fact, he’s sent there as a punishment for what Moriarty leads Siger Holmes to believe is laziness. One gets a sense of why Holmes doesn’t speak fondly of his parents in later life; with both father and mother too caught up in their own interests and  duties, the young Sherlock gets his only real familial affection from his brothers, and it shows in their interactions. While the scenes between Sherlock and Violet are sweet and natural, those involving either the Squire or the Professor are  unpleasantly electric, particularly as the conflict escalates. Sherlock is keenly aware that he will never be able to please his father; it doesn’t help that Moriarty is not a villain with comprehensible motives, but a different creature entirely. Each time Sherlock brings an accusation against his tutor, the reader is bound to ask, along with Mycroft, Sherrinford, and their father, “Why? Why in the world would anyone do that?” The answer, of course, is one that gradually becomes clear to Sherlock and, unfortunately, to many of us in our own lives: he does it because he can. Because some people are simply evil.

Some readers may be surprised to find that, in the final chapters, Sherlock Holmes is not the calmly cerebral person they envision from Watson’s stories. I thought that myself, the first time I read it–at least, I thought he was a little over-dramatic. Then, however, I thought back a few decades to my own adolescence. To my own very emotional reactions to events both small and traumatic, and to those of friends and classmates. It’s easy, as an adult, to forget how it felt to be dependent on parental actions and support, to not have the confidence earned through experience, or the sad yet resilient assurance that the sun will shine tomorrow, and we’d best get on with it. No one is born with this knowledge; it’s gained through living, and living much longer than 17 years. And at any rate, as his friend continually points out, Watson sees, but does not observe, and those “hidden fires” are never so secret as he imagines they are.

The Crack in the Lens is exciting and enjoyable, highly recommended for anyone who doesn’t mind extra-canonical speculation in their pastiches. And if that’s what you particularly enjoy, you’ll be pleased to know that a sequel, which follows Holmes to university, is due to be released this spring. I, for one, am looking forward to it. And I would love to know what happened to Professor Hastings.

Well, this ends our February exploration of  Sherlockian romance. There will be more later, never fear! But for now, the first to comment on this post wins a copy of The Crack in the Lens, or if you already own it, its sequel when available (most likely in March). So don’t be shy–let me know what you think!

The Crack in the Lens is available from Amazon and other major online booksellers, as either a print or e-book. For more information, including a list of sources, see www.thecrackinthelens.com

Star Rating: 4 out of 5: “Highly enjoyable; worth your time and money.”

Footnotes:

*Sherlockian convention dictates that, for brevity’s sake, each story be generally referred to by an abbreviation of its first four letters. “The Greek Interpreter,” for example, is therefore written as GREE.

**Typically, he does not tell us which Vernet. Baring-Gould picks Antoine C.H., aka Carle, 1758-1835.

***Baring-Gould got the name “Siger” from the alias Holmes uses during the Great Hiatus, “Sigerson,” which, in the Norwegian it was purported to be, means “Siger’s Son.”

✝ Baring-Gould invented Sherrinford to explain why Mycroft and Sherlock, sons of a country squire, were not actually living in the country. As the eldest, Sherrinford would inherit, and his brothers would need to find other occupations.

✝✝ This used to be a monthly record of executions in Newgate Prison. By Sherlock’s time, it was a collection of moral stories, rather dramatic, based on the misdeeds and sorry deaths of famous historical criminals, and apparently a common book in English homes.



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Filed under Darlene Cypser, Foolscap and Quill, Four-star reviews, Holmes and Love, Holmes and Sex, Holmes as a Youth, Holmes Family, Moriarty

Walters, Charlotte Anne. Barefoot on Baker Street. London: MX Publishing, 2011

Happy Valentine’s Day, Sherlockians!

When I first thought of doing this blog, I planned on reviewing books based on a monthly theme–reviewing only Watson books in July, for example. With the rapid influx of new pastiche, I’ve had to scrap this plan just to keep up, but that doesn’t mean we can’t have the occasional theme month. And since it’s February, what better theme to use than…romance?

