Queen of Crime

I met Sam Neill (the movie actor) once. For a short time, in a galaxy far, far away (the 1980s), I worked as a bank clerk on campus at the University of Auckland, and Mr Neill came in one quiet afternoon to make enquiries about foreign exchanges. His brother was a lecturer at the university (his brother, Michael, would later be one of my English professors). I mention this brush with movie stardom simply because I can state that I have met and spoken to someone who not only knew, but was a good friend of, writer Ngaio Marsh.

Ngaio Marsh sold four stories to the Ellery Queen Mystery Magazine, and I mention this upfront, because it's the only other connection (albeit tenuous) that I can claim to her; I too have had stories appear in the same magazine.

Ngaio Marsh's  short stories  in EQMM

I Can't Find My Way Out (August 1946) Death on the Air (January 1948) Chapter and Verse: The Little Copplestone Mystery (August 1973) A Fool About Money (December 1974)

A couple of Dames at the Savoy (Christie and Marsh)

Edith Ngaio Marsh was born in 1895 (April 23; same birthday as Shakespeare) and died in 1982. In both instances, in Christchurch, New Zealand. If you want to talk about New Zealand and crime/mystery fiction, you start (and can pretty much end) with Ngaio Marsh. From the 1930s through to the 1980s, Ngaio Marsh wrote 32 novels (most still in print). She is considered to be one the leading writers of the Golden Age of Detective Fiction, and along with her stable mates Agatha Christie, Margery Allingham, and Dorothy L. Sayers, has been described as one of the original four Queens of Crime. The actual Queen (Elizabeth 2), made Marsh a Dame Commander of the British Empire in 1966, and in 1978 (along with Dame Daphne du Maurier), Dame Ngaio Marsh became a recipient of the Mystery Writers of America's highest honour: the Grand Master Award. No other New Zealand writer of mystery fiction has yet achieved her standing. In fact, no other New Zealand writer. Period.

Ngaio Marsh's parents met in Christchurch. Her mother, Rose, was a New Zealander and an actress, and her father, Henry, was British and a bank clerk with an interest in the theatre. They were married in 1894 and Edith, their only child, was born the following year. An uncle fluent in Maori was asked to provide an indigenous middle name (a custom at the time, apparently), and he came up with "Ngaio", which is a Maori word for a type of tree, with the additional connotations of clever, methodical, and restless.


So, how do you pronounce Ngaio? And I have been asked. Being an authority on the New Zealand vocabulary and accent (because I be one), I can tell you it's pronounced Nigh-Oh [ /ˈnaɪ.oʊ/ ].


Marsh's childhood, from all accounts, was reasonably spiffing and splendid (we'll skip over the fact that she was bullied at school and for a time (10-14 years) was home-schooled). She read everybody. Ah... pause for a moment to imagine a life before the Internet, before television. Imagine summer afternoons in the countryside reading Kipling, Dickens, Henry Fielding, Smollett, Shakespeare, and Conan Doyle. You can just picture her, in Edwardian attire, basking on a blanket in a soft breeze, with a flask of lemonade, a half-eaten ham sandwich, and thoroughly absorbed in Smollet's The Adventures of Roderick Random (mark the name Roderick well).

In addition to reading, Marsh also had a taste for the theatre, like her parents, and while still in school she mounted several amateur theatrical productions. She also began writing: short stories and plays. At first, her audience was her school peers, but by her 20s, she was in print, with stories and poems appearing regularly in Christchurch's The Sun newspaper. She also had a strong passion for painting, and she graduated in 1917 with an Arts diploma (first-class honours) from Canterbury University College (Christchurch is located in the Canterbury province of New Zealand).

By the time Marsh was in her early twenties, the three corners of her world had been set. It's no surprise, then, that theatre and the arts would later form the backdrop to several of her novels. And although painting would figure prominently throughout her life (dare I call it a hobby), it was to the gravitational pull of words, both those written down and those spoken aloud, where her heart fell.

For the next ten years after graduation, until 1928, Marsh continued developing her talents as a writer: writing plays and working on a "New Zealand" novel. Together with a group of likeminded artists she formed "The Group" (a group, mostly women, with avant-garde leanings). And she found on-going employment with a handful of professional theatre companies. It was in this time that she "paid her dues" and learnt her theatre craft. In fact, had Marsh never written a single novel, she would still be recognized as one of the doyens of 20th Century New Zealand theatre. Indeed, my first introduction to her was in a theatre, when I was 14. I had joined an amateur repertory company (the other members were mostly adults), and I remember Marsh being spoken about with reverence on winter evenings over cups of hot tea and crumbly digestives (a type of cookie).

Marsh (in beret) with "The Group", 1936

My first introduction to Ngaio Marsh the author had come about earlier, when I was about 6 or 7, only I hadn't been aware of it at the time. There was a bookshelf in my parents' living room. The upper shelves were lined with the classics of literature, and the lower shelves with a healthy selection of crime fiction (Cat among the Pigeons, Death on the Nile, etc.). One title on the bottom shelf always caught my eye: "Surfeit of Lampreys". I was a small boy. The title may as well have been written in Klingon. Or Latin.

In April 2012, the Alfred Hitchcock Mystery Magazine published my short story Pueri Alleynienses, and a friend asked me if the Latin title was a reference to Ngaio Marsh's detective, the principal character of all 32 of her novels, Roderick Alleyn. No, it wasn't, but then I discovered, unintentionally, that it was. My story was about two old men who, many years earlier, had attended Dulwich College in London. Pueri Alleynienses is the title of the Dulwich school song. It translates from the Latin as "Boys of Alleyn" (the founder of Dulwich College was Edward Alleyn). My interest in Dulwich had been based on the fact that Raymond Chandler had been a pupil there (1900-1905). In 1882, part of Dulwich College was annexed as a separate school, to be known simply as Alleyn's School, and it was at this school that Ngaio Marsh's father received an education, and from where she took a name for her character.

And a home for her character, too. London. Inspector Roderick Alleyn worked for Scotland Yard. He was British, a member of the gentry (his older brother was a baronet). He was an Oxford graduate, and had a background in the British army and the Foreign Service before he joined the Met. Almost all of Marsh's 32 books are set in England, with just four set in New Zealand, where Alleyn is either on secondment to the New Zealand Police, or is on holiday (Colour Scheme, Died in the Wool, Vintage Murder, Photo Finish). A fifth, Surfeit of Lampreys, starts out in New Zealand, but promptly returns to London and stays there.

Why London? Because in 1928, Marsh went to live there. Why? Probably because, like most other New Zealand artists and creatives (and even more so 80 odd years ago), New Zealand is a bit empty. Even today, the population is well under five million, spread out over a land mass equivalent in size to the United Kingdom, or California, and not a lot of people in that population could give a flying truck about the local arts scene. Unless it involves Peter Jackson and lots of loud noises.

