by Lynn Brock
NIGHTMARE
‘THE DETECTIVE STORY CLUB is a clearing house for the best detective and mystery stories chosen for you by a select committee of experts. Only the most ingenious crime stories will be published under the THE DETECTIVE STORY CLUB imprint. A special distinguishing stamp appears on the wrapper and title page of every THE DETECTIVE STORY CLUB book—the Man with the Gun. Always look for the Man with the Gun when buying a Crime book.’
Wm. Collins Sons & Co. Ltd., 1929
Now the Man with the Gun is back in this series of COLLINS CRIME CLUB reprints, and with him the chance to experience the classic books that influenced the Golden Age of crime fiction.
Copyright
COLLINS CRIME CLUB
an imprint of HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk
First published in Great Britain by W. Collins Sons & Co. Ltd 1932
Introduction © Rob Reef 2017
Cover layout design © HarperCollinsPublishers Ltd 2017
Francis Durbridge asserts the moral right to be identified as the author of this work.
A catalogue copy of this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008137779
Ebook Edition © November 2017 ISBN: 9780008137786
Version: 2017-09-27
Dedication
TO MY WIFE
All the characters and incidents of this novel are entirely fictitious.
Table of Contents
Cover
Nightmare
Title Page
Copyright
Dedication
Epigraph
Introduction
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Chapter XIII
Chapter XIV
The Detective Story Club
About the Publisher
INTRODUCTION
Lynn Brock’s Nightmare is not a regular Golden Age offering. Its bleak atmosphere bears comparison with noir fiction and the disturbing, almost absurd, hopelessness of its main characters reminds one of protagonists in plays by Samuel Beckett. From a purely formal point of view, Nightmare is most comparable to the fiction structure of inverted detective stories like Francis Iles’ Malice Aforethought or Freeman Wills Crofts’ The 12:30 from Croydon. In all these books, published in the early 1930s, one can follow the genesis of a murder shown from the perspective of the perpetrator. They all paint a gloomy picture of the human condition, but while Iles and Crofts develop sophisticated studies in psychology in their tales, Brock seems to motivate his Nightmare from an even darker and deeper source.
To those who know Brock’s more traditional Colonel Gore detective novels, this ambitious book will come as a surprise. For all the others not so well acquainted with the author, it seems appropriate to start with a brief biographical outline.
Lynn Brock was a pen name used by Alexander Patrick McAllister, an Irish playwright and novelist born in Dublin in 1877. He also published using the pseudonyms Henry Alexander and Anthony P. Wharton. Alexander, or Alister as he was known in the family, was the eldest son of Patrick Frederick McAllister, accountant to the port and docks board in Dublin, and his wife Catherine (née Morgan). Educated at Clongowes Wood College, he later obtained an Honours Degree at the Royal University and was appointed chief clerk shortly after the inception of the National University of Ireland. At the outbreak of the First World War, McAllister enlisted in the military. On July 21, 1915 he went to France, where he served in the Motor Machine Gun Service of the Royal Artillery. Wounded twice, he returned to Dublin in 1918 and resumed his occupation as a clerk of the National University of Ireland. He married the same year. Once retired on a pension, McAllister and his wife Cicely (née Blagg) settled in London before later moving to Ferndown near Wimborne in Dorset where he lived many years and died at the age of 66 on April 6, 1943.
In Dorset, McAllister wrote his first detective novel at the age of 48 under the pseudonym Lynn Brock. This work, The Deductions of Colonel Gore (1926), became a huge success. Many of his later novels featuring his title hero-detective were often reprinted and widely translated. His complex plots and witty style won the praise of Dorothy L. Sayers, T.S. Eliot and S.S. Van Dine. Against this background, his publishers at Collins had perfectly justified high expectations for Nightmare (1932), which they advertised as ‘one of the most remarkable books we have ever published.’ Yet they would be disappointed. Nightmare never saw a second edition, and it was Brock’s first crime novel not to be published in the US.
Though not a success in his time, Nightmare is still a fascinating story and, from the perspective of literary history, his publishers’ statement seems to be not entirely wrong. Reading Nightmare not as another psychological crime novel with a missing twist at the end but rather as a tragedy of the human condition itself allows interpretation of the work as what may be the first philosophical crime novel. For this reason, it may be considered a milestone in crime fiction.
To explain this seemingly surprising hypothesis, it is necessary to take a closer look at McAllister’s career as a writer, which did not start with the first Colonel Gore mystery in 1926. McAllister first made a name for himself twenty years earlier when his play Irene Wycherly, written under the pseudonym Anthony P. Wharton, became a big success in London and on Broadway. In 1912/14, his celebrity reached its peak when At the Barn (later made into a silent movie called Two Weeks in 1922) was staged in theatres on both sides of the Atlantic. Many plays and premieres followed, the last of which was The O’Cuddy, staged shortly before his death. However, neither of these could revive his earlier fame.