I know, I know, a few of you are about to navigate away. Not everyone likes the idea of giving Sherlock Holmes a love life.  But ever since Doyle told William Gillette that he could “marry him, murder him, or do anything you like to him,” writers have been taking him at his word and producing quite a lot of Holmesian hook-ups. So many, in fact, that it was hard to choose among them, and I’ve had to leave three of my favorites for another day.  This February, we’ll look at a relatively new work, an older one by an established writer and, finally, a book with a March sequel.

Workhouse Scene; No Wonder Red Wanted Out

Barefoot in Baker Street, Walters wants the reader to know, is not a Sherlock Holmes novel. Rather, it is a novel in which Sherlock Holmes appears. The story actually belongs to Red, a young woman fighting to rise above her workhouse origins. Red is not another Watson, recounting a Holmes adventure through her own eyes; she’s got a lot more to say in this first-person memoir than that.

We never know what Red’s mother named her. She doesn’t know, herself. Like many young couples, her parents come to London seeking opportunities denied them in their rural county and, like many, fail to find them. Red’s father dies in a railway accident, leaving her mother  to take refuge in the massive, infamous Whitechapel-Spitalfields Union Workhouse. There, she dies giving birth, leaving her daughter to a hardscrabble childhood in which she’s named for her hair.

Walters doesn’t shrink from painting the realities of workhouse existence. Because the novel is written as an older woman’s memoir, some details are less graphic than they might have been, but they’re no less horrific. A highly intelligent but strong-willed, emotional child, Red is too volatile to stay in an orphanage; thrown out into the East End streets, she returns to the workhouse.  There she endures rudimentary education, religious and domestic training, and works at pulling apart tar rope until bits of oakum are permanently embedded in her skin. Life at the Union Workhouse is physically brutal, disease-laden and humiliating but, as Red points out, the fact that she has never known any other world  makes it easier for her to survive the harsh conditions which defeat many workhouse denizens. She is strong and able to fend for herself, which she does ruthlessly one night after Union’s schoolmaster rapes her. After killing the manager who tries to block her escape, she grabs the master’s money and flees, taking with her Jude, a young boy she once saved from a beating, who is her only friend in the world.

Unable to return to the workhouse and running out of stolen money, Red and Jude do what many street children did out of necessity and affiliate themselves with a gang–in this case, the Dean Street Gang, led by one Wiggins.  Yes, that Wiggins, and it’s through his “moonlighting” as a Baker Street Irregular that teen-aged Red first comes into contact with Sherlock Holmes. He makes a definite impression, one she doesn’t forget as she’s pulled even further into the London underworld of prostitution, thieving, gambling and alcoholism. Her intelligence and physical strength serve her well, and she carves out a successful, if legally precarious, life for herself and Jude. It’s only a matter of time before she falls into the crosshairs of the Napoleon of Crime, a pivotal moment which changes her life forever.

For the past two weeks, I’ve debated what to do at this point of the review. A summary should, well, be a summary and give you, the prospective reader, an idea of the book’s major plot points.  It should not, however, contain spoilers, and if I go very much further, spoilers will appear one after another, like dominos in reverse. So let me just echo Walters’ description: Barefoot on Baker Street is the story of a woman’s life, and on her journey, Red reaches some very familiar female landmarks. While our lives may not be quite as adventurous or involve plots to, well, rule the world, most of us have encountered the horrible boyfriend, the passionate fling and, hopefully, the stable, mature relationship. Never content with life as it is, and despite tremendous loss, Red continues to grow throughout the novel until one day the savage little girl from the workhouse is only a memory.

