Soot and Cinders

by Mary

I must be one of only a handful of mystery writers who've been aboard a steam train held up by a gang of desperadoes on horseback. I must confess however it was a put-up job during a special Age of Steam excursion. The bad guys strutted the length of the train after swinging aboard, glaring at all and sundry over red kerchiefs hiding their lower faces, much to our delight, only to be arrested by a brave sheriff and locked in the caboose for the return journey to the home station. There the entire gang were incarcerated in a small cell where small fry jeered at them while adults congratulated the law man on his sterling work keeping the railway safe from marauders. As that nice Mr Google informed me, the very day I began this essay was Paddington Bear's 50th birthday, reminding me a while long ago I stumbled over a reproduction of William Powell Frith's The Railway Station (1862), depicting a train getting ready to leave Paddington Station. See above.

There's a mystery connection. In the far right of the painting wo well-known Scotland Yard detectives, who have been identified as Detective-Sergeants Michael Haydon (with the handcuffs) and James Brett (who's just laid his hand on a man's shoulder) are arresting a wanted fugitive, close enough to escaping the long arm of the law to have his foot on the step up into the carriage.

The trips I took on the steam trains in my youth were much more orderly -- well, apart from a drunken Irishman who insisted on entering a ladies only compartment at the start of one journey and a couple of men fighting at Newcastle's Central Station at the end of another.

The engine is hardly visible in Frith's painting, but it brought to mind when the train to Newcastle passed through Darlington's Bank Top Station, up to the mid l970s passengers could see a very similar engine, sitting on one of the platforms

Photo by Chris55 CC BY-SA 3.0

Locomotion Number 1 is now displayed in the city's Head of Steam Museum in honour of its having pulled the first steam passenger train on the Stockton and Darlington Railway in the autumn of 1825. Apparently many who had turned out to see this amazing event confidently expected the strange and frightening new machine to explode, steam engines being basically boilers on wheels. It could not have been too comfortable a trip since the majority of the passengers travelled in open wagons formerly used for hauling coal, although dignitaries as usual got a better deal and were trundled along in a shed-like structure.

Those who remember travelling by steam usually wax nostalgic at the jerky drop of an up signal, recalling stray wisps of steam curling out from under enormous driving wheels while the great iron beast, resplendent in gleaming paint and well polished brass, sits poised to go after the fellow with the long-spouted oil can and peaked visor cap set at a rakish angle has swung down from the driver's cab and carried out his mysterious business. The smells of steam travel, coal smoke, steam, and hot oil, permeate memories of journeys begun after the heavy slamming of thick wooden doors by a waistcoated guard walking the platform along the length of the train, followed by shrill blasts on his whistle to announce an imminent departure and the distinctive chuffing as the train drew away. What a struggle it was to manage the wide leather strap lowering and raising door windows, the better to get cinders and soot on your person and allow steam and smoke to billow into the carriage when passing through tunnels! Carriage seating was upholstered in stiff, dusty moquette reminiscent of nothing so much as inexpensive carpeting, the walls above the seats adorned with advertising prints featuring maps and beautifully painted views of locations throughout the country encouraging travel and thus, in a promotional masterstroke, more business for British Rail. And can anyone who saw them forget those stern printed notices above the alarm chains in each carriage warning the penalty for misuse was five pounds?

It's a fair bet some of the most vivid steam age memories centre around the powerfully beautiful engines, the drivers' cabs displaying a multitude of tubing, gauges, levers, and stopcocks. Dame Rumour had it bacon and eggs were cooked on stokers' cleaned-off shovels, introduced into the firebox near the end of overnight runs. Lest passengers grew faint from hunger buffet cars provided more varied sustenance. Similar to that offered in railway refreshment rooms, it was solid, if often derided, fare featuring such staples as ham sandwiches with an occasional suspicion of a curl to their bread, stick to the ribs jam roly poly, pork pies, Scotch eggs, and slices of darkly mysterious Dundee cake, washed down with strong tea in thick-lipped cups. There were also fancier restaurant cars featuring the elegance of linen tablecloths and menus but alas for the profit columns in British Rail's ledgers, I rarely patronised either carriage for the trusty Reed thermos flask, a bag of crisps, and a couple of rolls of Rowntrees fruit gums saw me through the longest journey.

Fruit Gums vs. Wrapping Paper

by Mary

There were no Christmas railways for us, I fear, although we sometimes saw engines chugging along the lining running behind the Vickers-Armstrong works across the Scotswood Road during the holidays, just as they did year round. But as with most families, our Christmas Day had its own order, a traditional progression of events unwinding from our first forays into lumpy Christmas stockings at the foot of our bunk bed in the grey light before dawn to getting up to the steamy, fruity smell of the Christmas pudding boiling merrily in the kitchen to the last goodnight before the light was put out and Boxing Day crept towards us on the twirling sails of the windmill clock hanging on our attic bedroom wall.

