As I read the first chapter, I immediately noticed that there was something unique about the opening premise of this particular Nancy Drew Mystery.
Generally speaking, the source of Nancy’s sleuthing assignments are the parts her father, the famed attorney Carson Drew doesn’t have the time to tackle himself. He might find himself arranging for an extended business trip, or he’s just picked up a larger, more demanding case that demands his full attention. In essence, he tends to ask for his daughter’s help when he is simply unable to tackle it himself.
But in the opening pages of chapter one we soon learn that this case is different.
We find Carson and Nancy talking over breakfast at the dining room table in the Drew home. Over the discussion turns to a case the attorney recently pick up, this prompts him to produce a packet of letters which are tied together with a blue ribbon, (the ribbon itself caused me to guess that the letters were of a personal nature, probably not business correspondence). Carson asks his daughter to examine the love letters for clues, but not because he doesn’t have the time, but for another reason:
“’This task isn’t exactly to my liking. I understand these are love letters, and – ‘
Nancy smiled as he rather clumsily tried to loosen the knot in the ribbon that bound the letters, she offered to do it for him, and he looked relieved.
‘Please tell me more about the case,” she begged, ‘Maybe I can help you with it.’
‘I believe you can,’ her father replied, his eyes twinkling. ‘I’d say this is more your kind of mystery than mine, Nancy.”
That was unique! Carson was passing on a mystery to his daughter because he was uncomfortable with the subject matter, and was clearly advocating that she, because of the subject matter, would do a much better job than he!
I thought that this was an important signal that the writer intended to signal. That being that Nancy would be much more empowered to take on much more “ownership” of this case than the one’s she was assigned in past stories.
The next paragraph actually outlines this when the narrator mentions that Carson was proud of his eighteen-year-old daughter who had gained a reputation for her talent with solving mysteries, and that the two of them had grown closer since the death of Mrs. Drew. They’d become closer as father and daughter and had come to rely on each other more and more as Nancy grew to become a very able young woman.
I suspected that this would mean that Nancy’s role in the mystery would be much more her own, her father only offering his support on the peripheral of the action.
Back to the story’s unfolding action, the packet of love letters had been dropped off at Drew’s office earlier that day while he was out. Apparently, they were delivered by an elderly man named Philip March who left them with the receptionist, requesting that Mr. Drew examine them for clues to the location of a number of original, unpublished musical scores written by his son and most likely hidden away. He asked the receptionist if he could possibly stop by Mr. Drew’s home later, which was arranged.
As the two examine the letters, the doorbell rings and Philip March is at the door to explain things further. It turns out that Philip’s son, Philip March Jr., (nickname Fipp), was a young lieutenant who tragically lost his life in a routine military training mission four years before. Fipp was also a talented musician and songwriter. In the years before his passing, he’d written a series of love letters to his young wife Connie that might contain “coded” clues as to the location of a number of his musical scores that he’d left behind at home when he was on assignment. Philip Sr. confirmed that he was aware of the fact that his son and daughter-in-law enjoyed playing guessing games, and that these letters, aside from their romantic content, may well also contain coded clues as to the location of the precious musical creations. The elderly man also guessed that Connie never did find the compositions, and to add to the difficulty, she herself tragically died just a short time ago.
Mr. March goes on to explain to Carson and Nancy that he himself was a longtime widower, and now that his son and daughter-in-law were passed, he was alone, except for his six-year-old granddaughter Susan, (the daughter of Fipp and Connie). He goes on to explain, with a heavy heart, that he now finds himself in a difficult situation. His retirement income is very meager, too small in fact for him to provide a proper home and housekeeper to allow his granddaughter to live with him. It is for this reason, above all others, that Philip desires to get to the bottom of the location of the mysterious lost musical compositions his son wrote. He explains, with a father’s pride, how his son used to play his songs in front of the family, and how exquisite they were! He was planning to publish his work after his military service was complete.
Mr. March tells Drew and Nancy that if the scores were found, published, then became commercially successful, he would be able to provide for his granddaughter and fix up his older home.
The mention of the home itself prompts Nancy to inquire which River Heights area house was his. Philip tells her that it’s a two-hundred-year-old mansion that was once the celebrated home of the once influential and wealthy March family. But now, he tells them, the house is in a state of disrepair after many years of neglect forced by his lack of funds.
The idea of a storied old mansion, and the search for lost music scores piques Nancy’s interest for such an intriguing sleuthing adventure!
And if that wasn’t compelling enough, right there in the first chapter, as Mr. March leaves the Drew home, he’s hit by a flying rock that causes him to slump down onto the sidewalk. Carson and Nancy are shocked by this violence and scoop up the man while keeping their eye on a fleeing figure, trying to get any clue as to the identity. They carry the injured man to their sofa, then summon the doctor who arrives a short time later, examines the elderly man and declares that he requires bed rest and good food. Philip, somewhat revived, not wishing to burden the Drews, tries to rise and make his way home, but Nancy will hear none of it. She offers to care for the man as he convalesces, she also prepares and delivers meals to him.
Nancy also decides that if the man has soft music playing, it might help him pass the time more pleasantly. She places her radio in his room and soon after Philip calls out to her that she should come into the room. He excitedly announces that the song he just heard was one he recognized as his son’s work:
“That song has been stolen!” He cries out.
“You must find the thief!” He demands.
With that, Nancy jumps headlong into the case with the kind of fervor and tenacity that I love about her character.
What follows is an incredible tie between this story and one of trade secrets being stolen from a textiles manufacturing firm.
But one of my favorite aspects of this story was the adventure that Nancy had as she investigated the old March mansion which was rather interestingly named “Pleasant Hedges.”
The explanation of the old place’s intrigue was best described by the Scottish novelist Robert Louis Stevenson when he said:
“Some places speak distinctly. Certain dark gardens cry aloud for a murder; certain old houses demand to be haunted; certain coasts are set apart of shipwreck.”
In this story, “Pleasant Hedges” definitely qualified under Stevenson’s qualifier as a place that, “spoke distinctly.”
“The Secret in the Old Attic,” was a mystery story triumph!
Aside from the wonderful storytelling, I’d be remiss if I omitted my love of the cover designs of the Nancy Drew series. The design of this particular cover is the one I like the most. My understanding is that this is the second era of Nancy Drew cover art, created by a painter named Rudi Nappi. Here is how the Wikipedia article outlines the development of the cover art of this iconic book:
“Collectors of the series seem to greatly enjoy the original art by Russell H. Tandy, which depicts Nancy among highly Gothic elements, by candlelight, in the old attic. In 1962, Rudy Nappi gave Nancy a modern flip hairstyle and changed the color to red, and altered her shirtwaist wrap dress to a generic red sailor-style dress for the cover art. In 1970, Nappi updated his art, employing a shadowy apple green color motif and Gothic elements, including the skeletal hand, to showcase Nancy, looking very much like Barbara Eden in a coat front shift, with a candle This cover plays heavily on the spooky elements popular during the 'Dark Shadows' era.”
I absolutely love Nappi’s exquisite design of this cover!
A five-star reading experience all around.