Tag Archives: The Final Problem

Davies, David Stuart. The Veiled Detective. London: Titan, 2009*

Where’s Watson?

I was very fortunate, in my first few months of Sherlockian fascination, to light upon some excellent pastiches. I do not doubt that they served to plunge me deeper into obsession than I otherwise might have gone. Although Doyle’s original stories and novels bear up well under repeated readings, with nuances that–as with all the best literature–appear and change with the reader’s own experience, Holmesian fiction allows writers to explore aspects of 221B of which Doyle afforded us only the barest glimpse.  We get to ask, “What was it like?” “What if?” And, thanks to Watson’s notorious lack of attention to the proper details (ladies’ dresses lovingly described, dates mangled beyond recognition), we also can speculate as to what really happened.

The Veiled Detective tackles each of these questions–most particularly the last. It was perhaps the second or third pastiche I ever read, and while I’ve heard many people (rightly) list Mr. Davies’ The Tangled Skein and The Shadow of the Rat among their favorites, hardly anyone seems to recognize The Veiled Detective when I bring it up. This review will, I hope, remedy the situation.

The book starts off with a shock. To the reader. It’s Afghanistan, it’s Maiwand, and here’s British Army surgeon, John Walker, emerging from his tent, exhausted and traumatized by all of the…

Yes. I said “Walker.”

Even at that early stage of my acquaintance with Holmes’ Boswell, I read that–and no doubt re-read it–with a sense of indignation. “That’s not his name. Honestly, people, get it right, it’s….” You get the picture.

But I read on, and guess what? That is his name. Or was, and it’s the name his Captain calls him when he rouses him from the drunken stupor he’s lying in, under the dead tree which gives him refuge from the dying men he can no longer face. Brandy is the best medicine for guilt, he thinks, but it also turns out to be the liquid road to court martial, and—

That’s right.  Court martial. Drunk on duty. No jezail bullet, anywhere. Three months in a Kandahar gaol, no enteric fever. Drummed out. No army pension. Still no kith nor kin in England, though. Absolutely nothing at all.

Look at it this way: At least we now know why no one can find Watson or Murray in the lists of soldiers at Maiwand. Mystery solved!

No worries about Holmes, though. Holmes is the same. He’s younger,  living on Montague  Street, trying to make a go of the whole “consulting detective” thing. Here he is, foiling a safe-cracking team by tricking them into hiring him as a “lookout.” Alert them to the police, alert the police to them–just semantics, in the end. Scotland Yard doesn’t pay, unfortunately, nor is he getting the challenges his mind requires, but at least he’s got enough for the cocaine bottle. He suggests to Lestrade that the criminals he’s bringing in are just minor operatives in a larger enterprise, but Lestrade doesn’t believe him. He believes him even less when Holmes says  he suspects someone is toying with him, testing him, targeting him in particular. It makes the detective’s work more interesting, however, and he’s excited to (finally!) find the occasional case which stretches his skills. The letter-writer takes snuff and wears a large ring, he tells his client. He is a much better cracksman than one might think.

Moriarty appreciates that skill, and the note. In return, he gives Holmes a new flat, complete with landlady and flatmate.

Alone on the steamship Orontes,** John Walker finds his court-martial has made the papers and everyone seems to know who he is and what he has done. They treat him accordingly. He contemplates going overboard more than once, and is only saved by the appearance of the well-dressed, sympathetic Alexander Reed, who confides to Walker that he, too, was once in the exact same position, but now has a happy, prosperous life. This, and (again) brandy, is all it takes for Walker to unburden himself to the former Captain for hours in the ship’s bar, and by the time the Orontes  docks, the doctor hopes his confidante might help him secure employment. Reed does occasional “recruiting;”  there just might be a special position for Walker within his firm.

Reed’s boss agrees. He’s been looking for a man like Walker, so he offers him a simple proposition: take the job, stay alive.

So it is that Walker, cloaked in a new name and heroic backstory, finds himself at the Criterion Bar, meeting an old Bart’s colleague, Stamford, who will be able to pay off his most recent gambling debts after he introduces Walker/Watson to the odd duck who beats corpses and devises tests for haemoglobin in the lab. The man should be looking for lodgings instead, seeing as his Montague street landlord has unaccountably evicted him.*** Holmes’ situation is desperate enough that he’s happy to take the rooms Stamford suggested, with the wounded veteran the suddenly handy Stamford just happened to run into; after all, the man has normal bachelor vices and is all right with the violin, as long as it isn’t played badly. Now he has a nice set of rooms, a sounding-board, and Watson…well, Watson has someone fascinating to observe and follow around on cases and write about….