As a child, early Christmas evening was my favourite time of the day. By then we had presented our gifts -- usually home-made calendars liberally sprinkled with glitter after secret assembly up in the attic or perhaps boxes of matching handkerchiefs, or a diary, or a huge bottle of lavender perfume from the local Woolworths, things small in themselves but for which we had saved our pocket money for some time, sacrificing even that extra tube of fruit gums in order to get a few pennies more towards the cost of the fancier wrapping paper. And of course we had ourselves long since unwrapped our own new treasures -- always a book, usually a selection box containing six or eight different sorts of chocolate bars, and two or three other small parcels that had been stuffed into our Christmas stockings (being a pair of my father's much darned wool socks) along with the customary silver foil wrapped tangerine plus a handful of walnuts in the shell and a few toffees tucked into their toes.

After the Queen's speech broadcast at 3 pm and having toasted her health with a glass of sherry or a cup of tea as appropriate to age, about an hour later it was time to sit down for our tea. We kids would gleefully pull red and green Christmas crackers, reading their mottoes and silly jokes aloud for everyone's delight. We'd put on the silly hats and divvy up the geegaw trinkets from the crackers and then pass around slices of the rich, solid dark cake my mother had made weeks before. The British Christmas cake is basically all sorts of dried fruit held together with spices, eggs, flour, butter and a dash of something that in our day might have been rum though we never dared ask, the whole being covered in marzipan and tooth-cracking Royal icing on which, at our house at least, was displayed a small, much battered miniature sled that so far as we could tell was made of painted chalk.

There would be hot mince pies (muffin sized in England) and perhaps a sandwich, all downed with big china cups of strong, black, heavily sugared tea. Afterwards we'd linger at the kitchen table to demolish some of the aforementioned nuts and citrus fruit as well as passing around a once a year purchase -- a frilly-edged box of sticky, dark dates that came with a little plastic fork for fishing out its contents and brought forth stern maternal warnings to mind out for the stones or we would break our teeth. The 1944 film This Happy Breed, which tells the story of a set of working class neighbours over a span of twenty years, has an essentially similar scene (much to my delight the first time I saw it) although under blackout wartime conditions and presumably without dates or tangerines, which would have cost a fortune even if any could have been found on sale.

But when the washing-up was done, the tea towel hung up to dry in the scullery and a fresh scuttle of coal brought up from the back yard, then came the best part of all. As darkness pressed against steamed-up windows behind cosily drawn curtains and adults listened to the radio while consuming yet more cups of tea, we kids lay on the hearth rug in front of the popping, glowing fire, eating chocolate and reading our new books. Could childhood memories be any better?

It all sounds very simple and ordinary and somewhat quaint, I suppose, but it was our Christmas and so remains close to our hearts -- and especially now that we are all scattered to the winds. So wherever you are and however you celebrate the many festivals falling at this time, may they give you an equal stock of happy memories -- and may the new year bring you all you wish yourselves.

And a Penguin in a Fir Tree

by Mary

This is the time of year when those who celebrate Christmas will be setting up and decorating their festive tree. Many of our ornaments are, well, not your usual manufactured baubles, although we do have some plain glass globes now elderly enough to be losing their colour. But as in many families there are particular favourites and these are a few of mine.

Two of these ornaments travelled with me to America. Made of plastic resin of some sort, they arrived in the family well before I did. One's a flat silhouette of a blue antlered deer and the other a three-dimensional decoration created by slotting two red star-shaped pieces at right angles to each other. It always reminds me of the star on the iconic label of Newcastle's famous brown ale. There's another and much larger star -- or more precisely an attempt at one which came out more resembling an amoeba -- crayoned on a piece of paper by a young relative thirty years or so ago.

Then there's a small v-shaped basket made from two pieces of paper. Decorated with depictions of sprigs of berried holly, this basket was made by folding the pieces, cutting parallel lines into them, and interweaving the results. This somewhat arcane skill was one I learned as a youngster, along with making little handbags or tanks from dad's empty cigarette packets. Happy days!

I must not overlook a couple of shells picked up from the Florida beach opposite the building where I lived my first year in this country. They hang up on thread passed through holes made by the sea, but the hook for a penguin ornament is a bent paper clip. Creating it was one of my more ambitious craft projects. Imagine a red and white striped ball with lengths of silver cord attached to it supporting a small gondola represented by a basket originally holding dishwasher detergent. The 'guin in the gondola is about an inch high and stands daringly loose in his aerial transport, so he has been known to occasionally fall out.

