What do you think?
Rate this book
Dr. Gideon Fell #16
El que susurra
At the edge of the woods by the river stands the tower. Once part of a chateau since burnt down, only the tower remains. The inside is but a shell with a stone staircase climbing spirally up the wall to a flat stone roof with a parapet.
One that parapet the body of Howard Brooke lay bleeding. The murderer, when Brooke's back was turned, must have drawn the sword-cane from it sheath and run him through the body. And this must have occurred between ten minutes to four and five minutes past four, when the two children discovered him dying.
Yet the evidence showed conclusively that during this time not a living soul came near him.
One that parapet the body of Howard Brooke lay bleeding. The murderer, when Brooke's back was turned, must have drawn the sword-cane from it sheath and run him through the body. And this must have occurred between ten minutes to four and five minutes past four, when the two children discovered him dying.
Yet the evidence showed conclusively that during this time not a living soul came near him.
253 pages, Paperback
First published January 1, 1946
80 people are currently reading
962 people want to read
About the author
John Dickson Carr
440 books514 followersAKA Carter Dickson, Carr Dickson and Roger Fairbairn.
John Dickson Carr was born in Uniontown, Pennsylvania, in 1906. It Walks by Night, his first published detective novel, featuring the Frenchman Henri Bencolin, was published in 1930. Apart from Dr Fell, whose first appearance was in Hag's Nook in 1933, Carr's other series detectives (published under the nom de plume of Carter Dickson) were the barrister Sir Henry Merrivale, who debuted in The Plague Court Murders (1934).
John Dickson Carr was born in Uniontown, Pennsylvania, in 1906. It Walks by Night, his first published detective novel, featuring the Frenchman Henri Bencolin, was published in 1930. Apart from Dr Fell, whose first appearance was in Hag's Nook in 1933, Carr's other series detectives (published under the nom de plume of Carter Dickson) were the barrister Sir Henry Merrivale, who debuted in The Plague Court Murders (1934).
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 155 reviews
August 27, 2021
It always surprised me that John Dickson Carr--at least initially; he reevaluated his position later in life--was critical of the hardboiled detective novel. Of the traditional mystery writers, he comes the closest to the hardboiled school. Not in terms of what he considered hardboiled’s most obvious traits: the chases and sluggings [his words] and cleavage. No, what he shared with them--and did not share with most of his contemporaries--was movement. He eschewed that one staid location where the suspects would be paraded through the detective’s presence until the proper solution was divined. For that to work you needed a genius like Agatha Christie, who made the unique location an integral part of both the story and the mystery, as with Murder on the Orient Express or And Then There Were None. And Carr did write some of his own in this tradition, like The Arabian Nights Murder for example. But movement in terms of location, or even activity, was not the issue with Carr. It was movement within the narrative. After setting up the mystery, he would peel away layers over here while adding complications over there. Interest had to be maintained, and he accomplished this through the characters and their situations as much as through the mystery. The motives of guilty and innocent alike were important to him. Most of the characters wanted to help the investigation but some had to hinder it, and not always out of malevolent intent. His ultimate goal was for the story to be as involving as the mystery. He Who Whispers is the first Carr novel I’ve read where the story actually takes precedence over the mystery.
The first indicator of this may be that the only murder in the novel happens six years before the start of the story. Miles Hammond, hit with the twin blows of an eighteen-month wartime illness and news of the death of his uncle, returns to England with the end of World War II, still weak but heartened by an invitation to a meeting of the Murder Club, a small group of well-known Londoners who enjoy stories of cryptic murders and unexplained horrors. It is there that Miles learns from a visiting professor--the guest speaker--the story of an English family living in rural France and the impossible murder of its patriarch. At the center of the turmoil leading up to his mysterious death is a specifically-imported English secretary, a woman who is promptly labeled at best wanton and at worst something considerably more evil. Coincidentally it is the same woman Miles is scheduled to interview the next day to catalogue his uncle’s enormous, unwieldy library; a coincidence made more palatable by the time period in which the novel takes place. The same circumstances that allowed Miles to come home, the end of the war, also allowed for her repatriation from France, thus making her the only qualified person for the employment agency to offer him. Miles hires her in spite of her history (or maybe because of it) and along with his sister--they are co-inheritors--they travel to their rural estate, where the past intrudes on the present with frightening results.
Once the story shifts to this secluded location, as with the best of Carr, the reader is hooked. As with any Carr, though, two areas of frustration also follow. The first is that when the detective, in this case Dr. Gideon Fell, is about to explain some piece of the puzzle, an interruption will occur and he will not get back to that revelation until the end of the book. In He Who Whispers it is of little importance, as the matters in question pale beside more pressing difficulties that need attending. The second frustration comes with the interior monologue of the viewpoint character. Carr was a master at setting a scene, particularly if it was gothic in nature--sometimes to the point of creating an almost supernatural mood--though he could also handle poolside in broad daylight with equal ease. He ran into trouble when the narrative moved from exterior description to that of sharing a character’s experiences. I understand the structural reason Carr wrote these thoughts in such detail that they often overwhelmed the drama. This character’s purpose in the mystery was to misinterpret the clues and mislead the reader. If he were to lapse into such detail only then, it would be seen though immediately. The alternative, the choice Carr felt he had to make, was to subject the reader to an overabundance of shock, regret, anguish and self-doubt; so much so that we often find ourselves screaming, “Shut up already.” Eventually we realize that we can shut him up by just dropping down to the next line of dialogue. If what you read makes no sense, go back to where you were and trudge your way through.