Barefoot on Baker Street is Charlotte Anne Walters’ first novel, and the seven years’ of work she devoted to it have had impressive results.* The first half of the book shifts seamlessly back and forth between Red’s early days and her life in Moriarty’s household.** The memoir format makes for quite of bit of  “telling” in place of “showing,”  at least in the first few chapters, but the dramatic flow of events minimize the impact and keep the reader’s attention. Many of the confrontational scenes–and the romantic ones–are electric, although I did find a couple to be slightly overwrought. As everyone seems to collectively lose their minds directly after Moran is arrested in a retelling of “The Empty House,” for example, I found myself wanting to  reach through the pages, shake a few people (Watson, I’m looking at you), and tell them all to calm down.

It’s common for main characters in first novels to be “Mary Sues,” perfect in every way, even their (minimal) flaws somehow adorable. Fiction, romantic fiction in particular, also suffers from a preponderance of feisty heroines, to the point that they’ve become a stereotype. Walters avoids both of these pitfalls. Red is a fully realized woman, more flawed than not, who must do some difficult emotional work to mature. Because she’s so vividly alive, she avoids one of the fates that commonly befall new pastiche characters; the reader cares about her, and doesn’t skip through her story just to get to more Holmes and Watson. The other major characters are similarly well-drawn, Moriarty and Holmes in particular. Walters has an interesting and, I think, believable take on how both men think, and the mental and emotional challenges they face. Watson is less clearly envisioned and sometimes seems out of character, but not fatally so, while Mycroft is treated with care and complexity. As supporting characters, Sebastian Moran, Jude, and Ronald (a new brother for Watson) fill their roles adequately.

Canon devotees need not worry. While Walters does introduce romance and her own characters into Sherlock Holmes’ world, she’s done her research and takes great care with the Doylean universe. Some scenes, such as Holmes’ return from the Great Hiatus, are rendered practically word-for-word, with endnotes. Other stories, such as “The Sign of the Four,” are deftly woven in. “The Blue Carbuncle” gets a bit of a retelling but,  frankly, I like Red’s version a little better (James Ryder, such a sniveller….). Walters also does a decent job with historical detail. One error did recur; although brassiere-like undergarments did exist in the late 19th century, they were very uncommon and the corset was the rule; Red would never refer to a “bra.”

Again, I realize that some of you like your pastiche canon-straight. But if you’re adventurous, and open to allowing the Great Detective a little love, you’ll find Barefoot on Baker Street an exciting, engrossing adventure.  Want to leave your own opinion? First comment wins a copy of this week’s book, or your choice of David Ruffle’s Sherlock Holmes and the Lyme Regis Horror, or a BSB coffee mug–any one of them a perfect Valentine’s Day gift!

*Walters says she is currently working on a screenplay for Barefoot (which is quite visual and would lend itself well to the screen), and has several other books in the mental percolation stage.

** When I first bought Barefoot, I was so eager to read it, I did so on my phone. This was a mistake. While the shift in time periods during the first part of the book are very obvious in the printed copy, they’re not as distinct on a phone.  I was very confused. In a new edition, separation marks might be useful.

For more information about workhouses and the role they played in Victorian society, see: http://www.workhouses.org.uk/

Barefoot on Baker Street is available from MX publishing, major online booksellers (for US readers) and in Waterstone’s and other brick-and-mortar stores in the UK. You can also purchase it from the Baker Street Babes’ Bookshop, here: http://www.bakerstreetbabesbookshop.com/category/Sherlock+Holmes+-+Female+Writers; profits go to support the BSB podcast (which, incidentally, interviewed Charlotte Walters for Episode 10).

Star Rating: 4 out 5  (“Highly enjoyable. Worth your time and money.”)

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Filed under Charlotte Anne Walters, Four-star reviews, Holmes and Love, Holmes and Sex, Holmes and Watson Friendship, Moriarty, MX Publishing, Original Character

Hanna, Edward B. The Whitechapel Horrors. London: Titan Books, 2010. (Originally published by Carroll and Graf, New York, 1992)

I thought it would be fitting to start with the first pastiche I ever read, back when it came out in 1992. I remember barreling through it then, and each time I’ve read it, I’ve come away with a new appreciation of how Hanna, an award-winning journalist and member of the Baker Street Irregulars (BSI), was able to conflate fact and fiction.