In detailed reports, which he posts regularly to Professor James Moriarty, in consideration of which he receives £100 per month, and his heartbeat.†

The lonely genius Moriarty, for his part, now has both a worthy opponent and someone in the enemy camp. With the right jerks on the strings, he can even make Watson perform acts of sabotage and (further) betrayal if necessary. It’s the perfect arrangement, really. What could possibly go wrong?

And so, Stamford has the wherewithal to gamble another day….

As you can see, David Stuart Davies has taken the stories we know so well and turned them, displaying them from another, slightly skewed, angle. Or is it?  Davies presents theses “true” versions of Watson’s stories†† so tightly that I really couldn’t find any holes. If anything, The Veiled Detective answers the question of how some of the most confusing problems with Watson’s writings came about. During SIGN, for instance, the doctor admits that 

..many of the details of this case escaped me, as most of my thoughts were full of Mary. The published version of this investigation…had perhaps more inaccurate passages and invented moments than nearly any other bearing my name.

Other stories, Watson says, were embellished to make them longer and more interesting. All that Alkali plains drama, for instance. Another, in particular, was changed to protect Holmes from prosecution for something rather more complex than breaking and entering. The detective’s willingness to overstep the law in search of justice, we find, was always a part of his makeup.

Davies does a wonderful job of reimagining Holmes’ and Watson’s adventures in this slightly bent world, but he does an even more masterful job with the people in it. Moriarty, Moran, Reed, and the redoubtable Scoular (with whom Holmes actually has the brilliant exchange Watson gives Moriarty in FINA) are fascinating, in the way of all poisonous snakes. You won’t be able to look away. Minor characters, such as Mrs. Hudson (who is not exactly as you remember her), Mary, Stamford, and Lestrade are handled with depth, sensitivity, and occasional humor, yet are not permitted to clutter the stage.

As for Holmes and Watson themselves…. Where Doyle only allows hints of their inner lives to show through, Davies pokes at these hidden fires, making them blaze brilliantly through the grate. The Veiled Detective is written as an omniscient third-person/Walker’s journal combination, which allows the author to compensate for the doctor’s narrative deficiencies, and the fact that he cannot be in two places at once. Watson is the loyal, responsible, emotional romantic we love from canon, albeit a little more perceptive and less admiring than he portrays himself in the stories. For example, while he is still quick to take offense at some of Holmes’ more condescending pronouncements, he is eventually able to see the intent behind them, and to take his share of the blame in their disagreements. Unfortunately, the same virtues which make him the most faithful friend in literature also lead him to a moment of moral failure which ultimately so compromises him that he cannot even live under his own name. Yet where a weaker man (say, Reed) might throw up his hands and exclaim, “All right, then I’ll go to Hell!”††† Walker never allows his circumstances to change his core decency. If, at the end of the book, he feels transformed, the reader knows that he’s really just been refined.

Readers who love a glimpse of the younger Sherlock Holmes will appreciate Davies’ portrayal. In his late twenties, Holmes is on the threshold, just coming into his own. He’s not always aware of how he appears or sounds to others. He goes to extremes in his efforts to achieve total self-control. While he’s confident in his deductive powers, almost to the point of arrogance, he’s actually a man who makes snap character judgments and lets those judgments steer his actions–again, to extremes. In Davies’ retelling of STUD, for instance, Holmes doesn’t yet have the experience to see how Jefferson Hope’s bitterness has led him into madness. As a result, the young detective allows his sense of right and mission to weight the scales of justice in way which (although he swears to Watson he will eventually be easy with it) he will never do again. In fact, he’ll do the exact opposite, more than once. Another snap judgment, however, this one on the character of the apparently uninjured “invalided” Army doctor standing before him amidst the test tubes, leads him to a friend who, indeed, “sticks closer than a brother.” ‡

As I flip back through my notes and my now-completely inked-up copy of this book, checking to see if there’s something I’ve missed, I’m struck again by how layered this story is, and how much more I got out of a second reading than I did the first. It takes skill to take a conceit that changes a familiar, much-loved world–“what if John Watson were not who he claimed to be?”–and then to use that statement, with all that logically follows, to illuminate that world instead. You need to lift the veil and take a look.