With He Who Whispers you are hooked anyway and minor frustrations are a small price to pay. Even figuring out who was behind it all--only the second time I've been able to do so in over fifty Carr novels read--is not a detriment. Also, I can’t take much pride in that because I had no idea how the impossible murder in the past had taken place and it was that solution that led to the final solution.
It’s an odd thing being a fan of John Dickson Carr. Regarding the mystery by itself, I prefer his work as Carter Dickson. The solutions are not as complicated. But the true classic of the genre--The Three Coffins, the aforementioned Arabian Nights, The Crooked Hinge--are all under his own name. He Who Whispers is not quite on that level. But it comes real close.
The first indicator of this may be that the only murder in the novel happens six years before the start of the story. Miles Hammond, hit with the twin blows of an eighteen-month wartime illness and news of the death of his uncle, returns to England with the end of World War II, still weak but heartened by an invitation to a meeting of the Murder Club, a small group of well-known Londoners who enjoy stories of cryptic murders and unexplained horrors. It is there that Miles learns from a visiting professor--the guest speaker--the story of an English family living in rural France and the impossible murder of its patriarch. At the center of the turmoil leading up to his mysterious death is a specifically-imported English secretary, a woman who is promptly labeled at best wanton and at worst something considerably more evil. Coincidentally it is the same woman Miles is scheduled to interview the next day to catalogue his uncle’s enormous, unwieldy library; a coincidence made more palatable by the time period in which the novel takes place. The same circumstances that allowed Miles to come home, the end of the war, also allowed for her repatriation from France, thus making her the only qualified person for the employment agency to offer him. Miles hires her in spite of her history (or maybe because of it) and along with his sister--they are co-inheritors--they travel to their rural estate, where the past intrudes on the present with frightening results.
Once the story shifts to this secluded location, as with the best of Carr, the reader is hooked. As with any Carr, though, two areas of frustration also follow. The first is that when the detective, in this case Dr. Gideon Fell, is about to explain some piece of the puzzle, an interruption will occur and he will not get back to that revelation until the end of the book. In He Who Whispers it is of little importance, as the matters in question pale beside more pressing difficulties that need attending. The second frustration comes with the interior monologue of the viewpoint character. Carr was a master at setting a scene, particularly if it was gothic in nature--sometimes to the point of creating an almost supernatural mood--though he could also handle poolside in broad daylight with equal ease. He ran into trouble when the narrative moved from exterior description to that of sharing a character’s experiences. I understand the structural reason Carr wrote these thoughts in such detail that they often overwhelmed the drama. This character’s purpose in the mystery was to misinterpret the clues and mislead the reader. If he were to lapse into such detail only then, it would be seen though immediately. The alternative, the choice Carr felt he had to make, was to subject the reader to an overabundance of shock, regret, anguish and self-doubt; so much so that we often find ourselves screaming, “Shut up already.” Eventually we realize that we can shut him up by just dropping down to the next line of dialogue. If what you read makes no sense, go back to where you were and trudge your way through.
With He Who Whispers you are hooked anyway and minor frustrations are a small price to pay. Even figuring out who was behind it all--only the second time I've been able to do so in over fifty Carr novels read--is not a detriment. Also, I can’t take much pride in that because I had no idea how the impossible murder in the past had taken place and it was that solution that led to the final solution.
It’s an odd thing being a fan of John Dickson Carr. Regarding the mystery by itself, I prefer his work as Carter Dickson. The solutions are not as complicated. But the true classic of the genre--The Three Coffins, the aforementioned Arabian Nights, The Crooked Hinge--are all under his own name. He Who Whispers is not quite on that level. But it comes real close.
November 9, 2015
"He Who Whispers" is a mystery novel (1946) by detective novelist John Dickson Carr.
Like Many of the works by this author which feature so-called impossible crimes (for the most part, falling into the category of the locked room mystery). In this case, the novel falls into a smaller category of Carr's work in that it is suggested that the crime is the work of a supernatural being (here, a vampire). The detective is Dr. Gideon Fell.
This novel is of some significance in the field of the Golden Age mystery because of its treatment of a sexual theme, that of nymphomania. This is one of a few Carr mystery novels to deal with such a psycho-sexual theme (others are "The Judas Window", where a woman character poses for obscene photographs for her lover, and "The Sleeping Sphinx", which deals with sexual hysteria). Many whodunnit novels are criticised for being artificial puzzles with little or no characterization, and this novel stands as an example of a writer attempting to bring some semblance of psychological realism to the motivations of his characters.
