Category Archives: Books

MY WEEKEND WITH WATSON…

.. and with Sherlock, of course. The Times recently ran a piece of mine on Sherlock’s London. In fact, I wrote two versions of the story, the published piece and a second more prescriptive one on how to plan a weekend around the splendid Sherlock Holmes Exhibition at the Museum of London at the Barbican (www.museumoflondon.org.uk). Given the global popularity of the series, a significant percentage of visitors are expected to come from outside London – so the idea was to help those not familiar with the city find other Sherlock sites. It does have some different recommendations from The Times piece, so I thought I’d reproduce it here.

FRIDAY AFTERNOON: “You have been in Afghanistan, I perceive.” (A Study in Scarlet)

With the game afoot, your first port of call on arriving in London is to proceed at once to the Henry VIII Gate of St Bartholomew’s Hospital at Smithfields and its small museum (bartshealth.nhs.uk), which closes at 4pm. As well as a history of the hospital – where Arthur Conan Doyle (ACD) spent some time – the museum contains a plaque commemorating the first meeting of Holmes and Watson in the building, donated in 1953 by the Baker St Irregulars, a venerable conglomerate of Holmes aficionados.

The original Reichenbach fall

The original Reichenbach fall

But, of course, this was also the location for Sherlock’s dramatic fall from the roof in the BBC’s Reichenbach Fall episode, which led to the red phone box near the gate being plastered in “Believe in Sherlock” post-it notes. Also check the website of the spectacular glass-roofed triple-tiered Pathology Museum (http://www.qmul.ac.uk/bartspathology/) in the same complex, a gruesome yet fascinating insight into medicine in ACD’s day – he is rumoured to have penned some of his stories in the curator’s office. Sadly, it is only open to the public for special evening events and some afternoons but the website makes clear the Sherlock connection.
From St Bart’s it’s but a short stroll to The Museum of London (150 London Wall, London EC2Y 5HN) for “The Man Who Never lived And Will Never Die” (£12/£10) exhibition, which runs until April 2015.

Checking the famous Cumberbatch Belstaff, which is on display at the Museum of London

Checking the famous Cumberbatch Belstaff, which is on display at the Museum of London

FRIDAY EVENING: “I think that something nutritious at Simpson’s would not be out of place.” (The Dying Detective)

Where to eat like Sherlock? Try Simpson’s-In-The Strand (100 Strand, 7836 9112, 020 7836 9112, simpsonsinthestrand.co.uk) one of London’s most traditional and sumptuous dining rooms, pretty much unchanged since ACD’s time, when it was mention in the Dying Detective and The Illustrious Client. Famed for its carved roasts, the closest thing approaching a bargain here is the Fixed Price menu, served early evening until 7pm (not Saturdays or Sundays), £25.75 plus service. Ask for a window seat to emulate Watson ‘looking down at the rushing stream of life in the Strand’ and wear your best bib and tucker.

SATURDAY MORNING: ”It is a hobby of mine to have an exact knowledge of London” (The Red-Headed League)

An early start at Speedy’s Sandwich Bar and Café (187 N Gower St, 020 7383 3485, speedyscafe.co.uk) near Euston, a humble caff that has, thanks to its new incarnation as 221b Baker Street’s neighbour in the Cumberbatch/Freeman series, become an unlikely tourist attraction. Here you can dine on a Sherlock (chicken and cheese) or a Watson (veggie, both £4.10) wrap or just fill up on a traditional breakfast (it opens 6.30am weekdays, 7.30am Saturdays). From there, travel to Piccadilly and the Criterion Restaurant, where Watson first heard from Stamford the name of the man who would change his world forever. This is the meeting point for Britmovie’s “In the Footsteps of Sherlock Holmes” walking tour (11am, britmovietours.com, £12). It concentrates mostly on the BBC series and recent Guy Ritchie movies, although it does include the site of the Strand magazine, as well as the memorabilia-packed Sherlock Holmes pub on Northumberland Avenue (sherlockholmespub.com), with its Hound of the Baskervilles association and recreation of the sitting room of 221b Baker St upstairs. It’s a good spot for a pint of Watson’s Wallop or Sherlock Holmes Ale after the tour ends at Somerset House (a Robert Downey Jr. location). London Walks (walks.com) also offers a two-hour Sherlock tour on Friday afternoons at 2pm (£9), which concentrates a little more on the ‘canon’ of ACD stories and finishes up at the same pub.

"It is a curious thing," remarked Holmes, "that a typewriter has really quite as much individuality as a man's handwriting.."

“It is a curious thing,” remarked Holmes, “that a typewriter has really quite as much individuality as a man’s handwriting..”