So, have I convinced you? Or not? First commenter wins a copy! 

The Veiled Detective is available both online (print and e-book) and in traditional bricks-and-mortar bookshops. David Stuart Davies is a well-known and well-respected Holmesian who has written several well-received novels featuring the Great Detective, as well as a play (“Sherlock Holmes: The Last Act”), and two books on Jeremy Brett and the Granada Holmes series, Bending the Willow and Starring Sherlock Holmes. I could not find an author’s website for him, but he is on Twitter.

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

Footnotes:

* This version of The Veiled Detective  is part of Titan Books’ growing collection, “The Further Adventures of Sherlock Holmes,” which is happily reprinting some of the better pastiche/Sherlockian fiction out there. Veiled was previously published in 2004.

**Of course, we all know that at this point in time, the Orontes was serving as a troopship, but Walker, being cashiered, would not be sailing on one of those, so the ship’s purpose is transformed. Others may question Holmes and Watson meeting in March in this book, when tradition (and a Plaque) have them meeting in January of 1881. STUD dates from March of that year, however, and since it was their first case together, the March date is not an unreasonable assumption. The only problem date I found was that the Battle of Maiwand is said to have occurred on June 27, 1880, when it actually took place on July 27th of that year. Because Davies’ other details are so scrupulously handled, I have to wonder if this is just a typographical error.

***Well, 12 sovereigns may have been involved. And if he hadn’t taken them, I’m sure he could have been otherwise persuaded.

†Sound familiar, BBC Sherlock fans?  I swear, when I saw Mycroft in the warehouse scene, offering John money to spy on Sherlock, I was as sure as anyone that he was Moriarty, and that Moffatt and Gattiss were referencing this book. I may have squealed some.

†† Primarily “A Study in Scarlet,” and “The Final Problem,” although others, such as “The Sign of the Four” and “The Greek Interpreter” are alluded to.

†††Free book if you can tell me where that quote comes from, and its context. (“Now we’ll see who reads the footnotes!” she cackles.)

‡Proverbs 18:24. It applies very well in this instance, actually.

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Filed under AU (Alternative Universe), David Stuart Davies, Five-star reviews, Moriarty, Titan reprints

King, John R. The Shadow of Reichenbach Falls. New York: Forge, 2008.

Special Note: I initially planned to review this book in May, to coincide with the anniversary of Reichenbach, but Life intervened. This is all to your benefit, however, because in the interim, I had a lengthy conversation about it with Jamie Mahoney, better known as Better Holmes and Gardens’  “Goddess in Sepia.”  As it turns out, we have very different opinions of it. So today, you get mine, and tomorrow–a completely different perspective. After all, it’s always good to have more data!

Amazing how adding one little letter can make this sooooo much more interesting!

When someone sets out to write a book, he faces an instant set of choices, beyond the elementary* questions of character, setting, and plot. Should the book be told in past or present tense? Who should tell the story? How many points of view should it contain, and should they be limited or omniscient? First, third, or even second person? Some writers make these choices consciously, with a view towards achieving certain effects. Others let them occur organically which, when it’s right is a beautiful experience, and when it’s wrong, is a very complicated problem to fix. Either way, these initial choices determine the story’s structure, and if you’ve tried to write anything longer than…well, heck, even a grocery list has structure. It’s important.

Writing a Sherlock Holmes story? Even more structural decisions await.  Will you hand it over to Watson and let him produce a straight, Doylean pastiche, or choose another point of view, thereby allowing yourself a wider range of creative freedom, and avoiding the inevitable “Watson voice” criticism? Will you explain how the story came about–curiously, even authors who haven’t found another copy of “The Adventure of James Phillimore” feel the need to explain their book’s provenance.** Will the story unfold as it happens, or as a memoir? Will it hew strictly to canon, or will you give yourself room to play, say, with sex or vampires?***  Each choice is crucial, guiding  your readers’ expectations, and defining the latitude they will give you in terms of character details and canon fidelity. Just as well-designed foundation and framing will allow a building to stand for centuries, a judiciously chosen story structure will support nearly anything you want to do.

The question of structure ends up being paramount in today’s selection, one of the more unusual books I’ve read this year. It differs immediately from most Holmes books in that it’s not narrated by any canon character, but by Thomas Carnacki. Now I’m sure most of you know who Mr. Carnacki was, but on the off chance…

After an image search, let me just say that Holmes was able to attract much better illustrators.