Like Many of the works by this author which feature so-called impossible crimes (for the most part, falling into the category of the locked room mystery). In this case, the novel falls into a smaller category of Carr's work in that it is suggested that the crime is the work of a supernatural being (here, a vampire). The detective is Dr. Gideon Fell.
This novel is of some significance in the field of the Golden Age mystery because of its treatment of a sexual theme, that of nymphomania. This is one of a few Carr mystery novels to deal with such a psycho-sexual theme (others are "The Judas Window", where a woman character poses for obscene photographs for her lover, and "The Sleeping Sphinx", which deals with sexual hysteria). Many whodunnit novels are criticised for being artificial puzzles with little or no characterization, and this novel stands as an example of a writer attempting to bring some semblance of psychological realism to the motivations of his characters.
March 4, 2025
Great mystery. New Forest, bombed out London after the war, murder mystery club and a possible vampire. Gideon Fell solves the mystery of why Miles sister Marion was almost scared to death. The mysterious enigmatic Fay who was caught up and suspected of murder in France.
The clues are there to solve who is the murderer but I missed them. I assumed everything said was gospel but if someone is not dead it all fits together. The briefcase with the money and why was it bulging are clues. An enjoyable read.
SPOILERS AHEAD
A complicated plot about identity. Harry Brooke is engaged to marry Fay Sexton but his father disapproves. Harry’s father is murdered at their chateau in France and Fay is apparently the last to see him alive. She escapes and several years later appears in England cataloging books for Miles. Essentially Harry is the murderer and has changed identities to Stephen Curtis a soldier killed in France. He realizes that Fay will recognize him and he is now engaged to Miles sister Barbara. In the end Harry’s identity is revealed and he is arrested.
The clues are there to solve who is the murderer but I missed them. I assumed everything said was gospel but if someone is not dead it all fits together. The briefcase with the money and why was it bulging are clues. An enjoyable read.
SPOILERS AHEAD
A complicated plot about identity. Harry Brooke is engaged to marry Fay Sexton but his father disapproves. Harry’s father is murdered at their chateau in France and Fay is apparently the last to see him alive. She escapes and several years later appears in England cataloging books for Miles. Essentially Harry is the murderer and has changed identities to Stephen Curtis a soldier killed in France. He realizes that Fay will recognize him and he is now engaged to Miles sister Barbara. In the end Harry’s identity is revealed and he is arrested.
This entire review has been hidden because of spoilers.
January 7, 2026
3.5 stars
He Who Whispers begins with a murder that seems impossible to explain. The murder is explained at a meeting of folks who are rather like amateur detectives. From there, we follow the characters as they attempt to solve the mystery.
The first third of the book includes a lot of unnecessary information. Dr. Gideon Fell doesn't enter in the first third at all, and he is barely present in the middle third. The writing is fine, but there's much repetition, and I did not care about any of the characters whatsoever. Even the victim was uninteresting to me.
The final third of the story works best, though the murder explanation is hard to fathom.
He Who Whispers begins with a murder that seems impossible to explain. The murder is explained at a meeting of folks who are rather like amateur detectives. From there, we follow the characters as they attempt to solve the mystery.
The first third of the book includes a lot of unnecessary information. Dr. Gideon Fell doesn't enter in the first third at all, and he is barely present in the middle third. The writing is fine, but there's much repetition, and I did not care about any of the characters whatsoever. Even the victim was uninteresting to me.
The final third of the story works best, though the murder explanation is hard to fathom.
August 10, 2017
Da uno dei maestri indiscussi del giallo della camera chiusa, un gioiello nel quale si respira l' affascinante atmosfera di altri tempi. Quella dei delitti silenziosi e misteriosi compiuti in angoli cupi, dei maggiordomi obbedienti delle grandi case aristocratiche, dei pugnali conficcati nella schiena, della parole di morte sussurrate all'orecchio e dei criminologi arguti che risolvono enigmi impensabili nella semioscurità di un salotto mentre fuori imperversano tuoni e lampi. Il terrore ha mormorato. E io ho avuto paura. Sul serio. Coinvolgente è il modo in cui il delitto principale della vicenda, quello del vecchio Howard Brooke, viene presentato al lettore (attraverso la lettura di una manoscritto di un altro personaggio, dunque attraverso un "racconto nel racconto"), mentre intelligente è il modo in cui l'intreccio viene costruito, tanto che difficilmente si riuscirà, una volta entrati nel romanzo, a staccare gli occhi dalle pagine, fino alla soluzione, imprevedibile, studiata, sorprendente, dell'intera vicenda. Carr ci ha regalato un giallo prezioso ed elegante. Per apprezzarlo veramente, però, sarà bene calarsi sin da subito nelle atmosfere dei gialli di metà secolo, per ritrovare e riscoprire appunto quel fascino che molti gialli e thriller contemporanei hanno ormai perduto. In conclusione un ottima perla del genere giallo, che nulla ha da invidiare ai migliori romanzi della Christie. So che John Dickson Carr in Italia è poco tradotto e raro sul commercio: peccato, un simile genio merita di essere conosciuto e letto! Dal canto mio non posso che consigliarlo a tutti gli amanti dei gialli tradizionali...e a mia volta sono grata all'anobiano che me l'ha consigliato!
