Josephine Tey is the most elegant and stylish of murder mystery writers. With her dry wit, spare prose and aristocratic disdain, she's the perfect antidote to the more gossipy, sensationalist and middle class Agatha Christie, who was her contemporary (though Tey died in 1952). She wasn't nearly as prolific as Christie (who was?) and these days she's not nearly as well known. But she produced, in my opinion, one must-read book for the murder mystery fan (
The Daughter Of Time), and one quiet masterpiece (
The Franchise Affair).
Whilst replacing my worn-out copies of these two books recently, I spotted this smart new edition and thought I'd invest in all her novels, starting with this one. I last read it over 30 years ago, and to my great disappointment I found it had dated very badly.
Inspector Grant of the Yard is her hero once again, and here he's travelling to Scotland on holiday to get over some sort of breakdown. A body is discovered on the night train and he takes it upon himself to solve the mystery, with an unfinished poem as his only clue.
Tey writes beautifully, as always, but in this book the tone has descended into outright snobbery (she was always teetering on the brink), and her characters are relics from a deferential class system that was surely on its last legs even in the 1950s. At one end of the social scale there are the plucky aristocrats like Lady Kentallen ('a darling'), clinging on to their down at heel country estates (yet with enough cash to send their sons to public school), who are obviously superior in taste and understanding to the pushy and vulgar middle classes. At the bottom of the heap are the plebs - the clueless waitresses, the cheerful charladies (like Grant's Mrs Tinker, described as being one of a 'species' that lives to wash other peoples' doorsteps!), and the salt-of-the-earth police sergeants. They all know their place and are grateful for it, implies Tey.
Unfortunately, the book isn't good enough for you to overlook these dubious assumptions. Despite the great premise it turns into a very dull story. Grant spends half the book fishing, then dashes back to London and on to Marseilles on a wild goose chase that's hard to understand or care about. And when you're stuck with a plot that's not exactly a page turner, you can't help wondering why everyone defers to this man, and what exactly his relationship is with the victim's best friend, who becomes his unpaid sidekick. You can spot the villain a mile off, and the clunky clues make it easy to solve the mystery long before it dawns on Grant. And anyway, the whole thing is explained at the end in a handy letter written by the murderer before he goes off to kill himself.
This book was found in Tey's papers after her death and published posthumously, so we'll never know if she would have improved on it herself with a bit of editing and re-writing.
I don't think that a modern reader would try any more of her novels if this was the first one they came across, which would be a terrible shame. I'd only recommend it to Tey fans, like myself, who just want it to sit on their bookshelves to complete the set.