Thomas Carnacki, whose adventures were chronicled by William Hope Hodgson, was a detective who specialized in scientific exploration of the supernatural. Long before Jay, Grant, everybody, and their grandmothers ventured into asylums and attics hunting ghosts with EMF detectors and digital voice recorders, Carnacki sought to help his clients determine whether or not their night-bumpings were caused by humans, or portals to Hell.† When King introduces us, however, his evening ghost story soirées are far in the future. He graduated from Cambridge in 1890 and has spent the ensuing year doing the 19th-century equivalent of backpacking around Europe, being, as he calls it, “a student of the world” (the world, at present, being Switzerland). Without a father’s bank account to draw from, however, he is now “living by my wits,” and while he probably would have approached that very pretty girl with the enticing bustle anyway, the fact that she’s carrying a basket full of food makes her even more interesting. Showing a remarkable lack of judgement, Anna Schmidt invites this strange, shabby young man with a scraggly VanDyke to accompany her for a picnic at a local attraction. You know, Reichenbach Falls. On May 4th. 1891.

To jog your memory.

So, is the coincidence-hater in you screaming right now? Well, just relax. It is, of course, a set-up. Even a bit of a double-cross, between a man who believes he’s going to kill his mortal enemy, and the daughter who believes she can save her father from his inner demons. Instead, Anna Schmidt (Moriarty, actually) and Thomas Carnacki end up rescuing someone else. They’re not really sure who he is. He can’t help them with that question, either, so they end up calling him by the name on the tailor’s label in his clothing. Harold Silence.†† It will do for now.

Obviously, when you’ve just been battling for your life, have fallen over a cliff into the water, hit your head (and everything else) and can’t remember who you are, you’d like a few days to regroup. Unfortunately, there isn’t time. There won’t be any time at all until Chapter 33, and then the three of them only get half an hour. If you like non-stop action, King has written your book. Within minutes of the get-out-of-wet-clothes and small deductions scene, our heroes are being pursued, a relentless ordeal that begins with a carriage chase and continues until they cram, in some impossible fashion, into a single sleeping berth on a train to Paris. The intervening chapters include, in no particular order:

  • Fights
  • Avalanches
  • Almost falling into a crevasse
  • Almost getting smashed by ice
  • Being tortured in an asylum
  • Hiding in a crematorium furnace
  • Poisonings
  • Near strangulation
  • More fights
  • Gunplay
  • Electrocutions

And that, dear readers, is just the first third of the book.  Once Silence and Co. get to Paris, for the final third, more chases, stabbings, punctured lungs, stabbings, exorcisms and dismemberment await.

Yes, I said “exorcisms.” Obviously, when Thomas Carnacki is involved, one must expect the supernatural–in this case, possession–so if this is not a trope you enjoy, it’s all right to move along.  I admit, when I did my initial “flip-through,” I was less than thrilled.†††† After I read the Carnacki stories and followed the entire plot through, however, I could play along to some degree. When I told my husband about this bit, he found it interesting, so I’m guessing it depends on the reader. In the end, the supernatural element meshes fairly well with the rest of the story, is appropriately chilling, and makes nicely subtle references to aspects of Carnacki’s future, his use of electricity and pentacles in particular.

Mr. King does several things well in this book, in fact. Most of his characters are three-dimensional and interesting. The dialogue is realistic. With one exception, the plot moves quickly. Although I have a hard time visualizing action sequences, those of you who don’t will have plenty to work with. As the story  is for the most part extra-canonical, there weren’t a lot of references to check, and those few were accurate. He even gets in a nice little canonical joke, so if you think you see a major error, wait for it….‡ King has a nice prose style, and occasionally you even get real gems, such as this passage, which occurs as Harold Silence and his rescuers take refuge in a shepherd’s barrow and he tells them that in the morning, they will part company “‘as if none of this ever happened'” :

The irony of these words strikes me. My whole life never happened. I’ve lived only these last hours, all of it at the verge of death.‡‡

Here is another favorite, describing “Silence’s” thoughts as he begins to realize that he’s actually Sherlock Holmes, but with only a vague understanding of what that might mean:

How strange I am, to care about these things. Ashes and the composition of soil and the variations in bootblack… While other men filled their minds with planetary declinations and the properties of comets, I do idiot auguries in ash.‡‡‡

He’s just as insightful and poetic in the opening pages of the second third of the book, in which he describes Moriarty’s development, although certain events mean he eventually gets to avoid exploring its more complex aspects. King’s best moments come when he stops rushing his characters around and actually looks at them for a minute. When that happens, we realize, for instance, the significance of one of Silence’s seeming out-of-character moments, when he demands that Carnacki let go of him and self-sacrificingly fall into a crevasse. This is not Sherlock Holmes, who only days ago told his nemesis he was willing to give all to achieve the greater good. It is, however, Sherlock Holmes stripped down to only the most basic of human instincts. What’s even better is that King doesn’t  spell this out for us. He assumes we’re smart enough to grasp it on our own.