SATURDAY AFTERNOON: “The name’s Sherlock Holmes and the address is 221b Baker Street.” (Benedict Cumberbatch in BBC’s Sherlock)
One of the most famous addresses in the world has had a complex history – suffice it to say there was no 221 when ACD wrote his stories. Most people know that the subsequently designated 221 was once the Abbey National HQ, but no longer. The Sherlock Holmes Museum (020 7224 3688, sherlock-holmes.co.uk, £10/£8) bills itself as at 221b, although it is actually at 239, but the townhouse is very similar to the one described in the stories. Some visitors find the museum’s exhibits to be authentically and atmospherically Victorian and Holmesian, others think shabby and careworn nearer the mark, but it certainly has a well-stocked gift shop. Be warned, there can be long queues – you might want to save it for early Sunday (9.30am opening). There is also a ‘talking’ statue of Holmes (see talkingstatues.co.uk) outside Baker St Station, with a script by Anthony Horowitz (House of Silk, Moriarty) and voiced by Ed Stoppard – you’ll need a smartphone to activate the call from Sherlock.

SATURDAY EVENING: “You don’t know Sherlock Holmes yet – perhaps you would not care for him as a constant companion.” (A Study in Scarlet)
Back to the lavishly ceilinged Criterion on Piccadilly Circus for an early evening drink – the bar is a better bet than the dining room – and its plaque commemorating Watson first being told of Holmes and his eccentricities.

Ernest Dudley Heath, Piccadilly Circus at Night, 1893

The Long Bar stills serves a couple of cocktail recipes created here by barman Leo Engel in the late 19th century. Try a Reviver – American whiskey, angostura bitters, lemon juice, soda (£8). Then take a leaf from Benedict Cumberbatch’s book and choose one of his Soho faves – Viet (34 Greek St, 020 7494 9888) for a steaming bowl of pho, Yalla Yalla (1 Green’s Court, 020 7287 7663, yall-yalla.co.uk) for Lebanese or Tapas Brindisa (46 Broadwick St, 020 7534 1690, brindisa.com), which featured in the first Sherlock episode A Study in Pink.

SUNDAY: “I have a box for ‘Les Huguenots.’ Have you heard the De Reszkes?” (The Hound of the Baskervilles)

The Covent Garden area features in several Holmes stories – the Christmas goose at the heart of the Blue Carbuncle is bought in the market and Holmes solves the mystery of The Man With The Twisted Lip at Bow Street Magistrates. Holmes and Watson attend a performance of Wagner in The Red Circle at The Royal Opera House (020-7304 4000, roh.org.uk), where he would also have seen the Polish tenor Jean de Reske mentioned above. On selected Sunday morning, the House offers tours at 10.30am (75 mins, £12) of the beautiful auditorium and its backstage areas.

A Violin made by Duke of London, era-appropriate for Sherlock, but not the Strad he picked up for a song along Tottenham Court Road.

A Violin made by Duke of London, era-appropriate for Sherlock, but not the Strad he picked up for a song along Tottenham Court Road.

Alternatively, see a live performance of the German music Holmes loved. Sadly, St James Hall on Regent St, Sherlock’s other favourite music venue, no longer exists, but he (and ACD) would have been to the Renaissance-styled Bechstein Hall on Wigmore St, which was a showcase for the piano company, but during WW1 was renamed as the less Germanic Wigmore Hall. It puts on Sunday Morning recitals of Mozart, Haydn, Beethoven etc for £12.50, including coffee or sherry. You can stroll afterwards to Upper Wimpole St where, at No2, a plaque indicates the ophthalmic practice that ACD set up in 1891, the year the first six Strand Holmes stories were published, and afterwards visit Marylebone Farmer’s Market (lfm.org.uk/markets/marylebone/) – another Cumberbatch favourite.

WHERE TO STAY: The Park Plaza chain, which includes the Sherlock Holmes Hotel at 108 Baker St – which is not, despite the name, especially themed – has a London Museum Sherlock Exhibition Package at all its properties in the capital. It costs from £188 per room per night, including B&B, two exhibition tickets with exclusive fast track anytime entry, a souvenir book and 10% discount on purchases in the Museum’s gift shop. Details: 0800-169 6128, parkplaza.com.

The Sign of Four , Australian Film Poster 1923

The Langham, opposite the BBC on Portland Place, is an important hotel in Holmes lore (it was where ACD was commissioned to write The Sign of Four, Sherlock’s second adventure, when he dined with Oscar Wilde in 1889) and features in A Scandal in Bohemia, The Disappearance of Lady Frances Carfax and The Sign of Four. It also has a package with two tickets, from £329 B&B per night (020 636 1000, london.langhamhotels.co.uk).

* Robert Ryan is the author of the novel The Dead Can Wait, which features Dr. Watson (Simon & Schuster, £7.99). Thanks to The Museum of London for the images.

