SKELETON KEY
Lenore Glen Offord
With an Introduction by Sarah Weinman
FELONY & MAYHEM PRESS • NEW YORK
CONTENTS
Introduction
1. The Mad Professor
2. Everyone on Edge
3. The Rising Tide of Alarm
4. Blacked Out Forever
5. Not All Aboveboard
6. Hidden in the Bushes
7. A Secret Revealed
8. Trust Not Unlimited
9. Spade Work at Sundown
10. Murderers One to Seven
11. The Lady Who Vanished
12. Rimmed with Steel
13. Where Mimi Was
14. Speaking of Clocks
15. The Gas Chamber
16. Final Diagnosis
INTRODUCTION
Out of the Shadows: The Suspense Novels of Lenore Glenn Offord
THE SHEER BREADTH and depth of crime fiction allows for expertise in a particular sliver of the genre. A reader obsessed with solving intricately plotted crimes may be unable to start a conversation with a lover of modern-day cozy mysteries focused on niche topics. The noiristes might engage in awkward conversation with the spy-thriller aficionados. Those keen on psychological suspense might look down their noses at fans of plot-driven action adventures.
Partly by accident, equally by design, the corner of knowledge I’ve carved out over the past few years centers around what I call domestic suspense: namely, novels by women published roughly between the dawn of the Second World War and the onset of Second-Wave feminism. They aren’t quite hardboiled—at least, not if you compare them to books published by Hammett, Chandler, Cain, and the like—but they aren’t exactly cozy, nor do they fit into the “had I but known” school of ladies-in-peril invented by Mary Roberts Rinehart.
Instead they are somewhere in between, featuring independent career women like the titular heroine of Vera Caspary’s Laura; housewives on the edge protecting their families like Lucia Holley in Elisabeth Sanxay Holding’s The Blank Wall; and new mothers desperate for relief from crying babies, demanding children, and condescending husbands like Louise in Celia Fremlin’s The Hours Before Dawn. I’ve discovered a whole host of wonderful, needlessly neglected authors, many of whom now have a new generation of serious readers. But flashlights on earlier generations tend to miss a few spots, the dust of time concealing other forgotten names and literary gems ripe for discovery.
Lenore Glen Offord was new to me until quite recently. But once I delved into her not very large body of work – twelve novels between 1938 and 1959, eight of them mysteries – I discovered a writer of utterly delightful tales that mixed a strong sense of fair play, a wry wit, and a shrewd sense of domestic relationships that were, for their time, quite innovative, even subversive. How near-modern to trip across a mystery with a blended family in the making, where the murder-solving gets equal time with mother-daughter bonding. Here is crime fiction without airs, thunderous moralizing, or ponderous prose. The touch is light, even sprightly. It’s perhaps not surprising to learn that Offord herself wore multiple hats, as a novelist, a literary critic, a passionate theatergoer, and a mother.
Lenore Frances Glen was born on October 24, 1905 in Spokane, Washington to Katherine and Robert Glen, the latter a longtime newspaper editor in the city. She lived on the West Coast for her entire life, making ample use of Pacific Northwest and California settings in her fiction. She moved to Oakland, California for college, received a B.A. (cum laude) from Mills College in 1927, and after marrying Harold Offord in 1929, migrated to Berkeley, CA, ostensibly for graduate work at the city’s University of California outpost. They remained in and around Berkeley for nearly sixty years, with Offord giving birth to a daughter, Judith, in 1943.
For a time the Offords lived in the San Francisco neighborhood of Russian Hill, which provided the setting and title of her first novel, Murder on Russian Hill. That book introduced Coco Hastings, a voracious reader of mystery novels who, with her antiquarian husband Bill, gets embroiled in an actual murder in her own proverbial backyard. The pair returned for their second and final engagement in Clues to Burn (1942).