Nowadays it's called going on The Big OE (Overseas Experience). Yes, there is actually a name for it: when young New Zealanders venture overseas to find fame and fortune, or to get a life. Nowadays, an OE could mean venturing anywhere: Spain, Norway, the US, South America; but until about 20 years ago, it meant only one thing: London. There are very few New Zealanders who work, or have worked, in the arts who haven't done it. Katherine Mansfield, Janet Frame, to name two others. Even I’ve done it. I lived in Soho for a year (before decamping for the continent). The Big OE is written into the DNA of many New Zealanders.

Marsh (1935)

London's (and Europe's) appeal to Marsh would have been great. To quote Eddie Izzard, "It's where the history comes from." Marsh's father was British, her mother a second-generation New Zealander with strong family connections to the "old" country. And through her connections in the New Zealand theatre world, Marsh landed in London on her feet running and co-opened an arts and crafts shop in Knightsbridge. She wrote a series of travel articles that were syndicated by the Associated Press, the strength of which gained her admission to the Society of Authors in 1929. And she gave up on her New Zealand novel. The "colonial novel" had by this time become a little passé, and not something an artistic, sophisticated, independent lady of London would care for.

And then one wet winter's weekend in 1931, trapped indoors with nothing much else to do, a bored Marsh thought she would try her hand at a detective novel. She had been reading Sherlock Holmes mysteries since she had been a child, and she was au fait with the emerging detective genre (she had read Agatha Christie, Dorothy Sayers, et al). The Golden Age of Mystery Fiction had begun, and Marsh probably didn't realize it when she put pen to paper that weekend, but she was about to join it. Her first book, A Man Lay Dying was published three years later in 1934. Inspector Roderick Alleyn entered the minds of readers and found their favour, along with most critics'.

Marsh was back in Christchurch when the book went to print, having returned in 1932 to nurse her ill mother. She wouldn't return to Europe until the late 1930s, and from then on she largely made her home in New Zealand. The Big OE was over. If I was to write a movie script about Marsh, that's where I'd end it: The publication of her first book to great reception. The end. Roll credits. The rest of her life is largely a matter of bibliography and milestone. She wrote 31 more novels featuring Inspector Alleyn (about one every 1-2 years), cementing her place in the literary pantheon. She wrote numerous plays, short stories, articles, and three works of non-fiction, including an autobiography. And she dedicated the remainder of her time to her other love: theatre.

Selected Milestones  (not mentioned above)

1949 Penguin Books publishes the Marsh Million, in which one million copies of ten of her titles (i.e. 100,000 x 10) were released on the same day. 1950 Marsh produces her favourite play (Pirandello's Six Characters in Search of an Author) at the Embassy Theatre in London. It's interesting that this was her favourite play, given her love of Shakespeare. It's an oddball piece of theatre (in my tainted opinion -- I sat through a million amateur performances of it in the 1980s as a lighting designer). I much prefer Rod Serling's Five Characters in Search of an Exit, if you know your Twilight Zone. 1951  An Ellery Queen Mystery Magazine reader's poll votes Marsh one of the best mystery writers currently active. 1963  Receives an honorary doctorate in literature from Canterbury University. 1967  The Ngaio Marsh Theatre opens. It is a 400-seat proscenium-arch theatre on campus at the University of Canterbury (currently closed due to earthquake damage). Opening night was a Ngaio Marsh produced production of Twelfth Night. 1967  Death at the Dolphin nominated for the Edgar Award 1969  Marsh produces A Midsummer's Night's Dream, starring Sam Neill. 1973  Tied up in Tinsel nominated for the Edgar Award 1978  South Pacific Pictures (a NZ television company) produces four feature-length adaptations of the New Zealand-set novels, starring George Baker as Inspector Alleyn. Click here to watch online: Died in the Wool 1990-94 The BBC produces The Inspector Alleyn Mysteries, adapting nine of the novels. 2010  The Ngaio Marsh Award is established by journalist Craig Sisterson. The award is given each year to the best crime novel written by a citizen (or resident) of New Zealand.

Roderick Alleyn

Roderick Alleyn's initials are RA. As a painter, Marsh would have known that the initials "RA" after an artist's name stand for Royal Academician, i.e. an artist elected (to the distinguished title) by members of the Royal Academy of Arts. I mention this purely as an observation.

Agatha Troy 

Agatha Troy first appears in Artists in Crime (1938). She is a famous painter. She is Marsh's version of Agatha Christie's  Ariadne Oliver -- i.e. a character through which the author can vicariously live in the story. Troy reappears in the later books and becomes Alleyn's wife.

Ngaio Marsh's  Mystery Books

1. A Man Lay Dead (1934) 2. Enter a Murderer (1935) 3. The Nursing Home Murder (1935) 4. Death in Ecstasy (1936) 5. Vintage Murder (1937) 6. Artists in Crime (1938) 7. Death in a White Tie (1938) 8. Overture to Death (1939) 9. Death at the Bar (1940) 10. Surfeit of Lampreys (1941) [US: Death of a Peer] 11. Death and the Dancing Footman (1942) 12. Colour Scheme (1943) 13. Died in the Wool (1945) 14. Final Curtain (1947) 15. Swing Brother Swing (1949) [US: A Wreath for Rivera] 16. Opening Night (1951) [US: Night at the Vulcan] 17. Spinsters in Jeopardy (1954) [US: The Bride of Death (abridged, 1955)] 18. Scales of Justice (1955) 19. Off With His Head (1957) [US: Death of a Fool] 20. Singing in the Shrouds (1959) 21. False Scent (1960) 22. Hand in Glove (1962) 23. Dead Water (1964) 24. Death at the Dolphin (1967) [US: Killer Dolphin] 25. Clutch of Constables (1968) 26. When in Rome (1970) 27. Tied Up in Tinsel (1972) 28. Black As He's Painted (1974) 29. Last Ditch (1977) 30. Grave Mistake (1978) 31. Photo Finish (1980) 32. Light Thickens (1982)

Don’t ask me to name a favourite Marsh. I've only read two of them, and a long time ago at that. The word tardy is applicable. In researching this little post, I turned up the fact that the bafflingly titled book on my parent's bookshelf, Surfeit of Lampreys, is considered her best book. I've left a memo on my desk to get a copy and read it.

Light thickens, and the crow
Makes wing to th' rooky wood.

Light Thickens was Marsh's final novel (1982). The title is taken from a line in Shakespeare's Macbeth (quoted above), and a principal element of the book concerns the theatrical taboo of "the Scottish play". Marsh completed the book shortly before her death. The Golden Age was over. The last queen was dead.


www.StephenRoss.net

Photos: The Christchurch Press, The NZ National Library

Rocky King: Death Has Dark Hands

This is the 4^th of five episodes of Rocky King, Detective found in the public domain. Some readers are cheering and some are groaning, all muttering, “Only one more to go!” Today’s presentation is also the most obscure and difficult to locate.