September 15, 2023
An invitation to the Murder Club...
Miles Hammond has been invited to attend a meeting of the Murder Club, a dining club made up of people with an interest in crime who get together monthly to discuss murders. Normally guests are not invited, but on this occasion they’ve also asked Professor Rigaud, a Frenchman with inside knowledge of a scandalous crime that happened in France in the early days of the war. And when Miles turns up, he finds a third guest there – Barbara Morell, a young woman who claims to have been invited, like Miles himself, by Dr Gideon Fell. But none of the members of the club have turned up and none of them seem to be available by phone. At Barbara Morell’s request, the disgruntled Professor Rigaud agrees to tell Miles and her the story he had prepared to present to the club. It is a strange tale, of a man killed at the top of a tower, with witnesses who can prove that no one entered or left the tower at the relevant time. Suspicion fell on a young woman, Fay Seton, who had been engaged to the murdered man’s son, but since the police were unable to work out how she, or anyone else, could have done the crime, no charges were ever brought…
John Dickson Carr is probably most famous for being the leader in the field of the howdunit – the “impossible crime” where the emphasis is as much on finding out how the crime could have been done as on whodunit. For me, though, what makes him stand out from the crowd is the wonderful way he often incorporates Gothic or Decadent horror into his mysteries. Sometimes the combination of those two skills – the howdunit and the horror – leaves the actual mystery somewhat weak and the characterisation a bit underdeveloped. But sometimes, and happily this book is one of those times, he gets the balance between all those factors just right, and then there’s really no one to beat him.
This one chills from the very beginning and the horror aspects never let up. What has happened to all the club members? Why is it that every time anyone leaves the room in the club, from the servants to the Professor, they too seem to vanish? How could anyone – any human – have reached the top of the tower on which the murdered man died without going up the only staircase? Why were the locals so angry at Fay Seton, even before the murder, that they tried to stone her in the streets? Is she an innocent victim of unfounded suspicion or some kind of evil monster? Miles, gazing at her beauty in the photo Rigaud shows them, is convinced she must have been slandered and falsely accused. So when she turns up next day in response to his advertisement for a librarian to sort out his uncle’s library which he has just inherited, he decides to give her a chance, and the four of them – Miles, his sister Marion and her fiancé Steve, and Fay – go off together to Miles’ isolated house in the middle of the New Forest – and mystery and terror travel with them…
Gosh, it’s good! It’s extremely rare for me these days to really feel that I can’t put a book down, but I literally had to keep reading this one, and any time I had to pause I took the fear with me into whatever I was doing. Creepy, with hints at the supernatural but always grounded in very human evil, it’s the horror that makes it so irresistible. But it also has an excellent mystery where the human motivations are not overwhelmed by the technical aspects of how the crime was done, as is sometimes the case with Carr. Here, the impossibility of the crime merely adds to the general atmosphere of dread, and the solution to the how, when it comes, is just about plausible. The characterisation is strong, and every character is given enough ambiguity for the reader to be in a constant state of suspicion. Told in the third person, Miles is the main character, but even with him we are not entirely privy to his internal thoughts, and we know that he has only recently recovered from severe illness brought on by his wartime experiences – an illness that leaves him sometimes dizzy and a little disorientated. Is Rigaud telling the truth, the whole truth and nothing but the truth about what happened in France? Is Fay as innocent as Miles wants to think? Who is Barbara Morell and what is her interest in this far away murder? Only Gideon Fell can see a clear path through these ambiguities but even he may not be able to prevent another tragedy…
I’ve loved a few of Carr’s books (and not loved a few others) but this one has just leapt into the lead as my new favourite. If you enjoy that sensation of fear that relies on atmosphere rather than gore, if you like a strong mystery plot that doesn’t push too far over the credibility line, and if you like characters that you care about but can’t be sure you can trust, then this is the one for you! Brilliant!
NB This book was provided for review by the publisher, the British Library.
