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'I admire her novels . . . she has great fertility of invention, ingenuity and a wonderful eye for detail.' - Ruth Rendell
'She combined literary prose with powerful suspense, and it takes a rare talent to achieve that. A truly great storyteller.' Minette Walters
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Impossible, it seems. The Crown's case is watertight. The police are adamant that the right person is on trial. The judge's summing-up is also clear. Harriet Vane is guilty of the killing her lover. And Harriet Vane shall hang.
But the jury disagrees.
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Wimsey himself was a revelation. I hadn't appreciated how much of a sense of humour he had and in fact, he spends a lot of time mocking himself, what he looks like and his own character - famously describing himself as having a "funny face". He's obviously intelligent, urbane, rich, powerful and famous and yet at no point does he ever come across as unlikeable or arrogant. There's also something quite romantic about the way in which he's convinced that he will eventually marry Vane, even though she has already rejected his proposal and he has rejected her counterproposal of just living in sin. The book ends with the two going their separate ways, but you just know that they'll end up together one day.
A second revelation was how small a part Wimsey actually plays in the actual detecting. There's no doubt that he's the intuition directing the operation, but when it comes to actually ferreting out information, Sayers uses characters such as his loyal batman Bunter, Miss Climpson (who runs the Cattery) and Miss Murchison (a member of the Cattery sent under cover). I found this fascinating - not least because modern crime novelists will often restrict their POVs to one or two (those usually being the main characters). I found that this approach really opened up the novel and kept it entertaining and I also enjoyed the fact that Sayers uses the jduge's summing up at the start of the book to convey the salient backstory and then an epistlery style to flesh out more background details as the book goes along.
The story itself is fascinating - firstly because of the way Sayers keeps the tension going between 3 possibilities - (a) Vane killed her lover; (b) her lover committed suicide because of her rejection of him, and (c) someone else killed him. Obviously, it couldn't have been Vane, and Sayers has a lot of fun keeping you on the path of (b), only gradually dripping in the information that leads you to suspect it could have been (c). It's an approach that's skilfully handled and keeps you guessing because once she's shown you who must have done it, she adds another element of suspense as you try to work out how it was done (and I'm not going to spoil that for you because it's the best part).
Much of the slang and dialogue in the book will seem very dated to modern readers, but I think that it adds to the charm and authenticity of the story.
Published in 1930, the novel opens with Harriet Vane in the dock, listening as the judge presiding over trial sums up against her. She is a writer of mildly popular mysteries who has had a liaison with Philip Boyes, a rather pretentious author better know to critics than to the public. Their acrimonious separation is quickly followed by Boyes' death from arsenic--and it seems that Harriet, and Harriet only, had both motive and opportunity.
But the judge reckons without juror Miss Climpson, employee of the celebrated Lord Peter Wimsey, who derails what would seem an open and shut case--and gives Lord Peter the opportunity to unravel the crime. And, not incidentally, to fall in love with the accused. With an infamous actress of the Victorian age lurking in the background and a sizable inheritance on the line, Wimsey rushes to sort out the mystery and save the woman he loves before the case can be retried.
STRONG POISON is not really among Sayer's greatest novels, which combine a unique literary style, memorable characters, and complex plots to remarkable effect. The opening description of the trial, with its detailed account of the judge's comments, feels excessive; the solution to the crime is tricksy and relies heavily on coincidence; and Harriet Vane stands out less effectively than such supporting characters as Miss Climpson. Nonetheless, it has its charms, most particularly in Sayers' witty and highly literate style and the continued evolution of the characters she had previously created.
Most particularly, STRONG POISON sets the stage for two novels in which Harriet Vane will become one of the most memorable characters in the golden age of the English mystery: GAUDY NIGHT and BUSMAN'S HONEYMOON, both of which are regarded as high-water marks in the genre. Sayers wrote several memorable novels in which Harriet Vane does not appear at all, most notably the famous MURDER MUST ADVERTISE, but her development of the character is a remarkable process to behold, and fans will enjoy watching the process. Enjoyable, but recommended more to established Sayers readers than first time visitors.
GFT, Amazon Reviewer
Her style is perhaps the most literary and polished of any mystery writer. (For further evidence of her skills, read her superb translation of "The Song of Roland"). She handles dialogue and human interaction extremely well and convincingly portrays a wide range of character types. Also notable is the occasional flash of ironic, rather dark, humour. I have to say however, that her penchant for bizarre names can be rather off-putting. We meet two jounalists called Salcombe Hardy and Waffles Newton, a lawyer called Sir Impey Biggs and an actress called - would you believe? - Cremorna Garden.
The plot is not as strong as the poison; it is too linear, with no twists and turns, although the central idea is quite good. It is more interesting as a literary portrait of 1930 English society than as a crime puzzle. But a good read, nonetheless.
But the suspicion is enough to land a woman in the dock in "Strong Poison," the first of a... Read more
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