Mutually assured destruction? Not a problem.

In the best of all possible worlds, my review would end here. Remember all of the blathering at the beginning about structure, however? There was a point to that. The Shadow of Reichenbach Falls  suffers from structural problems.

First, King takes the well-worn path of establishing some sort of provenance for this story. Instead of coming from the ruins of Cox & Co., it’s a memoir, which Hodgson, Carnacki’s biographer, encouraged him to record and send to Dr. Watson in 1911. Why 1911? Carnacki’s stories first began appearing in 1910, so perhaps that played a part in setting the date. Holmes is retired, of course, but still has some very active times ahead of him. It seems odd that Carnacki, in his note to Watson, doesn’t allude to this in some fashion. It’s almost as if he thinks Holmes has died.

Oh well, that’s petty. The real problem lies in the fact that, while Carnacki starts telling the story in first person, as one would expect in a memoir, by Chapter 2 we’re  in Silence’s head. In Chapter 8, we venture into Anna’s point of view. This is fine. You know, in a novel that doesn’t purport to be a man’s memoirs. As gifted as Carnacki is, he’s not a mind-reader, and he simply cannot be in these people’s heads–one for a reason that will be clear by the end of the book, and the other because that person would never permit it. Notice that, in the canon, Watson is always Watson. If he goes to bed and misses things, he misses them. If he’s out in Dartmoor, he has no idea what’s going on in London. Never does he take on another’s voice or thoughts. When an author chooses a point of view, he is obligated to take on its restrictions. An editor would have done Shadow a world of good if she had taken out Carnacki’s prefatory note. Of course, then we would still have to contend with the odd fact that some sections of the story are told in present tense, and others in past, with no discernable (at least to me) narrative or artistic reason for the switches. These changes occur on a chapter-by-chapter basis, so they’re not so obvious as to be disconcerting, but they are curious.

If you’ve noticed, I’ve thus far avoided discussing the second third of the book. This is because it is Shadow’s  most problematic section. Somehow, some way, Thomas Carnacki got hold of Moriarty’s unpublished memoirs (which, like most fictional memoirs, read rather more like a novel). With no explanation as to how this occurred, he simply inserts them in the middle. Are they interesting? Yes. Do they contribute to the larger plot? Yes. But while King is at pains to provide a provenance for the book as a whole, he doesn’t think we need to know exactly where these pages came from. The result is a very clumsy, lengthy digression. One could argue that it’s actually intended as an homage to Doyle, who frequently allows Watson to interrupt his own narrative flow with long letters, reminiscences, and trips to Utah. I would counter that while this is probably the case, such editorial indulgences didn’t help Watson, and they’re less acceptable in the 21st century. To compound the crime, at the very end, we’re led to believe that these memoirs have somehow become a long origins story Anna’s been telling Carnacki and Silence as they take the overnight train to Paris. Father’s memoir or daughter’s memories? Can’t be both. Choose.

Whichever they are, they’re King’s attempt to explain why Moriarty ends up at the Falls. In the beginning, he’s no criminal genius, just a brilliant man trying to find a place in the world he experiences like no one else.§  He can, in fact, sense when a life has reached its turning point, and resolves to use this ability for good. In his first attempt at doing so, he rescues a beautiful prostitute, Susanna, who turns out to be a fellow mathematical genius and becomes his wife. Unfortunately, she is also a Mary Sue. Don’t get me wrong–I really loved her idea of applying mathematics to the sociology of crime (her university thesis). But I had a horrible time accepting that somehow she would be permitted to pursue studies at Cambridge’s Jesus College–which didn’t admit women, much less pregnant ones until the late 1970’s–no matter who her husband was. Nor did I think Cambridge would allow her to teach afterwards. Anna’s zippy riverbank birth, which occurs as the result of a deductive experiment, was also ludicrous. I know, I know, I’m quibbling over small things like historical fact when this is a book which contains an exorcism machine, but such casual, convenient manipulations can damage an otherwise interesting plot point.