It can’t be argued that crime shows proved at least as popular in the nascent television market as they had on radio, before that on stage, and today on our fancy wide-screen entertainment centers. Fortunately for mystery writers, the public’s appetite proved voracious. The DuMont Television Network led with their own stable:

	Adventures Of Ellery Queen Chicagoland Mystery Players Famous Jury Trials Front Page Detective¹ Hands of Murder/Mystery		Man Against Crime¹ The Plainclothesman Rocky King, Detective They Stand Accused Trial By Jury²
	¹ syndicated		² reality courtroom show

Early television programming was noted for live action. Soaps with their few set changes seemed reasonable enough, but detective dramas took considerable planning to accomplish seamless transitions, when a director earned his keep. Occasionally sets were found on different floors, requiring actors to run up and down stairs to meet the story requirements. Not until the 1970s would wild car chases become popular enough to obscure muddled plots.

The Plainclothesman appeared in the 9:30 Eastern Time slot immediately following Rocky King. That program innovated ‘subjective camera PoV’, adding a level of complexity and sophistication to live on-camera work. Rather than the audience passively observing a show put on for their benefit, they could participate through the eyes of the protagonist, looking at scenes, actions, and clues as he would see them.

It’s 9 o’clock of a Sunday evening where family gathers around that fascinating new piece of furniture, the DuMont television set. Mom has opened its cabinet doors and Dad switches on the set. The screen brightens, wriggles, and then takes shape… Come with us now for another Rocky King adventure …

Death Has Dark Hands
broadcast: 1952-Oct-19

in which dies a chemist with a glowing reputation…

My Novel is a Mess (How to survive the chaos point in your novel)

Yes, I’m at that point.  Writing to a specific word count, three-quarters written, and my eleventh novel is an unqualified mess. 

If you are a veteran writer like me, you say it’s not going to happen this time.  But it does.

EVERY FREAKING TIME.

Here’s why:  

The Linear Approach:

This time, you are going to write linear, by gawd.  One chapter after another, in mathematical order, until you reach the end.  Each chapter will have an outline.

But here’s the problem with that.  You signed a contract that specifies a pretty exact word count.  Is your story going to magically end at the precise word count you need?

Damn straight, it’s not.  It’s going to meander along, minding its own business, taking little side trips, refusing to stay on course.

Because, of course, outlines are just that.  They’re a guide.  You don’t know whether the story is really going to pull together with sufficient motivation and all the goodies until you actually write the thing.  And here’s what happens along the way:

You need a new character to make the plot work.  You just thought of a fab new subplot.  Orlando doesn’t work as a side-setting.  You need to move it to Phoenix, and that means a whole lot of changes…

And before you know it, you’re scribbling on the outline, adding this, subtracting that, and it hits you in the face. Your book is a mess.

Scene plus Scene

I write comedy, and comedy is finicky.  Those good lines come when they come, and you have to get them down fast.  Sometimes they’ll present themselves to me when I’m in a restaurant.  Sometimes, when I’m already in bed.  (Yes, I keep a pen and paper on my bedside table. Ditto, by the loo.)

I always have an outline.  But when writing a highly comedic book, you have to write those funny scenes when you are inspired.  This means hopping around the timeline, writing the scene that works for you today, thinking of another great line, hopping back to an old scene to insert it, when you should be moving forward.  

Which brings you to this point: the important scenes are written, and they present themselves like completed sections of a jigsaw puzzle.  Little isolated islands without any bridges to each other.  You need to find the pieces that are missing and write the bits to connect them.

Because Sister, your novel is a mess.

That’s the point I’m at now.  The comedy is there.  The conflicts are in place.  The climax is written.  Now I need to take that kaleidoscope and move those pieces into the pattern that works best.

How to cope?  I think the best thing you can do is accept that this is going to happen.  Unless you are a robotic automaton lacking inspiration, you are going to veer from the plan more than once. 

At some point, every novel you write is going to be a mess. 

My advice: just accept it.  And understand that part of your role as writer is that of clean-up artist. 

That’s where I stand today, staring at a story that looks like a tornado just ran through it.

Time for the cleanup crew. And a healthy wee dram.

Melodie Campbell writes funny novels, including the multi-award winning book, The Goddaughter's Revenge.  You can buy them in Chapters, Barnes &Noble,  and all the usual suspects online.

Author Down

The phone call came in the middle of July. A fellow writer had died a couple of days before and his only son was letting me know of his dad's passing. Seems the son had my telephone number on a short story manuscript I'd sent the kid while he was deployed in Afghanistan a few years back. It was the only way he knew to get in touch with me.

His father (Aaron B. Larson 03/14/1955 - 7/14/2015) and I had been critique partners from about 1993 up to somewhere around 2001. It was mostly short stories, plus a novel each. In those days, we communicated by old fashioned snail mail for exchanging manuscripts and typed critiques, and in person with conversations at a monthly writers group meeting if Aaron managed to drive the 200 Interstate miles from his house to the meeting on that particular night.

Aaron had started out as a serious writer before me and had been doing well with his short stories published in various magazines. His output was a mixed bag of fantasy, sci-fi and mystery stories, but he was trying to make a living at writing in those genres and in that format. The incoming paychecks were small, not much to support a family. He did have some fame and recognition on the fantasy and sci-fi side, but those by themselves don't buy much in the way of groceries. To help tide things over, he took up various employment, such as night motel clerk and substitute teaching, among other jobs.

In an attempt to broaden his potential writing market, he put together a collection of his short stories and took up novel writing. Both were published by small press. The problem for him was, if you tried to live by the pen, but didn't make the big time circuit, then your career was apt to die by the pen. In the end, it came down to either obtaining success towards the top of the writing pyramid, or get serious about other employment to pay the bills and then only write on a part-time basis.

In later years, he drifted away and I moved south. Eventually, he took his two college degrees and went back to school for his masters in drama. His creative side moved over to the theater. We talked a few times afterwards, but it wasn't the same. His heart for writing had been taken out of him.

After the call came in that night, I dug out the giant plastic bin I'd kept all our correspondence in and went through it. There were photographs, personal letters, critiques, copies of successful publications, triumphs and rejections, notices of potential markets and of closing markets, hopes and dreams. It got me to thinking.

I've always known this writing game of ours is a harsh mistress. If you're going to mess around with this fickle muse, on any level, then you'd better have some talent, lots of luck and a thick skin. It also doesn't hurt to network like hell and have something in your background or writing to make you stand out from the pack.

