The Dead Witness: A Connoisseur's Collection of Victorian Detective Stories

by Michael Sims

  “The gentleman was Constantin Amidon; the lady, Marian Shaffer. You will have to think of them now as Mr. and Mrs. Amidon.”

  “And I will. Thank you, Mr. Hutton, thank you very much. Next to the pleasure of getting the house for my friend, is that of hearing this charming bit of news its connection.”

  She held out her hand and, as he took it, remarked:

  “They must have had a clergyman and witnesses.”

  “Undoubtedly.”

  “I wish I had been one of the witnesses,” she sighed sentimentally.

  “They were two old men.”

  “Oh, no! Don’t tell me that.”

  “Fogies; nothing less.”

  “But the clergyman? He must have been young. Surely there was some one there capable of appreciating the situation?”

  “I can’t say about that; I did not see the clergyman.”

  “Oh, well! it doesn’t matter.” Miss Strange’s manner was as nonchalant as it was charming. “We will think of him as being very young.”

  And with a merry toss of her head she flitted away.

  But she sobered very rapidly upon entering her limousine.

  “Hello!”

  “Ah, is that you?”

  “Yes, I want a Marconi sent.”

  “A Marconi?”

  “Yes, to the Cretic, which left dock the very night in which we are so deeply interested.”

  “Good. Whom to? The Captain?”

  “No, to a Mrs. Constantin Amidon. But first be sure there is such a passenger.”

  “Mrs.! What idea have you there?”

  “Excuse my not stating over the telephone. The message is to be to this effect. Did she at any time immediately before or after her marriage to Mr. Amidon get a glimpse of any one in the adjoining house? No remarks, please. I use the telephone because I am not ready to explain myself. If she did, let her send a written description to you of that person as soon as she reaches the Azores.”

  “You surprise me. May I not call or hope for a line from you early to-morrow?”

  “I shall be busy till you get your answer.”

  He hung up the receiver. He recognized the resolute tone.

  But the time came when the pending explanation was fully given to him. An answer had been returned from the steamer, favourable to Violet’s hopes. Mrs. Amidon had seen such a person and would send a full description of the same at the first opportunity. It was news to fill Violet’s heart with pride; the filament of a clue which had led to this great result had been so nearly invisible and had felt so like nothing in her grasp.

  To her employer she described it as follows:

  “When I hear or read of a case which contains any baffling features, I am apt to feel some hidden chord in my nature thrill to one fact in it and not to any of the others. In this case the single fact which appealed to my imagination was the dropping of the stolen wallet in that upstairs room. Why did the guilty man drop it? and why, having dropped it, did he not pick it up again? but one answer seemed possible. He had heard or seen something at the spot where it fell which not only alarmed him but sent him in flight from the house.”

  “Very good; and did you settle to your own mind the nature of that sound or that sight?”

  “I did.” Her manner was strangely businesslike. No show of dimples now. “Satisfied that if any possibility remained of my ever doing this, it would have to be on the exact place of this occurrence or not at all, I embraced your suggestion and visited the house.”

  “And that room no doubt.”

  “And that room. Women, somehow, seem to manage such things.”

  “So I’ve noticed, Miss Strange. And what was the result of your visit? What did you discover there?”

  “This: that one of the blood spots marking the criminal’s steps through the room was decidedly more pronounced than the rest; and, what was even more important, that the window out of which I was looking had its counterpart in the house on the opposite side of the alley. In gazing through the one I was gazing through the other; and not only that, but into the darkened area of the room beyond. Instantly I saw how the latter fact might be made to explain the former one. But before I say how, let me ask if it is quite settled among you that the smears on the floor and stairs mark the passage of the criminal’s footsteps!”

  “Certainly; and very bloody feet they must have been too. His shoes—or rather his one shoe—for the proof is plain that only the right one left its mark—must have become thoroughly saturated to carry its traces so far.”

  “Do you think that any amount of saturation would have done this? Or, if you are not ready to agree to that, that a shoe so covered with blood could have failed to leave behind it some hint of its shape, some imprint, however faint, of heel or toe? But nowhere did it do this. We see a smear—and that is all.”