This leads us back to the main narrative, and a larger, more damaging example of the very same flaw. I could spell it out for you, but I think it would be more interesting to let you find it instead, in this climactic moment of a scene between Silence and Carnacki. They’re looking at Silence’s track marks:

“Opium”

“More likely, cocaine. These are recent scars. If I were an opium addict, I would not be able to think clearly now that I have been without the stuff for two days. No, I must be addicted to a less-invasive poison.”

“But a poison, all the same.”

“True enough.”

“So, then, who is Harold Silence?” I pressed. “A cocaine addict–perhaps a drug dealer, whose hands are burned with whatever caustic chemicals he uses to prepare his wares, whose hands are burned from the guns he has shot to defend his criminal empire?”

“Perhaps,” Silence said quietly.

“Perhaps? What other explanation could there be for these scars?”

Silence took awhile to respond. “The evidence tells what I have done, but not why I have done it. I’ve shot cocaine in my veins–but why? An addict? A drug lord? I’ve shot guns–but why? To oppose the law, or to uphold it?”

I laughed grimly. “The cocaine-addicted crime fighter–yes. A very plausible explanation. And I suppose this madman trying to kill you is a criminal you have brought to justice rather than a rival drug lord–or even a police officer trying to bring you in.”§§

I’ll give you a minute.

When I was a student teacher, one of my classes was remedial government for seniors. I would wager that with one exception, none of these really enjoyable but slightly disengaged kids could find the Netherlands on a map. But every last single one of them knew that pot was legal there. If I could locate them all today, they would tell me instantly what is wrong with this passage. You could drink it from a bottle. You could put it in your hair. You could give it to your child. You could buy it over the pharmacy counter and shoot it up in private when the gears of your mind threatened to overwhelm you. All of this I verified online and in a book about London crime in about ten minutes, seven of which were redundant. Thus, what could have been a powerful scene  crumbles because author and editor chose the punchline over historical fact. The difference between this and demons? I don’t see King as creating an alternate universe (AU) here, in which cocaine is illegal; there’s been no set-up for this, or for AU at all. Instead, we have our real world, in which supernatural elements are exposed. Just inserting a ghost in a story, for example, doesn’t mean that cars can fly. If you want the latter, you have to introduce it in a rational way. Just as Susanna went to Jesus College because the author thought it would be cool, regardless of whether or not it was possible, cocaine is suddenly illegal in the 1890’s because the irony was irresistible.

The Shadow of Reichenbach Falls is a like a do-it-yourself bookshelf from a big box store displaying your collection of first editions. It looks nice on the box. That veneer could be oak if you squint. That screw went in, even if the holes didn’t match up. An edge is peeling, but if you turn it to the wall…. Yes, it leans a little, but just put the heavy books on the bottom. John R. King’s look at Holmes post-Fall has so many good points: action, characterization, dialogue, insight, originality, some beautiful writing and–if it’s your thing–spookiness. But he’s arranged these treasures on a structure that can’t hold them or display them properly. So go on and examine them, but it’s best not to look around too closely.

The Shadow of Reichenbach Falls  is available in hardcover and on the Kindle from Amazon, and on the Nook (only) from Barnes and Noble. You can also find it new or used from Powell’s, and used from ABE Books.

Star Rating: 3 out of 5  “Flawed but worth a look”

Footnotes:

*Haha, look it’s that word!

**Seriously, does any other group feel so compelled, or is it just us?

***Or sex with vampires? This has happened. And not just in fanfiction.

† In preparation for this review, I actually read his stories. They are really fairly decent, and divided equally between natural and supernatural explanations. In general, they are very atmospheric, and have a creepy-as-heck setup, while the impact of the denouement varies. You can find them all here: http://www.forgottenfutures.com/game/ff4/carnacki.htm

††No, you silly people, it’s not “Calvin Klein.”  “Silence,” by the way, probably is a nod to John Silence, Algernon Blackwood’s 1908 detective.

††††Understatement of the Year

‡Yes, I felt stupid.

‡‡ King, p. 55

‡‡‡ King, p. 247

§I don’t want to give you more block quotes, but the passages in which King describes this are insightful and contain some evocative writing.

§§ King, p.76.

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Filed under Crossovers, Holmes out of his Element, John R King, Moriarty, Reichenbach, Supernatural, The Final Problem, Three-star reviews

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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