The denouement is surprising, and not easily foreseen. But it is plausible and makes sense, even though partly speculative. It shows the plot to have been solidly clued for the reader who can follow the hints. Loder often shows villains falling prey to their own scheming and he does so again here. There is also a pervading sense of tragedy, almost tragi-comedy, affecting those directly involved. One of the killings involves a variation of a method of dispatch seen in other Loder novels. The other foreshadows the murder setting in Drop to his Death (1939), co-authored by John Dickson Carr (writing as Carter Dickson) and John Rhode.
The Shop Window Murders is an entertaining and richly plotted example of the Golden Age deductive puzzle novel. The unusual and bizarre crimes make it one of Vernon Loder’s best mysteries for bafflement and ingenuity. The narrative is direct, brisk and lively, and the complex storyline is absorbing, well-constructed and moves at a swift pace. Loder pays close attention to carefully worked-out and intricately structured plotting. But his skill in creating clever, insightful ‘good lightning sketches’ of characters, a feat praised by Dorothy L. Sayers in her review of Murder from Three Angles (1934), is also evident—Melis being a good example. The combination of subtle witty observations and good humour help to leaven an otherwise dark tale. Here is Loder describing Mander’s older female admirer: ‘She did not look an amorous type, though she was obviously endeavouring to hold her fugitive youth by the skirts’. Overall, the novel shows Loder writing with assurance and maturity as a crime fiction author.
Of particular interest to Golden Age aficionados will be the striking similarities between The Shop Window Murders and The French Powder Mystery by Ellery Queen, also published in the US and UK in 1930. It was only the second Ellery Queen Mystery, a year after the successful debut of The Roman Hat Mystery. The book begins almost immediately with a murder: a model inside the main shopfront window of French’s Department Store in downtown New York City is demonstrating some modern furniture and accessories on display, with a crowd watching from outside. When a button is pushed to reveal a concealed wall folding bed, out tumbles the murdered body of the wife of the store owner. The similarities continue: the owner has a private apartment above the store which the victim visits late one night when the store is closed. There are bizarre and unexplained clues, strange discoveries of unusual items found where they should not be, and a plethora of alibis and motives. The plot is ingenious, almost to the point of being overly complicated and involuted. Each small fact and clue is examined, discussed and (mostly) discarded with impressive deductive logic and reasoning. The rigorous intellectual approach is indebted to the popular Philo Vance mysteries of S. S. Van Dine. The climax is generously praised by the eminent critic Anthony Boucher as ‘probably the most admirably constructed denouement in the history of the detective story’. Following the trademark Queen ‘challenge to the reader’, it comprises 35 pages of tightly worded explanation, with the identity of the murderer only revealed in the last two words of the novel. Ellery Queen was the nom-de-plume of Fred Dannay and Manfred Lee, two cousins from Brooklyn. According to their biographer Francis M. Nevins, the novel was inspired after one of the cousins passed a Manhattan department store display window and stopped to look at an exhibit of contemporary apartment furnishings which included a Murphy bed. It is not possible to say whether Loder or Queen first conceived the idea of the store window murder, but the similarities between the two stories and close proximity of publication dates are certainly a remarkable coincidence.
Vernon Loder was one of several pseudonyms used by the hugely versatile and productive Anglo-Irish author Jack Vahey (John George Hazlette Vahey), 1881–1938. In addition to the canon of Loder titles between 1928 and 1938, Vahey wrote initially as John Haslette from 1909 to 1916, resuming writing in the 1920s as Anthony Lang, George Varney, John Mowbray, Walter Proudfoot and Henrietta Clandon. Born in Belfast, John Vahey was educated in Ulster and for a while in Hanover, Germany. He began his working life as an architect’s pupil, but after four years switched careers and sat professional examinations with a view to becoming a chartered accountant. However, this too was abandoned after Vahey took up writing fiction. He married Gertrude Crewe and settled in the English south coast town of Bournemouth. His writing career was cut short by his death at the relatively young age of 57.
The Loder novels were all published by Collins in the UK, and from 1930 his detective works were published under their famous Crime Club imprint. Several of his early novels (between 1929 and 1931) were also published in the US by Morrow, sometimes with different titles. The publisher’s biographical note on Loder, which appears in Two Dead (1934), mentions that his initial attempt at writing a novel (apparently never published) was during a period of convalescence in bed. Various colourful claims are made of Loder: he once wrote a novel on a boarding-house table in twenty days, serialised in both England and the US under different names; he worked very quickly, and thought two hours in the morning quite enough for anyone; also, he composed directly on a typewriter, and did not ever re-write. Whether these claims are true—or indeed laudable—is a matter for conjecture.
Loder had several recurring detectives. Inspector Brews and Chief Inspector Chace were each quite contrasting characters, the former a stolid local policeman with an emphasis on the importance of routine, the latter a highly efficient new breed of Scotland Yard CID detective. Brews appears in The Essex Murders (1930) and Death of an Editor (1931); Chace is found in Murder from Three Angles (1934) and Death at the Horse Show (1935). In his later espionage thrillers—Ship of Secrets (1936), The Men with the Double Faces (1937) and The Wolf in the Fold (1938), published under the separate Collins Mystery imprint—Loder’s protagonist was Donald Cairn, a British secret service agent involved in a series of thrilling adventures combatting continental spies in the lead-up to the outbreak of World War 2.
Loder never quite achieved the first rank of detective novelists, and has received scant attention in commentaries of the genre. Nonetheless, he was a popular, dependable author in the 1930s, and better than many; perhaps a paradigm of the English Golden Age mystery writer. The original Collins dust wrappers show that he was warmly reviewed: ‘The name of Mr Loder must be widely known as a reliable and promising indication on the cover of a detective story’ (Times Literary Supplement); ‘Successive books by Vernon Loder confirm the impression gathered by this reviewer that we have no better writer of thrill mystery in England’ (Sunday Mercury); ‘… just the effortless telling of a good story and meticulous observation of the rules’ (Torquemada in the Observer). And in 2014, J. F. Norris wrote: ‘… keep your eyes out for any book with the Vernon Loder pseudonym on the cover. They make for fascinating reading and are as different from the standard whodunits of his colleagues as champagne is to soda water.’
Since the 1930s Loder has remained out of print, and his works have largely been the purview of Golden Age book collectors, among whom he has a following, with scarce first editions commanding high prices. This welcome re-issue of The Shop Window Murders and earlier The Mystery at Stowe, should help Loder, deservedly, to be rediscovered and enjoyed by a new wider readership.
NIGEL MOSS
March 2018
MR TOBIAS MANDER’S new stores in Gaffikin Street had been a public wonder from start to finish. From the moment that this almost unknown man from the west country had visualised the idea of a store that would beat all other stores for cheapness combined with luxury, a highly-paid press-agent had seen to it that the country should join vicariously in the