  “You are right, Miss Strange; you are always right. And what do you gather from this?” She looked to see how much he expected from her, and, meeting an eye not quite as free from ironic suggestion as his words had led her to expect, faltered a little as she proceeded to say:

  “My opinion is a girl’s opinion, but such as it is you have the right to have it. From the indications mentioned I could draw but this conclusion: that the blood which accompanied the criminal’s footsteps was not carried through the house by his shoes;—he wore no shoes; he did not even wear stockings; probably he had none. For reasons which appealed to his judgment, he went about his wicked work barefoot; and it was the blood from his own veins and not from those of his victim which made the trail we have followed with so much interest. Do you forget those broken beads;—how he kicked them about and stamped upon them in his fury? One of them pierced the ball of his foot, and that so sharply that it not only spurted blood but kept on bleeding with every step he took. Otherwise, the trail would have been lost after his passage up the stairs.”

  “Fine!” There was no irony in the bureau-chief ’s eye now. “You are progressing, Miss Strange. Allow me, I pray, to kiss your hand. It is a liberty I have never taken, but one which would greatly relieve my present stress of feeling.”

  She lifted her hand toward him, but it was in gesture, not in recognition of his homage.

  “Thank you,” said she, “but I claim no monopoly on deductions so simple as these. I have not the least doubt that not only yourself but every member of the force has made the same. But there is a little matter which may have escaped the police, may even have escaped you. To that I would now call your attention since through it I have been enabled, after a little necessary groping, to reach the open. You remember the one large blotch on the upper floor where the man dropped the wallet? That blotch, more or less commingled with a fainter one, possessed great significance for me from the first moment I saw it. How came his foot to bleed so much more profusely at that one spot than at any other? There could be but one answer: because here a surprise met him—a surprise so startling to him in his present state of mind, that he gave a quick spring backward, with the result that his wounded foot came down suddenly and forcibly instead of easily as in his previous wary tread. And what was the surprise? I made it my business to find out, and now I can tell you that it was the sight of a woman’s face staring upon him from the neighbouring house which he had probably been told was empty. The shock disturbed his judgment. He saw his crime discovered—his guilty secret read, and fled in unreasoning panic. He might better have held on to his wits. It was this display of fear which led me to search after its cause, and consequently to discover that at this especial hour more than one person had been in the Shaffer house; that, in fact, a marriage had been celebrated there under circumstances as romantic as any we read of in books, and that this marriage, privately carried out, had been followed by an immediate voyage of the happy couple on one of the White Star steamers. With the rest you are conversant. I do not need to say anything about what has followed the sending of that Marconi.”

  “But I am going to say something about your work in this ma
tter, Miss Strange. The big detectives about here will have to look sharp if—”

  “Don’t, please! Not yet.” A smile softened the asperity of this interruption. “The man has yet to be caught and identified. Till that is done I cannot enjoy any one’s congratulations. And you will see that all this may not be so easy. If no one happened to meet the desperate wretch before he had an opportunity to retie his shoelaces, there will be little for you or even for the police to go upon but his wounded foot, his undoubtedly carefully prepared alibi, and later, a woman’s confused description of a face seen but for a moment only and that under a personal excitement precluding minute attention. I should not be surprised if the whole thing came to nothing.”

  But it did not. As soon as the description was received from Mrs. Amidon (a description, by the way, which was unusually clear and precise, owing to the peculiar and contradictory features of the man), the police were able to recognize him among the many suspects always under their eye. Arrested, he pleaded, just as Miss Strange had foretold, an alibi of a seemingly unimpeachable character; but neither it, nor the plausible explanation with which he endeavoured to account for a freshly healed scar amid the callouses of his right foot, could stand before Mrs. Amidon’s unequivocal testimony that he was the same man she had seen in Mrs. Doolittle’s upper room on the afternoon of her own happiness and of that poor woman’s murder. The moment when, at his trial, the two faces again confronted each other across a space no wider than that which had separated them on the dread occasion in Seventeenth Street, is said to have been one of the most dramatic in the annals of that ancient court room.

  Acknowledgments

  First, my thanks to George Gibson, my extraordinary editor and publisher at Walker & Company; his assistants, Margaret Maloney and Lea Beresford; and the great team at Walker: production editor Nate Knaebel, copy editor Steve Boldt, jacket designer Mark Melnick, and publicist Jonathan Kroberger.

  My thanks to various scholars who contributed ideas for The Dead Witness or critiqued parts of my earlier anthologies in ways that later helped with this book: Gwen Enstam at the Association for Scottish Literary Studies in Edinburgh, Elizabeth Carolyn Miller at the University of California, Davis, Caroline Elizabeth McCracken-Flesher at the University of Wyoming, and Donna Heddle at Orkney College in Scotland.