SHERLOCK HOLMES AT THE MUSEUM OF LONDON

By early morning four-wheeler to the Museum of London, for the media preview of Sherlock Holmes: The Man Who Never Lived And Will Never Die, the museum’s major exhibition of all things Sherlockian with opens tomorrow (17th). You might think, given the continuing appetite for Holmes, this would be a shoo-in as a blockbuster event. But, as lead curator Alex Werner has said: ‘We found ourselves having to think hard about how you create an exhibition about a fictional character.’
That sentiment alone will raise some hackles. Werner does not subscribe to playing ‘The Great Game’, popular with many Sherlock Holmes societies around the world, in which all pretend that Watson, not Conan Doyle, wrote the stories and that Holmes was flesh and blood (albeit capable of Whovian-like regeneration). So you won’t find a reproduction of the sitting room at 212b Baker St, like the one at the Northumberland Arms near Charing Cross, complete with Persian slipper, violin and a copy of Bradshaw, claiming this was where Holmes tackled his three-pipe problems. Instead, the curators have assembled cabinets of the sort of artefacts Holmes might have come into contact with, without claiming the great man actually handled them (and so you will find an 18th century violin, a selection of service revolvers of the sort Watson and Holmes might have carried, and a case of drug paraphernalia of the correct period).

 

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Then there is question of which Holmes do you concentrate on when creating a show about the world’s only Consulting Detective? There will be some visitors who will be disappointed to find this is not a Cumberfest, although he does appear on screens and his Belstaff ‘Milford’ coat and his dressing gown (originally used by Conan Doyle to suggest Holmes’ “bohemian” qualities) are on display. But it is not a celebration of the BBC version of the Great Detective. In fact, nearly all the Holmes are represented, from the well-known (Brett, Cumberbatch, Rathbone) to the half-remembered (Ian Richardson, Christopher Plummer, Richard Roxburgh), the point being to demonstrate that no matter how many times he is re-imagined, re-located and re-booted, the immutable essence of Holmes lies within Conan Doyle’s 56 short stories and four novels (rare examples of which are on display under glass). And, of course, it lies with the city where Holmes lived and so often worked.Unknown

This being the Museum of London it should come as no surprise that a large part of the show concentrates on the city that fed both Holmes and Conan Doyle, and it is very effective at conjuring up the gaslit, fog-bound streets that the author wrote about. Maps show Holmes and Watson’s movements about the city in several of the tales, and contemporary paintings of a hansom cab stand, the Strand, Piccadilly and “The Bayswater Omnibus” – shown above, as mentioned in The Adventure of the Missing Three Quarter – give visual life to the architectural and cultural backdrop to many of the stories.
So Werner and his team have done an exemplary job of touching all the Holmes bases while maintaining a focus on the city that helped gave life to this remarkably resilient creation. Criticisms? Yes. Not enough Watson. But I would say that, wouldn’t I?

Dead can Wait PBB front cover

* Sherlock: The Man Who Never Lived And Will Never Die” costs £12/£10 concessions (020 7001 9844, museumoflondon.org.uk/sherlock).

MY LUNCH WITH SHERLOCK

There are many sites of pilgrimage for Sherlock fans in London (The Criterion, St Bart’s, Baker St), but one that is often overlooked is The Langham Hotel, which sits in splendid grandeur opposite the BBC in Portland Place. A regular haunt of Arthur Conan Doyle, not only does it feature in A Scandal in Bohemia, The Disappearance of Lady Frances Carfax and The Sign of Four, it was also the venue for a memorable dinner which, arguably, ensured Sherlock became the iconic character he is today.

9. The Sign of Four

       It was on 30th August, 1889, that Conan Doyle accepted an invitation to dine with Joseph Marshall Stoddart, Managing Editor of Lippincott’s Magazine, who was in town looking for UK writers for the US publication, and Oscar Wilde. It was, Conan Doyle, later said, ‘a magical evening’, and from it came The Sign of Four, Holmes’s second outing, and, from Wilde, the not inconsiderable The Picture of Dorian Gray. (There are those who claim the playfulness in some of the Holmes stories was a direct result of Conan Doyle meeting the legendarily witty Wilde.)

7. The Sign of Four

       As Nicholas Utechin, historian for the Sherlock Holmes Society of London, points out, at this juncture Holmes was a moribund character. He had appeared in A Study in Scarlet in Beeton’s Christmas Annual of 1887, but it garnered scant attention, and it was by no means certain he would appear again. ‘The Langham dinner revived a career that was all but comatose,’ says Utechin.

       Last Monday, the 29th of September, Chris King, Head Chef of Roux at the Landau restaurant in The Langham recreated (or rather re-booted) the type of menu the men would have enjoyed at dinner, using a Victorian menu from the archives as a template. I was fortunate enough to be invited. The lunch included a beautifully intense consommé with shaved turnips and seared foie gras; dover sole in vermouth, tarragon and shimeji (mushrooms possibly not on the original list); rib of beef from the trolley and cheese with straw, praline and dandelion (see below).