Why is it then worth considering his career as a playwright? Because it shows his intellectual origin as a writer. Lynn Brock, one of the author’s alter egos, was much more akin to George Bernard Shaw, T.S. Eliot and Frank Wedekind than to Agatha Christie, Anthony Berkeley or Freeman Wills Crofts. As with many turn-of-the-century pre-Freudian artists and writers, McAllister was deeply influenced by the philosophy of Arthur Schopenhauer. In Schopenhauer’s principal work The World as Will and Representation (1818), the philosopher describes life as a dream motivated by an essence called ‘Will’—a mindless, aimless, non-rational urge at the foundation of everything including our instinctual drives. The world as ‘Will’ is an endless striving and blind impulse, devoid of knowledge, lawless and meaningless. There is no God, and there is neither good nor evil. The ‘Will’ causes a world of permanent struggle where each individual strives against every other individual in a ‘war of all against all’, and where daily life is suffering, a constant pendular movement between pain and boredom with misfortune in general as a rule. This world-as-representation is a nightmare for all in
dividuals, staged by the ‘Will’ for his eternal self-involved entertainment.
It is this nihilistic and gloomy worldview that motivates Lynn Brock’s Nightmare. Bookended by the appearance of a gramophone playing music—the only art that, according to Schopenhauer, shows the metaphysical ‘Will’ itself—the story follows the tragic misadventures of Simon Whalley and a handful of other characters trapped in an ominous house community revealing the ‘war of all against all’ and individual suffering in a nutshell.
Though Whalley’s life bears some resemblance to McAllister’s biography as a playwright, the whole tale has a surreal quality. There are no distinguishable villains or heroes. All of the characters are driven by the same sinister force towards an abyss of despair, gently oscillating between daydreams of fresh starts and the inevitable nightmare-like realization of the impossibility of those intentions. All of the protagonists are doomed but Whalley, worst-hit by the cruelty of some of his neighbours, succumbs to the pressure and prepares himself for murderous revenge. The following events are predictable, and the ending is as gloomy as the setting of the story against the backdrop of the Great Depression.
What makes Nightmare truly genuine is its subtext. The plot not only unveils the motive of the crimes committed, it leads one to the metaphysical core of the human condition itself. Throughout the book the characters develop an uncanny consciousness of their nightmare-like existence in an endlessly striving and meaningless universe. They feel that ‘Life itself is a silly faked-up old story’, a ‘bitter, merciless struggle’. They anticipate that ‘everything that has been is for ever’ and one ‘might have to start all over again at the end of it’. Such half-hidden maxims of Schopenhauer’s philosophy make Lynn Brock’s Nightmare an extraordinary and notable contribution to the Golden Age of crime and detective fiction, and it is to be hoped that this new edition might help to bring it up for discussion again.
ROB REEF
March 2017
CHAPTER I
1
IT was a sullen, sultry afternoon in early June—the unsatisfactory June of 1931—and after lunch Mr Harvey Knayle, who hoped to play tennis at the Edwarde-Lewins’ after tea, had retired to his bedroom for a nap. At half-past three he still lay there on his bed, slumbering soundly in the twilight of down-drawn blinds, clothed, beneath a gay dressing-gown, in gay pyjamas. For Harvey Knayle had reached an age at which an afternoon nap was a thing to be taken seriously and with all possible ease and comfort.
He was a fresh-coloured, clean-shaven, spare little man of fifty precisely, with thinning, carefully-groomed blonde hair, a high forehead, a longish aquilinish nose, good-humouredly sardonic lips, and a cleft chin. The combined effect of these details was agreeable, restful, and unobtrusively distinguished, as became the personal appearance of anyone bearing the name which was his.
For the Knayles were one of the oldest families in Barshire and intricately linked with many others of the same standing all over the west country. It is true that the particular branch of the family to which Harvey Knayle belonged had declined considerably, financially, during the past century. None the less, as things had fallen out with the help of a war, the little man who lay there sleeping peacefully, with one cheek cupped in a well-shaped hand, his knees tucked up, and a smile of child-like content upon his face, was separated by but three lives from a baronetcy, one of the largest estates in the county, and an income of fifty or sixty thousand a year. There was no likelihood whatever that he would become the actual possessor of this dignity and affluence. But it was a source of mild gratification to him that a large number of people—without ill-will towards the three healthy obstacles—quite sincerely hoped that somehow, some day, he would. Meanwhile he had an income of something over two thousand a year from sound investments, hosts of friends, excellent health, and an unfailing interest in the game of life. More especially, as will be seen—this was one of the many reasons of his social popularity—in the games played by life with other people.