www.fictionfanblog.wordpress.com
Miles Hammond has been invited to attend a meeting of the Murder Club, a dining club made up of people with an interest in crime who get together monthly to discuss murders. Normally guests are not invited, but on this occasion they’ve also asked Professor Rigaud, a Frenchman with inside knowledge of a scandalous crime that happened in France in the early days of the war. And when Miles turns up, he finds a third guest there – Barbara Morell, a young woman who claims to have been invited, like Miles himself, by Dr Gideon Fell. But none of the members of the club have turned up and none of them seem to be available by phone. At Barbara Morell’s request, the disgruntled Professor Rigaud agrees to tell Miles and her the story he had prepared to present to the club. It is a strange tale, of a man killed at the top of a tower, with witnesses who can prove that no one entered or left the tower at the relevant time. Suspicion fell on a young woman, Fay Seton, who had been engaged to the murdered man’s son, but since the police were unable to work out how she, or anyone else, could have done the crime, no charges were ever brought…
John Dickson Carr is probably most famous for being the leader in the field of the howdunit – the “impossible crime” where the emphasis is as much on finding out how the crime could have been done as on whodunit. For me, though, what makes him stand out from the crowd is the wonderful way he often incorporates Gothic or Decadent horror into his mysteries. Sometimes the combination of those two skills – the howdunit and the horror – leaves the actual mystery somewhat weak and the characterisation a bit underdeveloped. But sometimes, and happily this book is one of those times, he gets the balance between all those factors just right, and then there’s really no one to beat him.
This one chills from the very beginning and the horror aspects never let up. What has happened to all the club members? Why is it that every time anyone leaves the room in the club, from the servants to the Professor, they too seem to vanish? How could anyone – any human – have reached the top of the tower on which the murdered man died without going up the only staircase? Why were the locals so angry at Fay Seton, even before the murder, that they tried to stone her in the streets? Is she an innocent victim of unfounded suspicion or some kind of evil monster? Miles, gazing at her beauty in the photo Rigaud shows them, is convinced she must have been slandered and falsely accused. So when she turns up next day in response to his advertisement for a librarian to sort out his uncle’s library which he has just inherited, he decides to give her a chance, and the four of them – Miles, his sister Marion and her fiancé Steve, and Fay – go off together to Miles’ isolated house in the middle of the New Forest – and mystery and terror travel with them…
Gosh, it’s good! It’s extremely rare for me these days to really feel that I can’t put a book down, but I literally had to keep reading this one, and any time I had to pause I took the fear with me into whatever I was doing. Creepy, with hints at the supernatural but always grounded in very human evil, it’s the horror that makes it so irresistible. But it also has an excellent mystery where the human motivations are not overwhelmed by the technical aspects of how the crime was done, as is sometimes the case with Carr. Here, the impossibility of the crime merely adds to the general atmosphere of dread, and the solution to the how, when it comes, is just about plausible. The characterisation is strong, and every character is given enough ambiguity for the reader to be in a constant state of suspicion. Told in the third person, Miles is the main character, but even with him we are not entirely privy to his internal thoughts, and we know that he has only recently recovered from severe illness brought on by his wartime experiences – an illness that leaves him sometimes dizzy and a little disorientated. Is Rigaud telling the truth, the whole truth and nothing but the truth about what happened in France? Is Fay as innocent as Miles wants to think? Who is Barbara Morell and what is her interest in this far away murder? Only Gideon Fell can see a clear path through these ambiguities but even he may not be able to prevent another tragedy…
I’ve loved a few of Carr’s books (and not loved a few others) but this one has just leapt into the lead as my new favourite. If you enjoy that sensation of fear that relies on atmosphere rather than gore, if you like a strong mystery plot that doesn’t push too far over the credibility line, and if you like characters that you care about but can’t be sure you can trust, then this is the one for you! Brilliant!
NB This book was provided for review by the publisher, the British Library.
www.fictionfanblog.wordpress.com
August 23, 2007
This is one of the finest, most ingenious, and most atmospheric of the classic "locked room" mystery novels of John Dickson Carr. It is also one of his most somber and frightening books. While the author is most famous for his intricate and hard to solve murder puzzles, at least some of his hardcore fans like myself most enjoy the brooding atmosphere he creates, with a hint of the supernatural hanging over sometimes appalling crimes.
He Who Whispers is particularly great in its creation of this mysterious atmosphere. A man is brutally murdered under seemingly inexplicable circumstances, alone atop a remote tower. A female suspect is accused of being a soulless, bloodthirsty vampire, though to all appearances she is a modest and intelligent young woman. Oddly, as the novel wears on, this accusation seems at the same time absurd, and yet quite plausible! It is most cleverly handled, and resolved, by the author.
What really makes this book stand out among the author's many fine novels, is its uniquely, intensely romantic aspect. The point of view character (NOT the brilliant detective Gideon Fell, nor his stolid "Watson," Inspector Hadley) is drawn to two interesting, intelligent women, both of whom are potential suspects. One is a resourceful and determined investigative journalist, with, as it turns out, a rather murky connection to the case somewhere in her own past. The other is a lovely, sad governess who has apparently been wrongly accused of murder as well as other misdeeds....but how innocent is she really?
The mystery is ultimately sorted out--but then it really gets interesting! The resolution of the tangled romance plotline is moving and unexpected, and yet entirely logical, given the author's odd, seemingly incompatible combination of anachronistic chivalry toward women and respect for independent, uninhibited females. If this sounds a bit vague that is because I am trying not to give away any plot details, as I would never forgive myself if I spoiled the suprises of a great Carr mystery novel like this one!