A lot of years ago, a man named Jack London figured writing short stories would be his way out of poverty and out of working jobs at manual labor, but his first short story to be published sold for only five dollars and that payment was too long in coming. He was ready to abandon a career of writing, when his second short story paid him forty dollars and gave him the encouragement to continue. After that, his novels and other short stories paid him increasingly well. He made it to the top during his time period.

For me, I think I always knew I was better off with a good paying job, so that paychecks coming in from writing weren't crucial to feeding my family. Could be that I picked up on a certain lack of encouragement from a couple of college professors in my earlier years, but then that same put down led me to an I'll-show-you attitude that got me my first three sales. Who knew? Of course in the end, it was my contract with the military to go fill sandbags in a hostile environment that left me with itchy feet and a restless mind which put the final cement into my job decision to go work the streets as a fed.

We've all known writers who struggled and ended up with some measure of success, whether it was a few paying publications or a great career. At the same time, we've known those who struggled and had little or no success. I guess you just do what you can, strive hard and hope for the best.

In the meantime, wherever you are on the measuring stick, I wish you all well.

Go out there and persevere as best you can.

History: a Study in Coincidences, Part II

by Brian Thornton

Last around in the rotation I talked about the famous coincidence of Abraham Lincoln and Jefferson Davis having been born one year and one hundred miles apart. Then I hinted at another, similar historical coincidence that began in the Caribbean. I said:

"Two men, born on adjacent Caribbean islands, within five miles of each other, their birth places separated only by a shallow, two mile-wide stretch of ocean known as "The Narrows." Both of these men were born out of wedlock to members of their respective island's planter class. Both of their fathers were British-born and raised, coming out to the 'Sugar Islands' seeking their fortunes.'

"Both of these men early demonstrated so much native intelligence that they were sent abroad (One to England, the other to New York City) to receive an education superior to the one they could have received at home.'

"Both of these men became very successful in both business and politics. They were both products of slave-holding societies during the 18th century, and it was on the subject of slavery that these two men could not have been further apart. One of them, impressed by the writings of Enlightenment philosophers on the subject, became a confirmed abolitionist at a time when it was rare for a gentleman, even those who found slavery distasteful, to express an interest in completely destroying the practice.'

"The other inherited his father's sugar plantation back home, and owned slaves until the very day the practice was abolished.'

"Oh, and there was one other area in which the two men vastly differed. Ethnically. One was Scottish and English, and the other was the half-Welsh son of a plantation owner and one of his black slaves, and thus born into slavery himself.'

"Care to guess which one was the abolitionist, and which one was the slave-owner?"

(You can read the entire post here.)

I even tossed in a photo showing both islands:

In the comments section B.K. Stevens and Dale Andrews successfully named one of the men in question: none other than Alexander Hamilton, American banker, political philosopher, aide-de-camp to and personal friend of George Washington, first Secretary of the Treasury for the new American republic, and, like many of the new nation's leaders, something of a polymath.

Dale, who is apparently quite the aficionado of All Things Caribbean, also correctly identified the two islands in question (and in the above picture) as St. Kitts and Nevis Island, which are bound together politically, despite the Narrows channel that runs between them.

They and several others were quite right that Hamilton was the one who went on to become an abolitionist. And for the record, Hamilton is the one who was not born a slave. His father was Scottish and his mother English.

Perhaps the most impressive thing about Alexander Hamilton's odyssey from an undistinguished birth on a tiny island in the Caribbean to social prominence and tremendous wealth during his later years in New York City, is the way he got from Nevis to New York.

His neighbors paid for it. Literally.

Alexander Hamilton, by John Trumbull

Conceived out of wedlock to a married woman of mixed English, French and possibly Jewish descent and her lover, the wastrel fourth son of a Scottish laird, Hamilton was born in January, 1757, in Charlestown, the capital of Nevis Island. He was the couple's second son.

The family moved around a lot. To Dutch-owned St. Croix, and back to Nevis, then again to St. Croix, where, after the boys' father ran off, their mother Rachel, set up and ran a store.

Because his mother had never divorced the husband she's abandoned to run off with the elder Hamilton, both Alexander and his elder brother, James Jr., were born without legal status ("bastards"). This played hell with the boys' inheritance when Rachel died.

Alexander was just thirteen, and James a couple of years older. Their father had run off years before, and everything their mother owned was seized by her husband, the man she had never divorced. They were fostered out to a series or neighbors and relatives, and because they were born out of wedlock, not allowed to join the Church of England, and as a further result, had never been allowed to attend the local church school.

Alexander Hamilton Aged 13

They received spotty private tutoring while their mother was alive. James, the elder brother, was eventually apprenticed to a carpenter. Young Alexander was adopted by a merchant back on Nevis who may or may not have been his real father. He clerked in his adopted father's shop, continued to read widely, and eventually wrote several pieces for the local newspaper that so impressed his neighbors in Charlestown, that they took up a collection to pay for the boy's education. 

In 1772, aged fifteen, Alexander Hamilton left home for a "grammar" (preparatory) school in New Jersey. Two years later he would enter Kings' College in New York City (modern-day Columbia University).

Up to that point, and for the rest of his life, he never owned slaves.

Which leads us back to the other member of our mystery twosome. Let's start with a name: Nathaniel Wells; a birthdate: September 10, 1779; and a birthplace: his Welsh-born father's plantation on St. Kitts. The baby boy's mother was a slave named Juggy.

Nathaniel's father William Wells was the scion of a wealthy Cardiff family, who came to the Caribbean and made his fortune as a slave trader (he eventually left the slave trade and invested that income in a large plantation that made him even more money). When his wife died shortly after their arrival on St. Kitts, the elder Wells began having relationships with his slaves. Juggy was the first, and Nathaniel was his eldest child. He eventually sired six in all, freeing them and their mothers and making sure they had an income to provide for them.

Where Alexander Hamilton had a hardscrabble childhood with very little in the way of fatherly influence in his life, Wells, born a slave, was freed by his father after he turned four, sent to England to be educated (at his father's expense) in London. William Wells had notions of sending Nathaniel to Oxford, but died before he could realize that dream.

Nathaniel Wells inherited the majority of his father's considerable estate, both at home in Wales and on St. Kitts. He used part of his inheritance to acquire a considerable amount of property in Monmouthshire, including a huge mansion in the Wye River Valley called Piercefield House.

Piercefield House around the time Nathaniel Wells purchased it in 1802.

Wells put down roots and settled in to the role of prosperous country squire, serving a Warden for his local Anglican church (no talk here of excluding him from church membership because of his bastard status), and as a Justice of the Peace. He served for twelve years as High Sheriff of Monmouthshire (1818-1830), held a lieutenant's commission in the local militia (only the second black man to serve in that capacity in the King's military forces).

Nathaniel Wells' seal. We have no extant likeness of him.