The story begins, as many pastiches do, with an explanation of its existence. Cox and Company, as well as the tin dispatch box, are long gone. However, in the director’s safe at Claridge’s, a leather portfolio (initialed “J.W.”) keeps company with a bottle of ancient Armagnac. At least it did until recently. The director, one Ronald Jones, decided to actually open it as part of his first day on the job. There, along with a letter tracing its provenance to one John Hamish Watson, M.D., via Mr. Elwyn Anstruther and Dr. Ian Anstruther, he finds a collection of notes, which Dr. Watson wished to keep from publication until 2000, or 50 years after his death, whichever came first (obviously, Watson anticipated a long life; was it the royal jelly?). At any rate, Watson died in 1929, leaving Mr. Jones free to give his shocking story to the world.

After this explanation, Hanna does something that it is hard to get away with twenty years later: he eases the reader into the story. Rather than starting at the crime scene, bang in the middle of the action, we get to accompany Holmes and Watson to Simpson’s after they’ve seen a theater production of Jekyll and Hyde. During this chapter, Hanna takes the time to introduce the pair to any novices who might be reading. We get a snapshot of their physical characteristics, friendship, habits (the cigarette case makes an appearance), eccentricities, and, of course, Holmes’ ability to deduce all manner of information about people simply by observing a few details. When they get back to Baker Street that night, however, they have visitors, namely DI (Detective Inspector) Abberline and Sergeant Thicke. It is September 1, 1888.

Abberline and Thicke are, of course, real people, as is the victim, Polly Nichols, lying cold on the slab in the mortuary on Montague Street. If you’re looking for some of your favorite canon characters, you won’t be disappointed. Mrs. Hudson is there, as is Shinwell Jackson and the Irregulars. Lestrade and Mary Morstan are mentioned, and Mycroft is pivotal. However, the Ripper was, unfortunately, a real person, and Hanna never shies away from using real people as characters, taking Holmes and Watson to historical places, or involving them in actual events. Along with the morgue, Holmes and Watson visit a salon hosted by Oscar Wilde, various government offices, and interact with the Prince of Wales, Lord Randolph Churchill, Sir Charles Warren, the Rev. and Mrs. Samuel Barnett, and the young George Bernard Shaw, among others. Of the lengthy list, only the Shaw meeting seemed to me to be a little self-indulgent, particularly as it leads to a discussion of London dialects (of course you know where that’s going). And it must be noted, Hanna occasionally has a character say something which turns out to be anachronistic, as when Holmes quotes Oscar Wilde, from a play which was not written until 1893. Discrepancies such as this (Watson reading from a two-day old paper, for example) are dutifully noted in the copious and invaluable end matter, but while some of it may be essential to the plot, other bits seem to be just authorial hijinks, and could have been left out.

When it comes to Sherlockian and historical chronology, however, Hanna works hard to keep things straight. One of the problems with Holmes involving himself in the Ripper case is, of course, that HOUN* occurs smack in the middle of it, at least according to the Baring-Gould, Folsom, and Thomson chronologies. This is convenient, as it explains why Holmes stays in London and sends Watson to Devon, but inconvenient as they have to split their attention between a diabolical serial-killer and a demonic hound. Hanna does a wonderful job of accommodating both cases, and explaining the situation to the reader with minimal distraction. One has to think that, as Holmes manages to get himself into a dire situation and has the stuffing beaten out of him, he had cause to regret sending Watson off to Baskerville Hall.