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Original Victorian Langham menu... with ads...

Original Victorian Langham menu… with ads…

Between the beef and the cheese was a surprise course – a chance to view the original first page of the manuscript of what was then called The Sign of The Four (the second definite article being dropped later). It, famously, opens with a description of Holmes and his notorious seven per cent solution:

The first manuscript page of ‘The Sign of Four’ by Arthur Co

       This precious relic has been loaned by the University of California Audrey Geisel University Library at the University of California in San Diego. Sadly, the rest of the m/s is in the hands of a private collector, but that one page of meticulous, very lightly corrected handwriting will be on display in the Museum of London’s “Sherlock: The Man Who Never lived And Will Never Die” (£12/£10) exhibition. This installation covers all aspects of Sherlock’s career, from the writings to Gillette on stage, silent films, right up to Benedict Cumberbatch’s Belstaff coat, and runs from October 17-until April 2015. See museumoflondon.org.uk. 

 10. The Sign of Four

 

 

 

 

 

The Musketeer as Sherlock

A “re-imagined” Three Musketeers starts tonight on BBC. When a couple of months ago I was researching the history of detective fiction for a talk I was giving, I came across a scene where d’Artagnan shows powers of analysis of a crime scene worthy of Holmes himself. So will this facility survive the update? This is the (rather lengthy, but worth it) passage:

“While the king was engaged in making these last-mentioned arrangements in order to ascertain the truth, D’Artagnan, without losing a second, ran to the stable, took down the lantern, saddled his horse himself, and proceeded towards the place his majesty had indicated. According to the promise he had made, he had not accosted any one; and, as we have observed, he had carried his scruples so far as to do without the assistance of the stable-helpers altogether. D’Artagnan was one of those