And it's not as if Wells was (to use the popular African American term) "trying to pass." "Mr Wells is a West Indian of large fortune, a man of very gentlemanly manners," one of his neighbors wrote of him, "but so much a man of colour as to be little removed from a Negro."

So here he was, "a man of colour," living the life of an English country squire. Making plenty of money off of his sugar plantation on St. Kitts, like so many other absentee landlords of the period. 

And not freeing a single one of his slaves.

And while Wells never actually returned to the Caribbean, nor personally mistreated the hundreds of human beings he owned over the course of three decades, it would be foolish to assume that means his slaves were well treated. In fact, the plantation was run by an overseer on Wells' behalf, and it is well-documented that the plantation slaves were not spared the lash one iota during Wells' stewardship.

In fact, when emancipation came to St. Kitts, along with the rest of the territories controlled by the British Empire, in 1832, Wells, like every other landlord on the island, refused to free his slaves, illegally keeping them in servitude until the Crown negotiated the terms of compensation for every slave to be freed throughout the empire. 

This didn't happen until 1837. FIVE years after the initial decree of manumission!

Wells made a tidy sum off of his freed slaves, and continued to prosper until ill health caused him to retire from public life in the early 1850s. He sold his estate at Piercefield and moved to Bath, again because of his health. He died in 1852, the terms of his will provided that his holdings be divided among the twenty-two children his two marriages produced.

Two of his sons grew up to be clergymen. His eldest son, Nathaniel Armstrong Wells *1800-1846), was one of them, and a famous author during his time, celebrated for writing about his travels in Spain. 

If he recorded any thoughts on his father's origins as a slave and subsequent conduct as a slaveholder, they have not survived.

As for the magnificent estate house at Piercefield, it has fallen into ruin, with only the exterior walls still standing. The estate itself is now the site of the Chepstow Racecourse. 

How's that for a legacy?

Piercefield today.

Five Red Herrings VII

1.  Critiquing a Grand Master.  If you are a fan of the late great Donald E. Westlake you owe it to yourself to take a look at The Westlake Review.  The blog's owner, one fredfitch, explains that his mission is simple: "Reviewing every book Donald Westlake ever wrote. Because I can."  

And these are not reviews in the sense of should-you-buy-it three-and-a-half-stars types.  No, he wants to discuss the  themes, the context, how it fits into Mr. W's ouevre and so on. As I write this the most recent work under the microscope is Comfort Station, in which Westlake, under a pseudonym, applies Arthur Hailey's Airport or Hotel style pomposity to the vibrant humanity of a public restroom in Bryant Park.


I don't know the author's real name; Fred Fitch was the luckless hero of God Save The Mark.  If you have read the Dortmunder chronicles and the Parker saga, you need this site.


 2.  E-book Mindfulness.  I'm guessing that most of you buy e-books from time to time.  But how do you do that?  Here are a couple of hings to think about.

When I want to buy an e-book my first choice is Kobo. You can purchase a Kobo reader if you want, but I read mine on my iPad.  I assume they work on the other tablets.  The reason I prefer Kobo is that they have a deal with the American Booksellers Association.  I go to the  website of my favorite independent bookstore, click on Search for E-books, and when I buy something part of the money goes straight to that bookshop.  My way of helping them stay in business.

If Kobo doesn't have the book - not all publishers play nice - I  buy a Kindle edition.  But I don't go directly to Amazon to do so.  There are others out there who have deals with Amazon, you see.

Kevin R. Tipple is an excellent book reviewer who also aggregates a lot of news about our field at his website Kevin's Corner.  His family has accumulated some horrific medical expenses for reasons  you can find on his page.  So I go to his site and click on the Amazon button there.  When I buy a book he gets a sliver of the dough.  It doesn't raise my price and I would rather he get it than the company one bookseller I know calls SPECTRE.

Before I found out about Kevin's case I used to buy my Amazon books through the Wolfe Pack page.  This is the official organization for Rex Stout fans and I was happy to put a few cents in their coffers when I bought an e-book.

I'm not suggesting you should make the same choices as me, but I do suggest you think about your e-book choices.  And let me know what you think in the comments.

3. To make you wonder.  I have mentioned Wondermark before.  It is probably my favorite webcomic, a steam-punk-friendly combination of Victorian book art with modern problems.  Here is one of David Malki!'s (yes, he includes the exclamation point in his name) recent comics that seems relevant to our website's subject:

And here and here are two more.

4.  I'm from the government and I am here to help you.  I may have mentioned a few hundred times that I am a government information librarian.  One of my colleagues, Daniel Cornwall, has created a guide to government information specifically for all the writers out there.

Here are a few random samples of the questions he offers to answer for you:

+ What are guidelines for reports of possible criminal activity involving foreign intelligence sources?
+ What are the symptoms of inhalation anthrax?
+ What are some of the relationship complications of pretending to be dead?
+ How can I find a name so rare, that it was only given to five or so babies in 1980?
 
Get your facts straight so readers like me don't whine at you!

5.  My two pages worth.  B.K. Stevens had (at least) two brilliant ideas this year.  One was to join SleuthSayers (yay!).  The other was to start her exciting new blog The First Two Pages.   Each week a different writer steps in to explain what he or she was trying to accomplish in the very beginning of a book or short story.  I am delighted that this week it is me, talking about my new novel GREENFELLAS.  Thanks for the opportunity, B.K.!

The Watts Riots, Rodney King and Me

The fiftieth anniversary of the Watts Riots was last week. It was an earthshattering event in this country. Around the same time, the Sixties exploded on the scene, not just the various riots and protests, but the music, the counterculture, the war in Viet Nam, civil rights. The assassinations of John F. Kennedy, Robert F. Kennedy and Martin Luther King. Things changed. They’ve never been the same.

I was young when the riots happened, but not too long after them I had the experience recounted below. It’s been printed/published elsewhere but I think it’s worth another look. And since this a crime writers and crime writing blog, I think I can tie it in since my Shamus-Award winning novel, White Heat, takes place during the explosive Rodney King riots of 1992.

~.~.~.~.~.~.~.~.~.~.~.~

When people think of Watts they think of the Watts Towers—and the Watts Riots of August, 1965. That year, while the Beatles sang about Yesterday, another chant went up in South Central Los Angeles.

~.~.~.~

1965: "Burn, baby, burn!" is the anthem that many remember the Watts Riots by. It is the chant shouted by people as the city burns. The spark that sets off the riots is a black man being stopped for a traffic ticket. Long-simmering frustration boils over and the city ignites. Thirty-four people are killed, a thousand-plus are wounded and almost four thousand arrested. Tensions in Los Angeles are as high as the smoke rising from the smoldering city streets.

     Los Angeles is burning.