  My thanks to Olivia Wierum, who helped me proof, and to fellow writer Isa Wierum. Several other people generously provided sources, suggested authors, discussed the issues, or otherwise assisted: Laura Carpenter, Michael Dirda, Dennis Drabelle, Jon Erickson, Jerry Felton, Michele Flynn, Collier Goodlett, Leslie S. Klinger, Robert Majcher, Greg Nemec, Otto Penzler, Michele B. Slung, John Spurlock, Art Taylor, Mark Wait, Carey Wallace, Alana White, Robin and Craig Wierum, and Nancy Wolff. Once again Karissa Kilgore proved invaluable. Perpetual gratitude to the staff of the Greensburg Hempfield Area Library, especially interlibrary loan book detective Linda Matey, library director Cesare Muccari, and Diana Ciabattoni.

  First and last, in this book and many others, I thank the amazing Laura Sloan Patterson—scholar, wit, pal, and wife.

  Bibliography and Suggested Further Reading

  This bibliography includes all sources cited in, or useful in the writing of, this book’s introductory essay or its individual story introductions. It also includes selected biographies, general introductions to the topics of detective fiction or specialized categories such as female detectives, a handful of recommended original volumes of stories featuring detectives reluctantly omitted from The Dead Witness, and other commentaries on particular authors and themes. It excludes works by those authors whose stories or excerpts appear in this anthology and thus receive attention in the biographical note that introduces their contribution. Web sites appear separately at the end.

  Ackroyd, Peter. Dickens. New York: HarperCollins, 1990.

  Allen, Grant. Miss Cayley’s Adventures. London: Putnam’s Sons, 1899.

  Auden, W. H. “The Guilty Vicarage: Notes on the Detective Story, by an Addict.” Harper’s, May 1948.

  Bargainnier, Earl F., ed. 10 Women of Mystery. Bowling Green, OH:

  Bowling Green State University Popular Press, 1981.

  Beckson, Karl. London in the 1890s: A Cultural History. New York: W. W. Norton, 1992.

  Bentley, Nicolas. The Victorian Scene: 1837–1901. London: Weidenfeld and Nicolson, 1968.

  Bodkin, M. McDonnell. Dora Myrl, the Lady Detective. London: Chatto & Windus, 1900.

  Chesterton, G. K. A Century of Detective Stories. London: Hutchinson, 1935.

  Clodd, Edward. Grant Allen: A Memoir. London: Grant Richards, 1900.

  Corey, Melinda, and George Ochoa. The Encyclopedia of the Victorian World. New York: Henry Holt, 1996.

  Cornillon, John. “A Case for Violet Strange.” In Images of Women in Fiction: Feminist Perspectives. Bowling Green, OH: Bowling Green University Popular Press, 1972. A brief survey of Anna Katharine Green’s socialite detective Violet Strange.

  Cunningham, Gail. The New Woman and the Victorian Novel. New York: Barnes & Noble, 1979.

  Dictionary of Literary Biography. Various volumes, and the numerous sources listed therein. Consult under each author’s name.

  Ensor, Sir Robert. England 1870–1914. London: Oxford University Press, 1936.

  Flanders, Judith. The Victorian House: Domestic Life from Childbirth to Deathbed. London: HarperCollins, 2003.

  Forrester, Andrew, Jr. The Female Detective. London: Ward & Lock, 1864.

  Featuring detective Mrs. Paschal, by the pseudonymous author of “Arrested on Suspicion.”

  Fortune, Mary. The Detectives’ Album. Edited by Lucy Sussex. Sauk City, WI: Broken Silicon Dispatch Box, 2003. Stories by the author of “The Dead Witness.”

  Frank, Lawrence. “ ‘The Murders in the Rue Morgue’: Edgar Allan Poe’s Evolutionary Reverie.” Nineteenth-Century Literature 50, no. 2 (September 1995).

  Garforth, John. A Day in the Life of a Victorian Policeman. London: Allen Unwin, 1974.

  Ginzburg, Carlo. “Morelli, Freud, and Sherlock Holmes: Clues and Scientific Method.” History Workshop Journal 9, no. 1 (1980).

  Hadfield, John. Victorian Delights. London: Herbert Press, 1987.

  Haining, Peter, ed. Hunted Down: The Detective Stories of Charles Dickens. London: Peter Owen, 1996.