bbc-three-musketeers-2014promo

who in moments of difficulty pride themselves on increasing their own value. By dint of hard galloping, he in less than five minutes reached the wood, fastened his horse to the first tree he came to, and penetrated to the broad open space on foot. He then began to inspect most carefully, on foot and with his lantern in his hand, the whole surface of the Rond-point, went forward, turned back again, measured, examined, and after half an hour’s minute inspection, he returned silently to where he had left his horse, and pursued his way in deep reflection and at a foot-pace to Fontainebleau. Louis was waiting in his cabinet; he was alone, and with a pencil was scribbling on paper certain lines which D’Artagnan at the first glance recognized as unequal and very much touched up. The conclusion he arrived at was, that they must be verses. The king raised his head and perceived D’Artagnan. “Well, monsieur,” he said, “do you bring me any news?”
“Yes, sire.”
“What have you seen?”
“As far as probability goes, sire—” D’Artagnan began to reply.
“It was certainty I requested of you.”
“I will approach it as near as I possibly can. The weather was very well adapted for investigations of the character I have just made; it has been raining this evening, and the roads were wet and muddy—”
“Well, the result, M. d’Artagnan?”
“Sire, your majesty told me that there was a horse lying dead in the cross-road of the Bois-Rochin, and I began, therefore, by studying the roads. I say the roads, because the center of the cross-road is reached by four separate roads. The one that I myself took was the only one that presented any fresh traces. Two horses had followed it side by side; their eight feet were marked very distinctly in the clay. One of the riders was more impatient than the other, for the footprints of the one were invariably in advance of the other about half a horse’s length.”
“Are you quite sure they were traveling together?” said the king.
“Yes sire. The horses are two rather large animals of equal pace,—horses well used to maneuvers of all kinds, for they wheeled round the barrier of the Rond-point together.”
“Well—and after?”
“The two cavaliers paused there for a minute, no doubt to arrange the conditions of the engagement; the horses grew restless and impatient. One of the riders spoke, while the other listened and seemed to have contented himself by simply answering. His horse pawed the ground, which proves that his attention was so taken up by listening that he let the bridle fall from his hand.”
“A hostile meeting did take place then?”
“Undoubtedly.”
“Continue; you are a very accurate observer.”
“One of the two cavaliers remained where he was standing, the one, in fact, who had been listening; the other crossed the open space, and at first placed himself directly opposite to his adversary. The one who had remained stationary traversed the Rond-point at a gallop, about two-thirds of its length, thinking that by this means he would gain upon his opponent; but the latter had followed the circumference of the wood.”
“You are ignorant of their names, I suppose?”
“Completely so, sire. Only he who followed the circumference of the wood was mounted on a black horse.”
“How do you know that?”
“I found a few hairs of his tail among the brambles which bordered the sides of the ditch.”
“Go on.”
“As for the other horse, there can be no trouble in describing him, since he was left dead on the field of battle.”
“What was the cause of his death?”
“A ball which had passed through his brain.”
“Was the ball that of a pistol or a gun?”
“It was a pistol-bullet, sire. Besides, the manner in which the horse was wounded explained to me the tactics of the man who had killed it. He had followed the circumference of the wood in order to take his adversary in flank. Moreover, I followed his foot-tracks on the grass.”
“The tracks of the black horse, do you mean?”
“Yes, sire.”
“Go on, Monsieur d’Artagnan.”
“As your majesty now perceives the position of the two adversaries, I will, for a moment, leave the cavalier who had remained stationary for the one who started off at a gallop.”
“Do so.”
“The horse of the cavalier who rode at full speed was killed on the spot.”
“How do you know that?”
“The cavalier had not time even to throw himself off his horse, and so fell with it. I observed the impression of his leg, which, with a great effort, he was enabled to extricate from under the horse. The spur, pressed down by the weight of the animal, had plowed up the ground.”
“Very good; and what did he do as soon as he rose up again?”
“He walked straight up to his adversary.”
“Who still remained upon the verge of the forest?”
“Yes, sire. Then, having reached a favorable distance, he stopped firmly, for the impression of both his heels are left in the ground quite close to each other, fired, and missed his adversary.”
“How do you know he did not hit him?”
“I found a hat with a ball through it.”
“Ah, a proof, then!” exclaimed the king.
“Insufficient, sire,” replied D’Artagnan, coldly; “it is a hat without any letters indicating its ownership, without arms; a red feather, as all hats have; the lace, even, had nothing particular in it.”
“Did the man with the hat through which the bullet had passed fire a second time?”
“Oh, sire, he had already fired twice.”
“How did you ascertain that?”
“I found the waddings of the pistol.”
“And what became of the bullet which did not kill the horse?”
“It cut in two the feather of the hat belonging to him against whom it was directed, and broke a small birch at the other end of the open glade.”
“In that case, then, the man on the black horse was disarmed, whilst his adversary had still one more shot to fire?”
“Sire, while the dismounted rider was extricating himself from his horse, the other was reloading his pistol. Only, he was much agitated while he was loading it, and his hand trembled greatly.”
“How do you know that?”
“Half the charge fell to the ground, and he threw the ramrod aside, not having time to replace it in the pistol.”
“Monsieur d’Artagnan, this is marvellous you tell me.”
“It is only close observation, sire, and the commonest highwayman could tell as much.”
“The whole scene is before me from the manner in which you relate it.”
“I have, in fact, reconstructed it in my own mind, with merely a few alterations.”
“And now,” said the king, “let us return to the dismounted cavalier. You were saying that he walked towards his adversary while the latter was loading his pistol.”
“Yes; but at the very moment he himself was taking aim, the other fired.”
“Oh!” said the king; “and the shot?”
“The shot told terribly, sire; the dismounted cavalier fell upon his face, after having staggered forward three or four paces.”
“Where was he hit?”
“In two places; in the first place, in his right hand, and then, by the same bullet, in his chest.”
“But how could you ascertain that?” inquired the king, full of admiration.
“By a very simple means; the butt end of the pistol was covered with blood, and the trace of the bullet could be observed, with fragments of a broken ring. The wounded man, in all probability, had the ring-finger and the little finger carried off.”
“As far as the hand goes, I have nothing to say; but the chest?”
“Sire, there were two small pools of blood, at a distance of about two feet and a half from each other. At one of these pools of blood the grass was torn up by the clenched hand; at the other, the grass was simply pressed down by the weight of the body.”
“Poor De Guiche!” exclaimed the king.
“Ah! it was M. de Guiche, then?” said the musketeer, quietly. “I suspected it, but did not venture to mention it to your majesty.”
“And what made you suspect it?”
“I recognized the De Gramont arms upon the holsters of the dead horse.”
“And you think he is seriously wounded?”
“Very seriously, since he fell immediately, and remained a long time in the same place; however, he was able to walk, as he left the spot, supported by two friends.”
“You met him returning, then?”
“No; but I observed the footprints of three men; the one on the right and the one on the left walked freely and easily, but the one in the middle dragged his feet as he walked; besides, he left traces of blood at every step he took.”
“Now, monsieur, since you saw the combat so distinctly that not a single detail seems to have escaped you, tell me something about De Guiche’s adversary.”
“Oh, sire, I do not know him.”
“And yet you see everything very clearly.”
“Yes, sire, I see everything; but I do not tell all I see; and, since the poor devil has escaped, your majesty will permit me to say that I do not intend to denounce him.”
“And yet he is guilty, since he has fought a duel, monsieur.”
“Not guilty in my eyes, sire,” said D’Artagnan, coldly.
“Monsieur!” exclaimed the king, “are you aware of what you are saying?”
“Perfectly, sire; but, according to my notions, a man who fights a duel is a brave man; such, at least, is my own opinion; but your majesty may have another, it is but natural, for you are master here.”
“Monsieur d’Artagnan, I ordered you, however—”
D’Artagnan interrupted the king by a respectful gesture. “You ordered me, sire, to gather what particulars I could, respecting a hostile meeting that had taken place; those particulars you have. If you order me to arrest M. de Guiche’s adversary, I will do so; but do not order me to denounce him to you, for in that case I will not obey.”
“Very well! Arrest him, then.”
“Give me his name, sire.”
The king stamped his foot angrily; but after a moment’s reflection, he said, “You are right—ten times, twenty times, a hundred times right.”
“That is my opinion, sire: I am happy that, this time, it accords with your majesty’s.”
“One word more. Who assisted Guiche?”
“I do not know, sire.”
“But you speak of two men. There was a person present, then, as second.”
“There was no second, sire. Nay, more than that, when M. de Guiche fell, his adversary fled without giving him any assistance.”
“The miserable coward!” exclaimed the king.
“The consequence of your ordinances, sire. If a man has fought well, and fairly, and has already escaped one chance of death, he naturally wishes to escape a second. M. de Bouteville cannot be forgotten very easily.”
“And so, men turn cowards.”
“No, they become prudent.”
“And he has fled, then, you say?”
“Yes; and as fast as his horse could possibly carry him.”
“In what direction?”
“In the direction of the château.”
“Well, and after that?”
“Afterwards, as I have had the honor of telling your majesty, two men on foot arrived, who carried M. de Guiche back with them.”
“What proof have you that these men arrived after the combat?”
“A very evident proof, sire; at the moment the encounter took place, the rain had just ceased, the ground had not had time to imbibe the moisture, and was, consequently, soaked; the footsteps sank in the ground; but while M. de Guiche was lying there in a fainting condition, the ground became firm again, and the footsteps made a less sensible impression.”
Louis clapped his hands together in sign of admiration. “Monsieur d’Artagnan,” he said, “you are positively the cleverest man in my kingdom.”
“The identical thing M. de Richelieu thought, and M. de Mazarin said, sire.”
“And now, it remains for us to see if your sagacity is at fault.”
“Oh! sire, a man may be mistaken; humanum est errare,” said the musketeer, philosophically.
“In that case, you are not human, Monsieur d’Artagnan, for I believe you are never mistaken.”
“Your majesty said that we were going to see whether such was the case, or not.”
“Yes.”
“In what way, may I venture to ask?”
“I have sent for M. de Manicamp, and M. de Manicamp is coming.”
“And M. de Manicamp knows the secret?”
“De Guiche has no secrets from M. de Manicamp.”
D’Artagnan shook his head. “No one was present at the combat, I repeat; and unless M. de Manicamp was one of the two men who brought him back—”
“Hush!” said the king, “he is coming; remain, and listen attentively.”
“Very good, sire.”