~.~.~.~

1991: Another motorist is stopped for speeding and evading the police. His beatdown is caught on video:

1992: The cops accused of beating Rodney King are acquitted. People pour into the streets. Looting. Assault. Arson. Murder. Fifty-three dead. Twenty-three hundred injured and sixteen-hundred buildings damaged or destroyed.

     Los Angeles is burning.

 ~.~.~.~

I was in Los Angeles in both '65 and '92. I remember the smoke, the fear permeating every quarter of the city.

But I have a different memory of Watts. It isn't of the riots, but occurred during another hot summer, not long after.

I met a boy named Walter in my summer school class. Unlike everyone else in the class and just about everyone in the school, he was black. And he wasn't a local, but was on some kind of student exchange program from Jordan High in Watts.

I'm sure we were as much a curiosity to him as he was to us. After all, we were the privileged white kids and he was the angry young black man. Only he didn't seem angry. He seemed like just another nice guy with glasses. He invited a group of us to come down and see where he lived: Watts. A word that sent shivers down a lot of Angelinos' spines in those days.

We were a little apprehensive about going down there, especially as Walter had told us to come in the crappiest cars we had. No shiny new cars. There were six or eight teenaged boys and girls in our little caravan of two crappy cars. But crappy in our neighborhood meant something different than it did in Walter's.

We met Walter in Will Rogers Park (now I believe Ted Watkins Park) in Watts and sat under a shady tree, a bunch of white kids and one black guy. We sat, just rapping—in the vernacular of the time—talking about music and houses and politics. We stood out like the proverbial sore thumb and people started coming over. Big dudes, little dudes. Cool dudes. Girls. No one seemed to resent our being there. In fact, they seemed glad to have us. Glad to be able to share with us and have us share with them. There was no sense of rancor or resentment. Just curiosity—a curiosity that went both ways. This was a time when people wanted to come together, not be separated. None of them knew Walter and they certainly didn't know us. But they joined our group and we rapped on.

Then Walter said, "You want to see where I live?"


Of course we did. So he took us to the projects—Jordan Downs. We drove past burned out buildings and vacant lots that had not so long ago had buildings on them. And we saw how the other half lived.

"It's not the best place in the world to live," Walter said. "But it could be a whole lot worse."

Our last stop was a trip to the Watts Towers, those soaring spires of glass, steel and concrete built by Simon Rodia. They are a monument to what anyone can do if they put their mind to it.


We returned to our cars and, to our relief, they hadn't been stolen. And, corny as it might sound, I think we all learned that we're more alike than different, with the same aspirations, hopes and fears.

That day was one of the most memorable experiences of my life—one that I wouldn't trade for anything. It was a wonderful day and we all went home full of hope for the future. We just wanted to get to know each other. Ultimately I think Rodney King had it right when he said, "Can we all get along?"

Why the hell can't we?

~.~.~.~.~.~.~

And now for some delightful BSP—remember, there’s a P at the end of the BS!


Vortex: My new Mystery-Thriller novella coming September 1st. Available for pre-order now.

“...a nonstop staccato action noir... Vortex lives up to its name, quickly creating a maelstrom of action and purpose to draw readers into a whirlpool of intrigue and mystery... but be forewarned: once picked up, it's nearly impossible to put down before the end.”
      —D. Donovan, Senior Reviewer, Midwest Book Review

http://www.akashicbooks.com/fade-out-by-paul-d-marks/

Fade Out: flash fiction story—set at the infamous corner of Hollywood and Vine—came out Monday August 17th on Akashic’s Mondays Are Murder, Monday (big surprise, huh?), and still available, of course.









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###

Creative Plagiarism

Have you ever stolen a idea for a story or book from another writer? No. Of course not, that's plagiarism, you say. You are exactly right. However, we all know in reality there are only  thirty-six literary plots. Or maybe only twenty. Or perhaps only seven.

1. Wo/man v nature
2. Wo/man v wo/man
3. Wo/man v the environment 
4. Wo/man v machine/technology
5. Wo/man v the supernatural 
6. Wo/man v self
7. Wo/man v God/religion

I could continue with twenty master plots like quest, adventure, pursuit, escape, revenge, love, sacrifice… but you all get the idea. Maybe it is true but writers and even readers know that it's the shading, the ins and outs, the grays bleeding into the black and white that we all turn to as we write. We read something that we consider good book or story and when we finish the story or book we sometimes say to our self, I like that story idea or plot and then we wonder how we might have written it.

Soon we play the "what-if" game. What if John Doe had done this and Jane Doe had done that?  What if the storm had happened earlier? What if Mr. Smith had not been murdered but Mrs. Smith was the one killed?  And the next thing you know, a whole different story is taking place in your mind. And guess what you're not stealing, but you're likely doing what the gifted writer and teacher, Lawrence Block calls "Creative Plagiarism" in his book TELLING LIES FOR FUN AND PROFIT. And I've spoken those words, telling lies for fun and profit, many times and in classes or article writing give Mr. Block the credit although I have no idea if he was the first to coin the phrase.

I've tried to remember when a story inspired me so that I used some "creative plagiarism" to write a story.  I can only remember one instance although I imagine there could be more. The only similarity came when I read  a Bill Pronzini short story in an anthology. I can't tell you the story's name or the anthology or collection the story was in. I only remember there was a hit and run accident. And a hit and run accident was the only thing I used in my short story "The Man In The Red Flannel Suit."  That was a Christmas story published in an anthology titled SANTA CLUES. I do remember at the time my story idea was more or less going along with Bill's story, but by the time I got that idea inkling off the back burner it was entirely different from what I originally thought. The only thing left was the hit and run and that accident was altogether a different animal.

The only two other "creative plagiarism" stories came from songs. One song written and sung by Kenny Rogers called "Scarlett" and was about a young man falling in love with an exotic dancer. One night he goes into the club and Scarlett is gone. It breaks his heart because his fantasy was that she loved him. The nightclub people can't tell him where Scarlett has gone because dancers come and go, always looking for brighter lights. 

I couldn't get the song out of mind, well, I couldn't get Scarlett out of my mind. What happened to her? Did she leave and move to Houston? Dallas? Las Vegas? Was she kidnapped?  Was she murdered? 

Scarlett rattled around in my brain for two or three years and one day popped up as a short story, titled "Scarlett Fever" in the DEADLY ALLIES anthology. It's  still one of my favorite short stories. The other story inspired by a song is titled "The Confession." It was published in the MURDER HERE, MURDER THERE anthology. Since I personally knew the singer/songwriter, Thomas Michael Riley, he gave me permission to use as much or as little of the song as I wanted. It was a great "what if" idea.

If any if you have used any "Creative Plagiarism" ideas you may confess them to me. I won't tell anyone, I promise. 