He Who Whispers is particularly great in its creation of this mysterious atmosphere. A man is brutally murdered under seemingly inexplicable circumstances, alone atop a remote tower. A female suspect is accused of being a soulless, bloodthirsty vampire, though to all appearances she is a modest and intelligent young woman. Oddly, as the novel wears on, this accusation seems at the same time absurd, and yet quite plausible! It is most cleverly handled, and resolved, by the author.
What really makes this book stand out among the author's many fine novels, is its uniquely, intensely romantic aspect. The point of view character (NOT the brilliant detective Gideon Fell, nor his stolid "Watson," Inspector Hadley) is drawn to two interesting, intelligent women, both of whom are potential suspects. One is a resourceful and determined investigative journalist, with, as it turns out, a rather murky connection to the case somewhere in her own past. The other is a lovely, sad governess who has apparently been wrongly accused of murder as well as other misdeeds....but how innocent is she really?
The mystery is ultimately sorted out--but then it really gets interesting! The resolution of the tangled romance plotline is moving and unexpected, and yet entirely logical, given the author's odd, seemingly incompatible combination of anachronistic chivalry toward women and respect for independent, uninhibited females. If this sounds a bit vague that is because I am trying not to give away any plot details, as I would never forgive myself if I spoiled the suprises of a great Carr mystery novel like this one!
February 10, 2022
A- :
I was glued to this gothic tale of lust and greed and men who lose sight of themselves.The culprit is guessable, but didn't come to me until quite far into the story. The tower puzzle was ingenious and poignant. Bravo.
I was glued to this gothic tale of lust and greed and men who lose sight of themselves.The culprit is guessable, but didn't come to me until quite far into the story. The tower puzzle was ingenious and poignant. Bravo.
November 12, 2023
For my full review click on the link below:
https://crossexaminingcrime.wordpress...
https://crossexaminingcrime.wordpress...
May 10, 2025
Weirdly compelling.
As a slice of life in the UK immediately after WWII, it's sad: whether or not they are specifically referred to, everyone is haunted. One also notices a great many casual offenses to logic, women, people who are not English, and sustained abuse of coincidence. In traditional fashion we are presented with a puzzle made out of a ridiculously bonkers crime. Sure, the clues are there, along with full explanations of motive and of method. Some of it seems plausible, but it is difficult to work out what is significant at a remove of 80 years, when so much is incomprehensible.
What I really can't figure is how such a book is constructed. I'm thinking that some odd bit is contrived only to make another bit work, but then how to explain how odd this bit is?
Luckily for me, our POV character is Miles, who is the fortunate recipient of a large house in a pretty place, with a truly impressive library, and enough money to not have to worry. Miles I understand.
Library copy
As a slice of life in the UK immediately after WWII, it's sad: whether or not they are specifically referred to, everyone is haunted. One also notices a great many casual offenses to logic, women, people who are not English, and sustained abuse of coincidence. In traditional fashion we are presented with a puzzle made out of a ridiculously bonkers crime. Sure, the clues are there, along with full explanations of motive and of method. Some of it seems plausible, but it is difficult to work out what is significant at a remove of 80 years, when so much is incomprehensible.
What I really can't figure is how such a book is constructed. I'm thinking that some odd bit is contrived only to make another bit work, but then how to explain how odd this bit is?
Luckily for me, our POV character is Miles, who is the fortunate recipient of a large house in a pretty place, with a truly impressive library, and enough money to not have to worry. Miles I understand.
Library copy
October 4, 2017
Bir Agatha Christie değil
February 7, 2026
Really fun mystery.
February 12, 2025
I started John Dickson Carr with a book that rarely makes Top Ten lists, and isn’t often discussed alongside his best works. Regardless, I enjoyed it immensely for its blend of strong characters, witty dialogue and a solid mystery. I thought I’d found an author to get excited about. Keen to read on, I’ve gradually been tackling the list of his greatest works. And, good lord, I’m honestly wondering if it’s just me, but they just get worse.
This, alongside The Hollow Man, is often cited as his masterpiece. I’m sorry, but I think it’s terrible. From start to finish. The plot is nonsense; the entire construction of the mystery is stretched in such a way that allows the element of supernatural - vampires - to be shoehorned in. The behaviour and dialogue of the characters is just outright bizarre. The writing is all over the place with clangers on almost every page that stopped me sinking into the story. I am genuinely astounded, primarily that this is considered one of Carr’s classics, but also at the staggering variation in the quality of his work.
That’s twice I’ve persisted to the end with JDC in the hope things will improve. For the remaining four books I have on my shelf, I’ll be abandoning at fifty pages if they’re no good.
This, alongside The Hollow Man, is often cited as his masterpiece. I’m sorry, but I think it’s terrible. From start to finish. The plot is nonsense; the entire construction of the mystery is stretched in such a way that allows the element of supernatural - vampires - to be shoehorned in. The behaviour and dialogue of the characters is just outright bizarre. The writing is all over the place with clangers on almost every page that stopped me sinking into the story. I am genuinely astounded, primarily that this is considered one of Carr’s classics, but also at the staggering variation in the quality of his work.