  Haycraft, Howard. Murder for Pleasure: The Life and Times of the Detective Story. 1941, revised 1951. Reprint, New York: Carroll & Graf, 1984.

  Hayward, W. S. Revelations of a Lady Detective. London: George Vickers, 1864.

  Heron-Maxwell, Beatrice. The Adventures of a Lady Pearl-Broker. London: Century Press, 1899.

  Hume, Fergus. Hagar of the Pawn-shop. London: Skeffington, 1899.

  ______. The Mystery of a Hansom Cab. Melbourne: Fergus Hume, 1866.

  Kaplan, Fred. Dickens: A Biography. New York: William Morrow, 1988.

  Keese, William L. William E. Burton: Actor, Author, and Manager, with Recollections of His Performances. New York: G. P. Putnam’s Sons/The Knickerbocker Press, 1885. About the author of “The Secret Cell.”

  Keppel, Robert D. “The Jack the Ripper Murders: A Modus Operandi and Signature Analysis of the 1888–1891 Whitechapel Murders.” Journal of Investigative Psychology and Offender Profiling 2 (2005).

  Kestner, Joseph A. The Edwardian Detective, 1901–1915. Aldershot: Ashgate, 2000.

  ______. Sherlock’s Sisters: The British Female Detective, 1864–1913. Aldershot: Ashgate, 2003. More survey than analysis, this comprehensive volume tours female investigators, professional and unofficial, throughout this decisive period.

  Klein, Kathleen Gregory. The Woman Detective: Gender and Genre. 2nd ed. Urbana and Chicago: University of Illinois Press, 1995. See especially chapter 3, “Britain’s Turn-of-the-Century ‘Lady Detective’: 1891–1910,” and chapter 4, “The Lady Detective’s Yankee Cousin: 1906–15.”

  Knight, Stephen. Crime Fiction, 1800–2000. London: Palgrave Macmillan, 2003.

  ______, ed. Dead Witness: Best Au
stralian Mystery Stories. Victoria: Penguin Australia, 1989. See especially the first story, “Dead Witness,” by W. W. (Mary Fortune).

  La Cour, Tage, and Harald Mogensen. The Murder Book: An Illustrated History of the Detective Story. New York: Herder & Herder, 1971.

  Lock, Joan. The British Policewoman: Her Story. London: Robert Hale, 1979.

  Maida, Patricia D. Mother of Detective Fiction: The Life and Works of Anna Katharine Green. Bowling Green, OH: Bowling Green State University Popular Press, 1989. About the creator of Violet Strange, Ebenezer Gryce, and Amelia Butterfield.

  Marcus, Laura, with Chris Willis. 12 Women Detective Stories. Oxford: Oxford University Press, 1997. See Marcus’s introduction.

  Matz, B. W. “Through Whitechapel with Dickens.” The Dickensian 1, no. 9 (September 1905).

  Meade, L. T., and Robert Eustace. The Detections of Miss Florence Cusack. Edited by Jack Adrian. 1899–1900. Reprint, Shelburne, ON: Battered Silicon Dispatch Box, 1998.

  Miller, Elizabeth Carolyn. Framed: The New Woman Criminal in British Culture at the Fin de Siècle. Ann Arbor: University of Michigan Press, 2008.

  ______. “Trouble with She-Dicks: Private Eyes and Public Women in The Adventures of Loveday Brooke, Lady Detective.” Victorian Literature and Culture 33 (2005): 47–65.

  Murch, Alma E. The Development of the Detective Novel. Westport, CT: Greenwood, 1981.

  Nevins, Francis M. “From Darwinian to Biblical Lawyering: The Stories of Melville Davisson Post.” Legal Studies Forum 18, no. 2 (1994). About the creator of Uncle Abner.

  Nickerson, Catherine Ross. The Web of Iniquity: Early Detective Fiction by American Women. Chapel Hill, NC: Duke University Press, 1998.

  Norton, Charles A. Melville Davisson Post: Man of Many Mysteries. Bowling Green, OH: Bowling Green University Popular Press, 1974. A biography of the creator of Uncle Abner.

  Panek, LeRoy Lad. The Origins of the American Detective Story. Jefferson, NC: McFarland, 2006.

  Queen, Ellery. 101 Years Entertainment: The Great Detective Stories, 1841–1941. New York: Modern Library, 1941.