In between Offord ventured into more mainstream territory with Cloth of Silver (1939), about a girl reporter at a local newspaper contemplating love and marriage (she dedicated the book to her father: “To Pops, who told me so”); Angels Unaware (1940), a family drama where the arrival of unexpected guests exposes long-dormant fault lines; and the standalone thriller The Nine Dark Hours (1941), more in the classic domestic suspense mode of an ordinary young woman caught up in increasingly sinister events. (Offord’s superior standalone thriller, My True Love Lies, set in the San Francisco art world, was published in 1947.) Yet mystery/suspense was always Offord’s favorite genre, as she explained in a 1949 interview with the Oakland Tribune. “It is the first, and sometimes forgotten commandment for any novelist that he have a story to tell…I think [mystery novels] are sound discipline for the writer.”
With Skeleton Key, published in 1943 by Duell, Sloan & Pearce, Offord mixed a smart, curious heroine, her own insider’s knowledge of California, and a deft hand with the foibles of domestic conflict—and fashioned the start of her most artistically successful works. Skeleton Key introduces Georgine Wyeth, a twenty-seven-year-old widow, with a small child, whose personality emerges, fully-formed, in a descriptive paragraph early on in the novel: “one glance…left you with no more than a vaguely pleasant impression. A second proved unexpectedly rewarding; those who troubled to take it saw her eyes and thought ‘lonely,’ her mouth, and thought ‘sweet’; and then this increasingly sentimental gaze, having reached her chin, was brought up with a round turn. The set and tilt of the jaw spoke of stubbornness and humor, and more than hinted at a peppery though short-lived temper.”
It is a dangerous thing to underestimate Georgine Wyeth, especially if the person doing the underestimating is Georgine herself. She is wont to do that, convincing herself (here and in subsequent books) that she is paralyzed by her fears: of the unknown, of heights, of strange situations. In fact, her modus operandi is very practical: it’s the height of World War II, she has to support her seven-year-old daughter because there is no husband around anymore to do it for her, and she’ll take any job that suits. The search for that suitable job proves frustrating and protracted, but perseverance finally wins out as Georgine finds a position as a typist for a fearsome European scientist and moves into a cul-de-sac on Berkeley’s Grettry Road.
Mystery arises not long after her arrival, as the small Grettry Road community is shaken by the death of an air-raid warden during a blackout, courtesy of a runaway car. (Blackout regulations on the West Coast were considerably more stringent and comprehensive than in other parts of the country: on a dark night the entire neighborhood might be all but pitch-black.) His death, first declared an accident, soon appears to have been something a lot more sinister.
Grettry Road is, understandably, riveted by the murder, but Georgine is somewhat distracted: it takes some convincing for her to realize it, but little Grettry Road is offering a glimpse of her future, of a face that “stood out like those of a bold carving: eyes deep-set between sandy brows and high cheekbones, flat planes of cheeks, firm jaw. The face looked as if it would be hard to the touch…he looked from one person to another, with such a total lack of expression that she’d thought he must be inwardly amused.”
Georgine’s glimpse, like the reader’s, is the first of Todd McKinnon, professional pulp writer (“hack work, but I can live on it”) with a weakness for playing the harmonica late at night (quietly, if you ask him nicely) and a nose for unsolved mysteries that add gravitas to his fictioneering. His declarations of love are understated, but when
he utters a line like “You’re a nice woman, Georgine. You’re one of the nicest women I ever met. Don’t take anything second-rate; you can have the best, you know,” she understands Todd’s full, passionate meaning. In Offord’s hands, Todd resembles the kind of romance hero more prevalent in Preston Sturges comedies like Palm Beach Story or Christmas in July, capable yet a little befuddled, inquisitive but silent when the situation calls for it, and often enmeshed in the thick of strange adventures, especially those of his own making.
The two make a good sleuthing team, what with Todd’s methodical, laconic investigative acumen and Georgine’s intuitive understanding of people. Nevertheless Skeleton Key is primarily Georgine’s story of rolling with the punches, contending with her many fears, trying to provide a home for her daughter, Barby, and knowing “she could do only one thing: save herself.” Despite her belief in her own phobias, Georgine looks problems square in the face and deals with them, however unpleasant. She is a worthy antecedent to the crime-solving heroines of the 1970s, like Marcia Muller’s Sharon McCone or Maxine O’Callaghan’s Delilah West, and the very opposite of the fluttering Rinehart prototype.