That’s twice I’ve persisted to the end with JDC in the hope things will improve. For the remaining four books I have on my shelf, I’ll be abandoning at fifty pages if they’re no good.
November 13, 2014
Miles Hammond is invited by Dr. Gideon Fell to join a dinner of the Murder Club. He is a soldier who just got out of a year and a half convalescence after being gassed. During that time, he and his sister inherited a rather large fortune as well as a large estate with an incredible library. But Miles is at loose ends. He can't even make it on time to the Murder Club dinner. When he gets there though, the club members aren't even there. Just another guest (Barbara Morell) and a man with a fantastic story (Professor Rigaud).
It seems the professor was in France when a man was killed a the top of a tower, with no way anyone could have gotten to him. When the murder starts to come closer to home, Miles had better hope that Dr. Fell can help distinguish the normal from the paranormal.
It's certainly an interesting ending and while the mystery wrapped up nicely
It seems the professor was in France when a man was killed a the top of a tower, with no way anyone could have gotten to him. When the murder starts to come closer to home, Miles had better hope that Dr. Fell can help distinguish the normal from the paranormal.
It's certainly an interesting ending and while the mystery wrapped up nicely
September 6, 2023
The writing was mostly enjoyable, though those people just could not get to the point. Someone would start sharing a vital piece of information and then be like ‘nevermind, you go on with whatever you wanted to say instead’. NOO, not nevermind, tell me! Ugh, that frustration aside, the whole falling in love via picture was also quite ridiculous and at the same time very 15th-century-marriage-portrait-y of John Dickson Carr. And while on the topic of ridiculousness, let us take a moment to fully honour men writing women in this book. A woman would never. Also, this is an instance where I would looove a portrayal of feminine rage. In Anya Taylor-Joy’s words ‘No no no, you don’t understand. We get MAD.’
September 21, 2011
Excellent murder mystery with a supernatural (vampire) twist, this is my first time reading a Carr novel, and my first Dr. Fell adventure as well... and it certainly won't be the last! Unlike some mystery writers from this era, Carr has a fantastically clear writing style that makes following the endless twists and turns fun and exciting, instead of frustratingly confusing. Carr paints such a hauntingly sad portrait of a gorgeous woman plagued by her past, you can't help but fall in love with her, right alongside Miles as he struggles to unravel the strange, and deadly mystery that surrounds her.
May 28, 2024
One of the best JDC books I’ve read. It’s got almost gothic qualities - a house in the words, a secret murder club, an impossible crime, possible supernatural goings on and some completely unexpected twists. I was thoroughly gripped in this at times creepy tale. Largely set just after WW2, it felt very much set in its time with a bit of interesting social history.
What let it down for me - and I find this common in many JDC novels - is the length and verbosity of the denouement. I found myself thinking ‘how can there possibly be 50 pages left’. The ending certainly dragged and that took away from an otherwise excellent story.
What let it down for me - and I find this common in many JDC novels - is the length and verbosity of the denouement. I found myself thinking ‘how can there possibly be 50 pages left’. The ending certainly dragged and that took away from an otherwise excellent story.
July 2, 2014
Fairly run-of-the-mill impossible crime. Six years ago, a man was killed atop a tower in France. He'd argued violently with his son; his son's fiancé was rumored to be all sorts of trouble, and was suspected in his death. But since the man was very clearly alone on the tower when he was stabbed... As usual, Dr. Fell explains it all.
The puzzle itself wasn't bad, and the murder method even reappeared on TV within the past year. But it didn't seem to have the energy or immediacy of Carr's earlier work.
The puzzle itself wasn't bad, and the murder method even reappeared on TV within the past year. But it didn't seem to have the energy or immediacy of Carr's earlier work.
September 12, 2017
Another AMAZING pair of impossible crimes that stick in the mind and send shivers down the spine - but populated by characters I have serious problems with. Carr's female characters, in particular, are like no human females I've ever met, and so reading about them is a frustrating exercise. But this is still classic golden-age stuff and a lot of fun. 12+
*Please note: this review is meant as a recommendation only. Please do not use it in any marketing material, online or in print, without asking permission from me first. Thank you!*
*Please note: this review is meant as a recommendation only. Please do not use it in any marketing material, online or in print, without asking permission from me first. Thank you!*
August 13, 2018
The atmosphere of the book gripped my interest until the mystery began to reveal itself. By the end the plot got so hideously farfetched and the main characters dry and unnatural, so I simply stopped enjoying it. There’s a quote in the book which would perfectly describe the impression:
“I gave you theories about a certain supernatural agency. Well! It would appear that in this case I was misled by facts intended to mislead. But I do not put myself in ashes and sackcloth for that. No! .... But I put myself in ashes and sackcloth because—in fine, because this is worse.”