Hanna follows the Ripper timeline scrupulously, and includes forensic evidence, some accurate (a letter, a painted message, a broken window), some manufactured (cigarette ends) and some altered (Holmes gets his own kidney delivery). By the end of October, Holmes is pretty sure where all of this evidence is leading; the only question is, what to do about it? The remainder of the book–over one-third–deals with this dilemma, and now Hanna does some of his best work. He is a sedately elegant writer, and it’s here, when he shows his characters grappling with all sides of a painful, untenable, unimaginable situation–and the solution they ultimately choose–that he truly shines. The first several pages of chapter 25, as well chapters 26 and 27 (both of which occur post-Hiatus) have bleakly poetic moments, well-eclipsing any prior silly mentions of Convent Garden flower girls. Throughout the book, Hanna does a wonderful job of depicting the Holmes-Watson relationship, both positives and negatives; however, in these last chapters, we see again how, as much as Holmes values Watson, there are always aspects of his life to which the Doctor will be perpetually denied access.

As you might have guessed, I love The Whitechapel Horrors and believe it well worth your time. The only real flaw that kept gnawing at me was the fact that Watson does not tell the story. This is, of course, not necessary for a good Sherlockian novel. In fact, if an author fears he or she cannot capture Watson’s voice, it’s better not to try. However, by presenting the story as a product of Watson’s notes, he should have told the story solely from Watson’s point-of-view, whether in first or limited third person–a problem, as Watson is not present for some key parts of the investigation. Instead, Hanna uses a near-omniscient third: we’re in Watson’s head, Holmes’, and even, briefly, those of other characters–and canon-Watson doesn’t really speculate in that fashion. In a more quibbling vein, Hanna indulges a bit in the “as you know, Bob” method of imparting information. Characters lecture each other on the living conditions of Whitechapel, prostitute behavior, and other topics that, logically, they should already be familiar with. The details are generally fascinating and occasionally Hanna gets away with it, but quite a few examples are glaring, and a little annoying. In other instances, we’re told what a character is feeling, when a writer as capable as Hanna should be able to demonstrate this through action or dialogue, rather than spelling it out for the reader. At least once, there is an unwitting anachronism, as when Aide-de-Camp Burton-Fitzherbert uses “party” as a verb, but that’s something an editor should have caught.

It’s always a reviewer’s duty to point out such flaws, but in the case of The Whitechapel Horrors, the specks are minor, and almost invisible in the scope of the story. The Whitechapel Horrors was the first pastiche I ever read, and I’m so grateful it was.

Notes and Purchasing Information:

Edward Hanna died on January 6, 2008, which makes this posting date a little more significant; however, you can still view his webpage at  http://www.members.authorsguild.net/ebhanna/

*In this blog, I’ll be using the standard abbreviations for the Conan Doyle stories and novels. It’s easy–just use the first four letters of each title (excluding articles). HOUN, therefore, is The Hound of the Baskervilles,  STUD is “A Study in Scarlet,” and so on.

The Whitechapel Horrors was reprinted by Titan Press (although you can still find copies of the first edition online). It’s available for Kindle and Nook and on major bookseller websites. You can also order it from independent bookstores, such as:

http://poisonedpen.com/web-store

and

http://www.mysteriousbookshop.com/ (where the author’s name is misspelled as “Hannah”).

For more information on Jack the Ripper, try:

Curtis, L. and L. Perry Curtis, Jr. Jack the Ripper and the London Press. Yale University Press, 2001

Evans, Stewart P. and Donald Rumbelow. Jack the Ripper: Scotland Yard Investigates. Stroud, Gloucestershire: The History Press, 2010

Evans, Stewart P. and Keith Skinner. The Ultimate Jack the Ripper Companion: An Illustrated Encyclopedia.  Skyhorse Publishing, 2009.

Star Rating:  4 1/2 out of 5

Blogs are more fun when people comment!  Leave yours below! In honor of this first post, I’ll give the first commenter to whom I am not married a copy of The Whitechapel Horrors. Already own it? How about a Baker Street Babes’ 221B Mine mug, for you or someone special?

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Filed under Edward B Hanna, Four-star reviews, Holmes and Watson Friendship, Jack the Ripper, Real Historical Personages