For, in point of fact, his own existence had been perfectly uneventful. From Oxford he had returned to his father’s house near Whanton and for a few years had lived the life of a country gentleman. But at thirty he had quickly wearied of unadulterated rurality and had migrated to Rockwood, Dunpool’s most select residential suburb, where, on the frontier between town and country, he had lived ever since in bachelor content. There he had found new friends and had still been within easy reach of old ones. He danced satisfactorily, was a sound bridge-player, a reliable and good-tempered performer at tennis and golf, a sometimes brilliant shot, a good horseman, and a keen fisherman. He knew everyone in the neighbourhood worth knowing and knew everything worth knowing about them. If not a brilliant conversationalist, he was an excellent listener; if he rarely strove to say an amusing thing, he never said a malicious one. Finally he was a Knayle. And so the past twenty-five years of his life (during the War he had acted very efficiently as Adjutant of a Remount Camp close to Rockwood) had flowed tranquilly along a rut of comfortable sociability, pleasantly varied by annual trips abroad. He had found during them plenty of time to take an interest in other people—an occupation which was, indeed, the principal pleasure of his life.
It is necessary, in view of subsequent events, to define his position on that drowsy afternoon, geographically, with a little greater accuracy.
The bedroom in which he lay was situated on the ground floor of a large four-storey house—its number was 47—in Downview Road, one of the main arteries of Rockwood. The house, detached, and formerly, like its fellows, the dignified and undivided residence of a succession of well-to-do tenants, had come down somewhat in a post-War world and had been converted into four flats, the upper two of which were reached by a steeply-pitched outer staircase of concrete built on to one side wall. At the moment the basement flat, beneath Mr Knayle—one went down a little flight of steps from the front garden to its front door—was let to a Mr Ridgeway, a solitary, elderly man, apparently without occupation. The first-floor flat, above Mr Knayle, was occupied by a Mr and Mrs Whalley. And the top flat, above Mr Whalley’s, was tenanted by a Mr Prossip, his wife, and his daughter.
Mr Knayle, as has been said, liked Rockwood. It was, of course, two hours by rail from London. But, though he ran up to London very frequently and had many friends living there, he was always glad to get out of it. Dunpool, he admitted, though it was still the sixth city of England, was a dingy, untidy, shabby-looking place, solely interested in the making of money, doggedly provincial in outlook. But Rockwood was picturesque, dignified, quiet, had agreeable literary and historical associations, and was notoriously healthy. There was a pleasant variety in the people one knew there—the commercial magnates of the city, people connected with the county families, retired Service people of all sorts, the men from the college and the university, people who moved about the world and did all sorts of things. It was true that a good deal of shabby gentility was hidden away in lodging-houses and boarding-houses, and that, since the War, many houses where one had dined and danced had been converted into flats in which curious-looking people lived now. But curious-looking people were everywhere now. One could always avoid seeing them. On the whole Mr Knayle thought Rockwood as good a place as any to live in. At any rate, everyone knew who one was.
At half-past three, as he had arranged, Mr Knayle was awakened by the entry of his servant, Hopgood, and opened his eyes—bright blue eyes—permanently a little surprised, but with a birdlike quickness of movement and fixity of gaze. They watched Hopgood let up the blinds, observed that outside the windows the gloom of the afternoon had deepened to definite menace, and closed themselves again with resignation.
‘No tennis this afternoon, I’m afraid, Hopgood. Looks rather like a thunderstorm, doesn’t it?’
Hopgood, a neat, stolid, oldish man, turned to face his employer. He had been in Mr Knayle’s service for many years and was permitted, upon reasonable occasion, a reasonable liberty of speech.
‘Well, all I
can say, sir,’ he replied, his usually colourless voice tinged with acidity, ‘is that if there is one, I hope a good old thunderbolt will plop into the top flat of this house.’
Mr Knayle, opening his eyes again, smiled sympathetically upon his retainer’s grimness of visage and, divining its cause, cocked an ear to catch a remote wailing which had of late grown familiar.
‘Mr Prossip’s gramophone busy again, I hear.’
So far Hopgood, emulating his master’s stoicism, had refrained from complaint of the annoyance to which they had both been subjected for a considerable time past. But, having made up his mind to complain of it, he had entered the room determined to do so, after his fashion, thoroughly.
‘Busy, sir?’ He produced from a pocket a befigured slip. ‘I’d like to ask you, sir, if you have any idea how many times that gramophone plays that same old tune in the day?’
‘None whatever,’ replied Mr Knayle placidly, inserting his neat legs into the trousers with which Hopgood had supplied him. ‘Have you?’
‘Well, I’ve been working it out this afternoon, sir, timing it and taking the average. Say it takes four minutes to play the tune—including stops—though there’s not many stops once it starts. Very well, that’s fifteen times it plays it in an hour. In the morning it plays it from eight o’clock to ten o’clock. In the afternoon it plays it from half-past one until four. And at night it plays it from ten to eleven. That’s five and a half hours a day. If you multiply that by fifteen, sir, you get it that it plays it eighty-two times in the day. And it’s been doing that now for seventeen days. What I make of it, sir, is that since they began that silly game up there in the top flat—last Saturday week it was—their gramophone has played that same blessed old tune fourteen hundred times.’