 

THE DEAD CAN WAIT: FIRST REVIEW

This review is from Manda Scott, of the Historical Writers’ Association (www.TheHWA.co.uk) a.k.a M.C.Scott (Rome: The Art of War):

“I became a fan of Rob Ryan’s work at Harrogate History Fest in October, when I heard him speak on a panel about Sherlock Holmes….. Apparently there was a single line in one of the last Holmes books which said that Watson had gone back to his ‘old unit’ – that being the RAMC, and given that we were on the brink of WWI, that means he went back to war.

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Thus arises one of the best post-Conan Doyle Sherlockian series, and a fantastic historical crime series. The Major John Watson we come to know in the trenches in DEAD MAN’S LAND and again here in the UK in The Dead Can Wait is a humane, compassionate, competent individual, who nevertheless appreciates the help of his steadily deteriorating friend, Holmes. The horrors of war are not stinted, but nor are they gratuitous. In DML, we (well, I) learned a huge amount about nurses and the various auxilliaries and how they worked, while in TDCW, we (I) learn a lot we (I) didn’t know about ‘shell shock’ and then, later, about the early development of tanks. It’s fascinating, and yet none of it is presented as ‘here is the research I did, now suck it up and learn it’ which is so often the case in historical novels of this sort. It’s all integral to the plot, and carries the dynamic tension even as we’re given a virtual tour of the tank testing grounds. There’s a truly scary German woman-spy, part of a network called the She Wolves, of whom I’m sure (I hope) we’ll learn more, and the very welcome return of Mrs Gregson, the red-headed, motor-bike riding, thoroughly competent nursing auxilliary.

In a year when there are going to be 1,000 ( at least) books about WWI published, this will be one of the first, and I am prepared to bet, one of the best. It’s a cracking, fulfilling, utterly satisfying read and you should get a copy now…”

Out January 2 in hardback and ebook.