Where Skeleton Key is clearly viewed through Georgine’s eyes, The Glass Mask, published in 1944, is more of a group effort. Barby, now eight, “lights up like a pinball machine” over Todd’s twenty-one-year old nephew, Dyke, during a trip to his part of California. Barby’s crush makes it impossible for her mother and Todd to refuse Dyke’s suggestion that the three of them—a soon-to-be blended family—visit a particular house on their way home. They stay overnight, and then another night, until it’s clear that someone (perhaps a relative of their increasingly peculiar hostess?) plans to keep them there indefinitely.
The Glass Mask is as much cloistered country-house tale, the walls constricting with a Poe-like metaphorical flourish, as it is about Georgine facing her fears, most notably of marriage to Todd. There’s little reason they shouldn’t tie the knot, especially when Barby loves her “Toddy” so. And yet Georgine can’t quite shake off the niggling worry that she won’t be able to handle the dangers that can find a writer of pulp tales, especially when that writer is devoted to basing his fiction on fact.
Her concerns are not for herself. As she tells Todd, “If you have anything to do with crime, even just writing about it, you’re bound to get mixed up in horrors every so often. I could accept that for myself, if I tried. I could take it for you; it’s your life, you have a right to risk it.” The trouble for Georgine is she “never thought of its touching Barby. How can I let her in for that sort of thing? She hasn’t the choice. I have to make it for her.” Despite these eminently practical doubts about whether to go ahead with the marriage—doubts cast aside amid the whirlwind of solving yet another crime—the matter-of-fact way in which she brushes off queries about traveling with a man not (quite) her husband is most refreshing. There’s little in the way of histrionics; Georgine merely listens, and goes about her day.
Once the mystery sorts itself out, the answer to Georgine and Todd’s domestic conflict does the same. Married several years by the time of the events in The Smiling Tiger (1949), they find new mysterious adventures in the midst of a neighboring religious cult that does more harm than good. Beyond-Truth, as the cult is called, opposes marriages that will produce children: the end of the world is coming, after all, and what’s the point in procreating? Todd doesn’t want to write about this unpleasant group, but as he’s in a writing rut, the lure of the paycheck trumps all—as does a more overt threat to Georgine. The Smiling Tiger is a fun read but the bite of the earlier two books isn’t quite as pronounced. It would be another decade before Georgine, Todd, and Barby made their next, and last, appearance.
Offord’s output slowed when she was named the full-time mystery critic for the San Francisco Chronicle in 1950, her column given the cracking title “The Gory Road.” During the Second World War she shared the column with her friend Anthony Boucher, the famed critic, novelist, essayist and anthologist, but she continued by herself when he decamped for the “Criminals at Large” column at the New York Times. Offord’s work at the Chronicle won her the Edgar Award for Best Criticism in 1952, and she remained the paper’s critic until 1982, making her one of the longest-serving reviewers of mystery fiction in the country.
In addition to The Marble Forest (1951), a serial novel that included a chapter by Boucher, Offord published three more books. Enchanted August (1956), is a work of young-adult fiction set at Ashland, Oregon’s famed Shakespeare Festival, which Offord attended frequently, along with her daughter Judy, who may have been the inspiration for the protagonist and who acted with the company as a child. The Girl in the Belfry (1957), is a true crime account co-written with Joseph Henry Jackson. Her final novel, Walking Shadow, also set at Ashland, continues her series but with a focus shift: the main character is Barby, all grown up and now a costume assistant on a summer production of that famous “Scottish play,” Macbeth.