Rocky King: One Minute for Murder

The show must go on: In this episode, Rocky King does not appear in Rocky King.

Roscoe Karns found himself ill and could not go on the air. A popular misconception claims his real-life son, Todd Karns, took over the lead rôle for that episode. Todd, however, had not yet joined the cast. Instead Earl Hammond, who portrayed Sergeant Lane, led the investigation that day.

The series was noted for sly touches of humor and in this case, the inspector made an appearance of sorts… banging on the wall. The dialogue also references live performances going on, no matter what.

Careful listeners could catch little quips to the audience. One of the cleverest subtext jokes came in the episode, ‘Return for Death’ in the domestic badinage between Rocky and his beloved wife, Mabel. As they discuss growing older and the wisdom of picking out a burial plot, Detective Hart phones in to say that a case has erupted in the local cemetery. Hart fumbles a joke about the graveyard shift, and then we’re treated to this double entendre:

Mabel: “Do you think you should go there, dear, after our conversation?”
Rocky: ”Yes, dear. We should plan on having a little plot somewhere.”

During the homicide investigation of a famous mystery writer in ‘Murder in Advance’, Hart asks Rocky King to name his favorite television mystery. King says, “It’s kind of personal.”

Of course it is!

One Minute for Murder
broadcast: 1952-Sep-28

in which a scandal sheet gossip columnist is found murdered in the theatre. Shockingly some people regard that as a crime…

A Rainy Day at the Beach

Several weeks ago I attended a one-day writers' conference in Long Beach, Mississippi, called The Magic of Books. I conducted an afternoon workshop on writing and selling short stories--which are of course not books, but they asked me to do it anyway--and it was a fun session, at least for me. But the highlight of my day there (besides lunch) was the chance to hear a presentation by my friend and longtime mentor Carolyn Haines.

For those of you who don't know her, Carolyn is the author of more than seventy novels, including the "Bones" mysteries featuring Sarah Booth Delaney and set in the fictional Mississippi Delta town of Zinnia. (The latest in the series is Bone to be Wild--one of my favorite titles.) Carolyn is also a crazy and delightful lady who has been a tremendous help to my so-called writing career and who always makes me laugh. She has written under at least three pseudonyms and in a number of genres.

Vive la difference

Among the many words of wisdom she gave us that day, on the topic of "Writing in Multiple Genres," were the following:

- In mystery fiction, justice prevails

- In romance fiction, love prevails

- In historical fiction, the details must be accurate right down to the clothing and the dialect.

- In horror, fantasy, and historical fiction, setting is of primary importance.

- The key to POV is consistency.

- Thrillers must include some kind of ticking clock.

- In traditional mystery fiction, the protagonist knows more than the reader; in suspense/thriller fiction, the reader knows more than the protagonist.

- In thrillers, the antagonist must be the equal of the protagonist.

- Literary fiction requires deep character development and usually addresses social issues.

- SF is mainly plot-oriented and appeals mostly to male readers.

- In fantasy fiction, world-building is all-important.

- High fantasy involves elves, fairies, etc.

- Low fantasy involves vampires, werewolves, etc.

Not that it matters, but during much of Carolyn's presentation about mystery/noir fiction it was gloomy and raining outside, and it even thundered once or twice when she mentioned horror stories. The woman is so talented she can control the weather.

Elements, my dear Watson

Another of the things she talked about in her session was the "elements" of fiction. All of us think of different things when we hear that term. Personally, I think of plot, character, dialogue, POV, and possibly setting. Carolyn's take on it wasn't too far from mine: she said the elements consist of (1) plot, (2) character, (3) setting, and (4) theme. I think her point was that these are the ingredients of a story or novel--and she's right. But I think of the elements of fiction in a different way. I see them as the things you have to be good at in order to write it well.

Example: One of the elements Carolyn names is theme, and while I agree that theme is certainly a part of a story, I don't think theme is something I have to worry much about, as a writer. I once heard someone say that you should never try to come up with a theme beforehand, because there's no need to; you should just write your story, and if the story's a good one, it'll have a theme. Another way of phrasing that, I suppose, is if it doesn't have a theme, then it's not much of a story and it won't sell anyway.

I believe Carolyn's mention of theme, here, is tied to a couple of her pieces of advice that I listed earlier: in mysteries the theme (the overall point) is "justice prevails," and in romances it's "love prevails." I think she was saying the author must know these things and keep them in mind during the writing process--otherwise, the story or novel will fail. Or at least it will fail as a mystery or a romance.

Another place where our "elements" list varies is that I think things like dialogue and viewpoint are so vitally important they should probably be included. And yes, I know, dialogue isn't something that has to be a part of every story--I sold one to the Strand a couple years ago that had no dialogue at all--but when it IS a part of the story, it has to be nearly perfect in order to work. Bad dialogue is like a torpedo hit to the engine room; your project can't survive it. And POV, while it's not something to obsess over, is still one of those things that can badly hurt your story if it's misused.

The other difference in our definitions is setting. Carolyn includes it in her list; sometimes I do and sometimes I don't. I agree with her that it's a necessary ingredient in a piece of fiction--it obviously has to be there, or the characters would have no place to live and talk and make the story happen. But I find myself worrying less and less about setting, the more I write. I sort of feel that if the setting is truly important to your story--if, let's say, your characters are on a desert island, or in a hut on Mt. Everest, or at the bottom of a mine shaft, or in a nuclear testing facility, or in a lifeboat--then you'd certainly be wise to spend some time and a lot of words describing that setting and making it crystal clear to the reader. But if your story is such that it could possibly be told just as well using a different setting, if for example most of your story involves a conversation between two people sitting in a city park, or a restaurant, or an apartment or an office building or a suburban backyard, etc., maybe it's not that necessary to spell out a lot of detail about their surroundings. Especially if it's short fiction. That's my opinion only, by the way, and I welcome any thoughts you might have on this.

NOTE: I assure you that Carolyn knows more about all this than I do--after all, she's the mentor and I'm the mentee, she's Obi-Wan and I'm Luke. (Well, maybe I'm C3PO.) Let me ask you: If you had to make a list, what would you consider to be the "elements" of a novel or a story? I've heard that some writers include such things as symbolism and conflict--and, to me, conflict is a part of plot. Different folks, different strokes.

Noms de plume

Yet another good point she made during her session was Use a pseudonym if you feel your fans/audience might not like a new or different genre. This was, I assume, one of the reasons that Nora Roberts is also J. D. Robb, John Camp is John Sandford, J.K. Rowling is Robert Galbraith, and Evan Hunter was Ed McBain (actually, neither Hunter nor McBain was his real name). As for Carolyn, she has written as Carolyn Haines, R. B. Chesterton, Lizzie Hart, and Caroline Burnes, and believe me, all those incarnations do a darn good job of writing.