Robbery with a side order of pheasant

The route from Bridego Bridge to Leatherslade Farm in Bucks is the featured Great Drive in this Sunday’s (15.12) Drive section of the Sunday Times. To celebrate, we have a fresh version of the film, now with a racy B&W section:

The pub mentioned in the article, The Hundred of Ashendon (01296-651296, http://www.thehundredofashendon.com), is well worth a detour even if you aren’t chasing the shades of robbers past – the chef, Matt, produces robust, seasonal, well-flavoured food (I had the pheasant and bacon pie, my co-pilot a lovely piece of turbot) without being over-fancy. If I tell you he has spent time in Fergus Henderson’s kitchen, you’ll get the idea.

In The Tyre Tracks Of The Train Robbers

I recently did a Great Drive through rural Buckinghamshire for The Sunday Times Drive section. It was to follow the route taken by the Great Train Robbers as they took their haul of £2.6m from Bridego Bridge (off the B488) to their ill-fated choice of hideout, Leatherslade Farm near Brill. As Bruce Reynolds, chief planner, said in his memoir, Autobiography of a Thief: ‘The next morning Paddy and I set off in his 3.8 [Jaguar], driving up and around the target area. The more I saw, the more I liked it. I plotted a route which took us south in a dogleg onto the Thame Road. It was a great route, B-roads all the way, crossing two main roads in all.’ He isn’t kidding about the dogleg – in fact, there’s more doglegs in the 28 miles than Battersea Dog’s Home in January. You can read the results of following Reynolds and the robbers in The Sunday Times soon. Meanwhile, here is a short film we shot at the bridge (go full screen to see the captions properly – sadly it also makes my face bigger):

Thanks to Tony O’Keeffe of Jaguar Cars and Jagmeister Michael Byng, who brought along one of his Mk 2s. This is a rough version of the final film – although I am still hoping the moment when I tried to start the 3.8 with the cigarette lighter button doesn’t make the final cut.

Incidentally, as well as the usual outlets, you can now get the novel that started all this malarkey, Signal Red, through iTunes: http://tinyurl.com/pwmo8zj.

The Dead Can Wait: The Return of Dr Watson

The cover for the next instalment of Dr (now Major) Watson’s continuing adventures as a medic in WW1 is now out. There isn’t, as you can see, the familiar thriller/mystery trope of a solitary figure walking away from the viewer. There’s a pair of men. And they are running – apparently into the sea. Which does reflect one episode in the novel, when Watson has to take ‘the most lethal road in England.’
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Set mostly in Suffolk and Essex but with a return to the Western Front for the finale, it concerns Watson being blackmailed into investigating why Britain’s new ‘wonder’ weapon has killed seven men and driven an eighth insane. It is out in January from Simon & Schuster.

Ms Janie Dee reads Dr Watson and Mrs Gregson

The event at St Bart’s pathology Museum went well – a crazy French silent film featuring Sherlock and Watson, by the charming Celine Terranova (who turned up in a lovely steampunk bustle dress) followed by me waffling about Watson until I could show the new trailer/extract for the book. There is still a slight volume adjustment to be made around the time the sodium citrate appears, but I think you’ll agree Janie Dee does a tremendous job. Thanks also to Sue Light for (most of) the photographs, to Bella Ryan for editing/assembling and to Carla Valentine for organising a night for Dr Watson to shine.

The above is an edited extract from this section of Dead Man’s Land:

“Careful with the solution bottles, Staff Nurse Jennings,’ Watson warned, as she unwrapped a glass cylinder from its cocoon of corrugated cardboard and newspaper. ‘That’s our secret ingredient. Hand it here, please.’
The flap of the tent snapped back with a crack like a whiplash. Standing in the opening was the Sister-in-Charge, her face almost as crimson as the red cape which proclaimed her a full member of Queen Alexandra’s Royal Army Nursing Corps. The sound of the German guns was momentarily lost beneath her impressive bellow. ‘Major Watson!’
Watson carefully laid down the precious jar of sodium citrate solution on the tabletop before he turned to face her. ‘Sister? How may I be of assistance?’
‘What is the meaning of this?’ She pulled back the canvas further to reveal his two members of the Voluntary Aid Detachment each holding an Empire medical kit. ‘Experience dictates that travelling with one medical kit in a war situation is somewhat risky, sister,’ Watson explained patiently. ‘I always pack a spare.’
Now the colour on her cheeks was a perfect match for the cape. ‘I am not referring to your travelling preferences, Major,’ she almost snarled. ‘You have brought VADs into my Casualty Clearing Station. VADs!’
She made it sound as if Voluntary Aid Detachment nurses were some kind of vermin ‘When I was at the hospital in Calais,’ Watson said calmly, ‘I requested some assistance during this tour of the clearing stations and field ambulances. The MO suggested Nurses Gregson and-’
‘They are not nurses, Major Watson, as you well know. Not qualified nurses. They are auxiliaries. Orderlies. And the Matron-in-Chief herself has forbidden VADs to work this far forward-’
There came another explosion, short and sharp, that made everyone’s heads turn to the source. It had come from Mrs Gregson, the older of the VADs. Her companion, Miss Pippery, a tiny thing who looked to be barely out of her teens, took a small step backwards, as if retreating from a ticking bomb.
Mrs Gregson bent at the waist, put down the medical chest, and stepped over it, so that she stood eye to eye with the Sister. Miss Pippery lowered her own case but stayed firmly behind it, as if it could act as a barricade. She yanked out a tiny gold rosary from beneath her collar and kissed it, briefly, in prayer, before tucking it away once more.
Mrs Gregson, Watson estimated, was thirty or thereabouts, with striking green eyes and, beneath the white VAD headdress, a crown of fiery red hair. The Sister was probably two decades older, pipe-cleaner thin with a mouth pinched by years of keeping her charges in line. Now the opening was reduced further, to a razor cut in a rather sallow face.
When Mrs Gregson spoke, it was with a quiet but stinging force. ‘Sister, I may not have your qualifications, but I have been out here for more than two years. I was running first-aid stations when the worst the men faced was a turned ankle from trying to march in hobnail boots on French and Belgian cobblestones. I drove for McMurdo’s Flying Ambulance Brigade at Mons. Perhaps you have heard of it? I have treated trench foot, venereal disease, lice infestations and lanced boils in men’s buttocks the size of macaroons. I have stuffed men’s entrails back in place and held the hands of boys who cried for their mothers, such was their pain, and of grown men weeping in fear at the thought of going back up the line. I have watched men drown in their own fluids from gas, carried men’s mangled arms and legs to the lime pit, told a private he will never see again, spent weeks wondering if I will ever smell anything in my nostrils other than the stench of gas gangrene. I have shown pretty fiancées what German flame-throwers have done to their future husbands’ faces. Then had to deliver the letters that tell the disfigured soldiers that they have lost those sweethearts. I have seen enough pus to last me a lifetime, Sister, and my hands are likely ruined forever from all the scrubbings with carbolic and eusol because, of course, only a Sister can wear rubber gloves and I do believe, no matter what your dear Matron-in-Chief thinks, that I have earned the right to go where my betters think I am needed in this war and I also believe that Major Watson’s new method of blood transfusion will save the lives of many who have to this point died for want of fluid and warmth.’ She finally took a breath. ‘Of course, I am not a nurse, nor would I claim to be. I am a VAD and proud of it.’
Mrs Gregson’s short speech never increased in volume throughout its course, but somehow, like a great flywheel pressed into motion, gathered power and momentum as it went. Watson, about to object that is wasn’t strictly speaking his new method of blood transfusion, decided to stay out of the contest. It would be like trying to separate two Siamese fighting fish.
The guns seemed even louder and much closer in the brittle silence that descended on the tent.
Sister took her time composing her reply. The heightened colour in her cheeks faded, but she twisted the piece of paper she held in her hands as if she were wringing Mrs Gregson’s neck. ‘I did not intend to impugn the service you have given. But there are few here who haven’t performed the same tasks. Isn’t that right, Staff Nurse Jennings?’
‘Yes, Sister,’ she agreed softly, eyes downcast. ‘Although I can’t drive-’
But Sister had turned her attention back to the VADs. ‘You will assist Major Watson, of course, in his important work, and I assume move on with him once the technique for this wonder treatment has been demonstrated. But I do not want you on the re-suss, pre-op or evacuation wards. Or on the officers’ wards in The Big House. It will only confuse the men. I don’t want them to think they are getting..’ She paused for moment and actually smiled before delivering the blow ‘.. second-rate care.”

BODY PARTS/SHERLOCK and WATSON

A must-see event at St Bart’s Pathology Museum next week. On Wednesday October 23rd there is a “Potted History of the Pot” seminar (the name comes from Sir Percivall Pott of St Bart’s : see potts-pot.blogspot.co.uk). The museum’s curator, Professor Paola Domizio, will discuss the history of potting pathological specimens and how medical teaching has developed. Then the museum’s Assistant Technical Curator, Carla Valentine will “Re-Flesh the Bones” by discussing the stories behind the specimens. Doors – 6:30pm for a 7pm start (ends by 9pm). Cost: £6.50 inc. refreshments and booking fee. Booking via Eventbrite on http://bartsautumn3-eorg.eventbrite.co.uk.

Also next week, Dead Man’s Land is out in paperback (Thurs 24th).
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And here is a video that links the two events:

Video by Bella and Gina Ryan