Despite being the nominal heroine, Barby is more of an Eve Arden character, resigned to playing second fiddle to the beautiful, mysterious Margaret Lenox. Winsome, red-headed, and blazingly talented, Meg attracts many but keeps most at a distance. Might it have something to do with a recently discovered corpse back in Berkeley? The tenuous connection puzzles Barby enough to call in the cavalry, i.e. her stepfather Todd, still plying his trade in crime writing and still capable of deducing the truth, even after several missteps of misdirection. The solution is a surprise, but what elevates Walking Shadow to Offord’s most accomplished novel is her utter familiarity with Shakespearean drama, the politicking of summer stock, and her love of it all. Theatrical settings have a special place in mystery fiction, inspiring a number of novels by classic writers like Ngaio Marsh, Margery Allingham, and Edmund Crispin, and more recent works by Joyce Harrington, Pat Carlson, and Jane Dentinger, and the “Scottish Play” has been a particular favorite.
After Walking Shadow, Offord stopped publishing novels. “Every mystery story published in the U.S. was mailed to our house,” says Offord’s daughter, “and she read each one, at least enough of it to decide if it was something she wanted to review. I think that as she got older, a lot of her writing energy went to the reviewing. I think she felt that she’d accomplished what she set out to do in the novel form.”
But she didn’t abandon fiction or creative writing altogether. In addition to her perch at the SF Chronicle, Offord published short stories and poems, most notably “Memoirs of a Mystery Critic” in Ellery Queen’s Mystery Magazine, a wonderful rhyming verse that catalogs the many, many plot and character tropes of crime novels and closes:
By now, for these plots
I could fill in the dots
With one hand behind me
And a blindfold to blind me.
And yet I keep reading them,
Greedily needing them.
Don’t think of them,
Just keep on printing them!
Offord was also active within the world of Sherlock Holmes fans, most notably as the first female member vested into the Baker Street Irregulars, the premier fan club for all things Holmes, Watson, and their creator, Arthur Conan Doyle. New members are given special nicknames, and Offord’s was “The Old Russian Woman,” a hat tip to Murder on Russian Hill. But Offord never attended a BSI event. Those were in New York, and she stayed on the West Coast. The other contributing factor? She was the sole female Irregular (it would be another 20 years before another woman was invested into the club). “I don’t believe in forcing my way into a group that is all-male and has kept to itself,” Offord explained in a 1984 interview with the Times-News. “I wouldn’t want a male trying to force his way into a group I belonged to if it were all-female.”
In 1988 Offord and her husband, Harold, moved to Ashland, Oregon to be closer to their daughter, who had become a choreographer for the Shakespeare Festival. In doing so Offord became a year-round resident of the place she immortalized in Walking Shadow. She died, at
age eighty-five, on April 24, 1991. (Harold passed away the following year.) Her life was clearly one of love, laughter, and literature, where words on the page carried tremendous meaning, as an author, a critic, or a play-goer. Lenore Glen Offord deserves the much wider audience that these new reissues will undoubtedly bring, a contemporary audience certain to enjoy her novels.
—Sarah Weinman
CHAPTER ONE
The Mad Professor
THE STREET SIGN appeared first, like a ship’s mast coming over the horizon. Grettry Road, it read, in black letters on a strip of yellow-painted tin. The larger sign below it came into view next, line by line: NOT A—THROUGH—STREET.
The young woman toiling up the hill took in the whole unencouraging message, paused, looked at the steep slope behind her and spoke aloud, indignantly. “My pals!” she said, presumably referring to the city fathers, who might have let her know earlier.
A few more steps, however, brought her to the crest, and the fathers were exonerated. Avenida Drive continued to the right along the edge of a canyon, and the blind street curved downward to the left. Best of all, beneath the signs at the intersection was a convenient flat rock. The young woman made for it and sat down, panting.
She was footsore and warm and on the verge of discouragement. The miniature briefcase she carried was full of magazine-subscription blanks, and as Georgine Wyeth knew too well, they all remained obstinately true to their name. Again she spoke aloud, bitterly; but this time to herself. “You!” she said. “You couldn’t sell water to a desert tank corps.”
This was undeserved. There had been other June days as warm and lazy as this one, on which housewives had answered their doorbells and listened to her sales talk, and sometimes even fallen for the Magnificent Combination Offer, or the Three Year Subscription for the Price of Two. Today, a sudden wave of sales resistance had nearly overwhelmed her.
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