Have any of you taken this approach, and decided to use one or more pen names? If so, did you do it because of a genre switch? Or did you choose to keep your own name (as Larry McMurtry and James Patterson have done) regardless of genre? Have any of you chosen a pseudonym for other reasons? This is a subject I find fascinating, probably because--even though I consider myself fairly imaginative--I doubt I would ever be able to come up with a suitable alias no matter how hard I tried. As the intoxicated writer once answered when asked for his pen name, I just say, "Bic."

And that's my pitch, for today. May all your trips to the seashore be sunny, not rainy; may all of us make progress toward mastering the elements of fiction no matter how they're defined; and if you've not read Carolyn Haines, under her own name or any other, I hope you will. There is much to be learned from her novels and short stories. Here's her web site. Prepare to be entertained!




BY THE WAY: Two weeks ago at this blog, when I wrote about my story that appears in the current print issue (July/August) of The Saturday Evening Post, I said I would include a link to it when it appeared online. That story, "Saving Grace," was finally posted on August 7. Also, I was asked awhile back to write a piece for EQMM's blog, Something Is Going to Happen, and that post, called "From Page to Screen," went live last week as well. If you have time to read either (or both), I hope you enjoy it (or them). See you on the 29th! 

Minotaur and Mystery

I'd like to welcome any aspiring writers who've stumbled across this post.

Pull up a chair.

Sit a while.

We like your sort here.

SleuthSayers can be thought of as the online home (or maybe "watering hole") for a collection of published writers and authors.  While we're all joined by the fact that we've published crime or mystery fiction, the fact is:

SleuthSayers writers have been published in a myriad of genres: Science Fiction, Romance, Historical and Young Adult, just to name a few.This blog provides an outlet where we share tricks of the trade, useful habits, and even gripes about what we've encountered while stumping through the publishing jungle.

For aspiring novelists or short story writers, the effluence from this literary wellspring can sometimes prove pure gold.  I've gleaned just the info I needed on more than one occasion, myself.  And I've read comments from many others who have too, in past posts.

You'll find How-To ..., How I did it ..., How I DO it ..., What went right?, and What went wrong? articles written by folks who've published numerous short stories in national magazines and several novels that did (or are doing) quite well out there on bookstore shelves.  In fact, some of these articles are written by people who owned bookstores, or worked as editors in the publishing industry. Other contributors teach (or have taught) college writing classes, but here on this website you get to tap their knowledge and experience for free.

And, that publishing jungle can be rough: the size of the challenge crushing the unwary, while the glacial pace of the industry forces long waits and grave doubts upon even the most active or the bravest of souls.  It can be easy to let your work become derailed.  God knows, there are a lot of writers' souls lost in that jungle out there.

The aspiring writer can find consolation here, however, written by successful folks who still have to deal with the dreaded Rejection Letter, editorial "black holes" that seem to simply swallow manuscripts for eternity, or even the drudgery of endless rewrites.  We've been there.  We ARE there.  We feel your pain, and commiserate.

One other useful item:  We occasionally post info about writing contests (or, at least, I do).  Minotaur Books (a division of St. Martin's Press) has teamed with the Mystery Writers of America, for instance, to sponsor the:

First Crime Novel Competition  If you're an unpublished novelist and can manage to submit a manuscript of at least 40,000 words, featuring a murder or other serious crime, by December 14, 2015, then you might like to enter.  The winner gets a contract and 10 Grand advance against royalties.  You'll find the publisher's details here. 

Good luck out there, to all who enter!

See you in two weeks,
--Dixon

No Sex, Please, We're Skittish

by Eve Fisher

"If you mention sex at an AA meeting, even the non-smokers light up."
--Father Tom, "Learning to Live With Crazy People"

Agatha Christie

And so do a lot of mystery writers and readers.  There are those who write and/or love cozies, and want everything as asexual as they think Agatha Christie was.  Except, of course, that if you actually read your Agatha Christie, there's a lot of hot stuff going on:  In AT BERTRAM'S HOTEL, Ladislaw Malinowski is sleeping with both Elvira Blake and her mother Bess Sedgwick, and that fact alone is one of the major drivers of the plot.  In SAD CYPRESS, Roddy Welman's sudden, overwhelming attraction to Mary Gerrard makes everything homicidal possible.  And, in at least three novels, a man's lust for one woman, combined with his lust for money, makes it possible for him to marry and murder a rich wife.

Then there's the noir crowd:  

“It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.”
― Raymond Chandler, FAREWELL, MY LOVELY

“I loved her like a rabbit loves a rattlesnake.”
― James M. Cain, DOUBLE INDEMNITY

Brigid O'Shaughnessy: “I haven't lived a good life. I've been bad, worse than you could know.”
Sam Spade: “You know, that's good, because if you actually were as innocent as you pretend to be, we'd never get anywhere.”
― Dashiell Hammett, THE MALTESE FALCON

In noir, EVERYTHING is about sex.  That and greed.  But mostly sex, and often violent sex. (Prime examples are probably the "rip me" scene of James M. Cain's THE POSTMAN ALWAYS RINGS TWICE - and Mickey Spillane's VENGEANCE IS MINE, in which - and I think it's the first chapter - he beats a woman before having his way with her and she loves it all.)  The noir guys all moon over the virgins (Walter Huff over his victim's daughter; Mike Hammer over Velda), but the women who obsess them are anything but. And so of course they hurt them, twist them, torture them, betray them, all of the above.  Truth is, after a long day in noir-land, you want to yell at them, "Try somewhere else besides a bar to meet women!   Buy the girl some flowers!  Try to stay sober for ten minutes!" but it's all a waste of breath.  (Except, apparently, to Nick Charles who got a clue and a rich wife.)

And spies...

Spy stories, of course, depend on global locales, tech wizardry, constant weapons, supervillains, and a high body count for both sex and death.   Women, women, women, of all ethnicities, although Russian spies are a perennial favorite.  (Is it the accent, or the idea of nudity and fur?)  I just read a novel in which the male American spy and the female Russian spy were mutually obsessed, madly, madly in love/lust/etc., to the point where I really thought that the cover should be of her holding him against her exceptionally large chest, hair flowing like a female Fabio...  Anyway, sex drives these plots as well, no matter what the spy or the supervillain think, because - besides providing objects of rescue, thus securing another reason for the ensuing sex - 90% of the time at least one of those women is going to save the male spy from certain death. The game is to figure out which one by, say, page five.  

Horror.  Sex = death.  The survivor's a virgin.  What more can I say?  

So, to all of those who say that mysteries are all about cerebral detection, and that there isn't much place for sex in them - WHAT ARE YOU TALKING ABOUT?  

As Oscar Wilde once said, “Everything in the world is about sex except sex. Sex is about power.”  

You could look it up...