“I gave you theories about a certain supernatural agency. Well! It would appear that in this case I was misled by facts intended to mislead. But I do not put myself in ashes and sackcloth for that. No! .... But I put myself in ashes and sackcloth because—in fine, because this is worse.”
November 30, 2014
My favorite of Carr's mysteries. Not his best "impossible crime" gimmick but, in my opinion, it is best told tale among his novels. It is also, I believe, the only story in which he manages to write a fairly believable romantic subplot. I have reread it numerous times and expect to do so many more.
May 2, 2012
Gripping beginning, great atmosphere, but eventually just about okay.
Full review here:
http://inkquilletc.blogspot.in/2012/0...
Full review here:
http://inkquilletc.blogspot.in/2012/0...
February 19, 2025
A classic from the Golden Age of Mystery (1930's and 40's). The author was well-known for his "locked room" mysteries, and wrote a number of books featuring Dr. Gideon Fell. This is a very enjoyable, fast moving story with dramatic suspense, a tower, a dusty library, and an enigmatic young woman. What's not to like? Whenever I am in the mood to go back in time for a satisfying mystery, I will look for more of John Dickson Carr.
March 26, 2019
Il libro lo avevo già letto anni fa in un'altra edizione ma alcuni titoli di Carr meritano sempre di essere riletti.
Questo è uno di quelli che esaltano gli aspetti che più mi piacciono dell'autore: l'unione di soprannaturale e razionale, la sapiente creazione di un'atmosfera di puro terrore, per poi lasciare al grande Gideon Fell la logicissima spiegazione finale.
Questo è uno di quelli che esaltano gli aspetti che più mi piacciono dell'autore: l'unione di soprannaturale e razionale, la sapiente creazione di un'atmosfera di puro terrore, per poi lasciare al grande Gideon Fell la logicissima spiegazione finale.
February 9, 2026
Unfortunately, this book relies too much upon the psychic powers of the detective, Deus ex machina like events and clues, and coincidence. The mystery itself is interesting, but the solution appeared too early in the book for the remainder of it to hold my attention. This one is a pass.
February 25, 2026
This book annoyed me so much.
August 24, 2023
Very devious plot. One of those books that you want to read quickly, but don't cos then you'd have finished it!
May 14, 2025
Major Eye Roll
narrated by Kris Dyer, very whinny
narrated by Kris Dyer, very whinny
February 28, 2019
I LOVED how the perception and the actuality of events was unraveled! So much fun!
June 10, 2011
Very clever murder, or an attempt at one, anyway.
In this story, towards the end, Dr. Fell hinted towards Fay's eroticism and her numerous sexual partners, which I suppose could be considered as a sex addiction or nymphomania.
Here is an interesting from Curt in this review (http://mysteryfile.com/blog/?p=6646#c...)
"...I do think it’s funny, though, in these books that you never have male nymphomaniacs, so the speak (I just looked this up: male nymphomania is called satyriasis! Who even knew that?). I think the view was that a man having indiscriminate sex with as many women as possible was a…man."
But then of course, recently, we have Tiger Woods and his own numerous sex scandals...heh.
But his comment was made in the light of perhaps what was the general sentiment in society during that time. It's fortunate that women are mostly treated better nowadays, but improvements can still be made. Or you could also look at it in a different light and think of how much pressure was also exerted on men, and that whatever sickness they felt they may have, they would not dare air lest their credibility as a man be questioned.
We are victims of our own making (society). How very sad.
I think I also read in one of the comments about Golden Age Mysteries about how the murder always seems too clever to be believed. But isn't that the point? You have to be rather creative as a criminal to have any hope of getting away with it. Plus, it always makes for an interesting and unpredictable read, unlike most of the mysteries nowadays that you can simply guess who did the deed before the book even ends.
In this story, towards the end, Dr. Fell hinted towards Fay's eroticism and her numerous sexual partners, which I suppose could be considered as a sex addiction or nymphomania.
Here is an interesting from Curt in this review (http://mysteryfile.com/blog/?p=6646#c...)
"...I do think it’s funny, though, in these books that you never have male nymphomaniacs, so the speak (I just looked this up: male nymphomania is called satyriasis! Who even knew that?). I think the view was that a man having indiscriminate sex with as many women as possible was a…man."
But then of course, recently, we have Tiger Woods and his own numerous sex scandals...heh.
But his comment was made in the light of perhaps what was the general sentiment in society during that time. It's fortunate that women are mostly treated better nowadays, but improvements can still be made. Or you could also look at it in a different light and think of how much pressure was also exerted on men, and that whatever sickness they felt they may have, they would not dare air lest their credibility as a man be questioned.
We are victims of our own making (society). How very sad.
I think I also read in one of the comments about Golden Age Mysteries about how the murder always seems too clever to be believed. But isn't that the point? You have to be rather creative as a criminal to have any hope of getting away with it. Plus, it always makes for an interesting and unpredictable read, unlike most of the mysteries nowadays that you can simply guess who did the deed before the book even ends.
This entire review has been hidden because of spoilers.
Displaying 1 - 30 of 155 reviews