
The Cornflower Book Group's twelfth book and first crime novel is Margery Allingham's The Tiger in the Smoke. Often described as her masterpiece, it was the first Allingham for me and I came to her work with no preconceptions other than a strong recommendation from "one who knows"; this was warranted as I thought it was quite wonderful!
There is much to say in the book's favour but I'll mention a few points briefly here and let everyone go further in the comments* as they wish, and for anyone who hasn't read it, a word of introduction: it's set in post-war London, features the famous detective Campion and his manservant Lugg but in secondary roles, begins with photographs sent to a young widow about to remarry which suggest that her husband isn't dead at all, and hinges on the premise that "one truly loves only the same man".
The most striking thing about the book from the outset was how intensely realised it is - every detail has been clearly imagined, worked on, embroidered even, to provide a rich background to the story. It is terrifically atmospheric with the London smog smothering the city, blinding and deafening the protagonists, and its setting of the quaint, shabby-genteel St. Petersgate Square with the delightfully unworldly but clear-thinking Canon Avril is powerful and engaging. The Canon is a great character, a man of "selfless omnipotence" guided by a moral compass, and in stark contrast to Havoc, the master criminal, with his palpable aura of evil, and his underworld gang of misfits and lost souls. Combine them with the personal magnetism of Luke, the inspector, the quietly brilliant, steady Campion and a host of minor characters - occasionally a touch exuberantly sculpted - but all bearing the writer's clear fingerprints, and you have a fine cast.
My impression was that Margery Allingham directed proceedings as it were from centre stage, working out her plot and her characters' roles by intense mental engagement: no arm's-length manoeuvring from her, she's right in the thick of it, and the immediacy that brings to the novel is sharp. This does mean that on occasion she gets a little carried away, but I forgive her that because her writing has such a lithe, agile quality to it, and the whole thing is vivid and compelling and speaks of her enormous enjoyment in creating it. I hope everyone thrilled to it as much as I did!
After this marvellous introduction to her work, I'm keen to read more, but meanwhile I see there's an audio version of The Tiger in the Smoke
read by the most excellent Philip Franks.
(*If the new comments system is still defeating you, just put your thoughts on the book in an email to me and I'll set them in comment form).