Then there's a couple of green felt ornaments stuffed with cotton wool and decorated with sequins. They date from the same period as the ballooning penguin, as do several painted balsa wood ornaments. Yes, I was a fiend with a glue gun in those days! Notable examples of the wooden ornaments include flat children riding three dimensional sleds and a Santa whose hands emerge at right angles from his sleeves as if in surprise or horror at realising he was about to be run over by the aforementioned sleigh. After all, when we get down to it do we really know what happens on Christmas trees when everyone is abed and darkness shrouds the house? Our cats always got the blame if ornaments tumbled off the tree overnight but what if they were not the culprits?

Ralph Waldo Emerson once talked about night hovering all day in fir tree boughs, and this was certainly the case in the Reed household. We did not have tree lights as long as we lived at home. Instead when the big marmalade tin holding decorations came out of the sideboard small candle holders were clipped onto the tree's branches. Made of tin, they had scalloped edges and they held tiny twisted candles little bigger than the sort decorating birthday cakes, but much to our childish disappointment were never lit for safety reasons.

There's also a small fairy doll who may not have been among Shakespeare's moonshine revellers but is certainly one of his orphan heirs of fixed destiny, given she's topped Reed trees in one house or another for decades. Despite losing one tiny red shoe at some point over the years and being forced to wear a greying tattered net skirt decorated with gold paint being as it's glued to her, as is her small wand topped with a battered gold star losing its glitter, a few glorious days are still hers each year.

Fruit of the Yule

by Mary

Fruitcake is much mocked. Not by me, however, for whenever I see one it reminds me of my first Christmas in this country. At the time I was living in Florida. The state's beaches may be golden, but there wasn't much silver in the bank when the festive season rolled around. Of course it was hot, making tinsel and carols and Get Your Photo Taken With Santa seem out of place in malls largely patronised by shoppers wearing shorts and sandals and no doubt as likely to be looking for more sunscreen or postcards of orange groves to send north than sweaters embroidered with monograms or boxed selections of cheese and sausage.

As mentioned, the piggy bank was somewhat lean, so when it came time to deck the hall improvisation was the mother of invention. By snipping cardboard (having first coloured it with green marker) into two zigzag-edged tree shapes and then contriving a slot running from the apex to the halfway point on one cut-out and a matching slit running up from the base to the midway mark on the other, inserting Part A into Part B, the result was a jolly 3D faux Christmas tree. Even if it was somewhat unsteady and had a tendency to fall over every time someone walked past it or the door was opened.

The little tree was festively dressed in what interior designers describe as minimalist fashion, which is to say hung with thin strips of aluminum foil and paper stars cut from seasonally printed napkins, plus several shells picked up from the beach across the road and strung on embroidery thread.

This handiwork was interrupted by a knock on the door. The unexpected visitor turned out to be the son of a friend, and he arrived bearing gifts -- several branches cut from their over-tall Christmas tree (it was apparently a case of pruning it or removing the ceiling) and a large, homemade fruitcake! Which was put into the fridge after the cardboard tree was picked up and re-erected.

Tying the fragrant branches into a bundle and settling it into an old tin filled with pebbles, the new greenery was adorned in similar fashion to its smaller companion, and the flat filled with the fresh scent of pine, so closely linked with Yuletide celebrations.

Admiration of the general effect was interrupted by another tap on the door. This time it was a neighbour with a tiny portable TV to loan for the holiday. Unasked, I may add. Having righted the cardboard tree yet again, I looked over the set. While it would have been difficult to watch a tennis match on it, for the screen was exceeding small, it provided excellent entertainment over the holiday, including not only multiple screenings of It's A Wonderful Life on every channel it pulled in but also the chance to see again Help, an unusual choice for Yuletide programming. Of course, its transmission did begin at two in the morning. Naturally I stayed up to see it, and just hearing those broad Scouse accents was a real tonic, for I had not heard a British voice in a long time.

However, as it turned out, this was to change. For on the afternoon of the 25th, sitting on the sofa eating a slice of fruitcake and staring at a sea twinkling like white fairy lights underneath long strings of pelicans flying past on invisible roller coasters, pennies were counted and there were enough after all to be able to make brief calls to family in the UK. Those who are or have been separated from theirs by long distances will know how much that meant.

The shell ornaments are still in my possession and, years later and far from that sunny state, they are a constant reminder that simple kindness is the best gift for any season or any reason.

As for the fruitcake, it was delicious.

Tintinnabulation Prognostication

by Mary

I laughed out loud when I recently read an exchange in Paul McGuire's Threepence To Marble Arch -- the title refers to bus fare -- concerning amateur theatricals. A chap claims he was always cast as the villain, to which a companion replies:

"By gum, Silva, I can just see you in a top hat, foreclosing on mortgages. On Christmas Eve with the snow coming down, and honest Jack's ship last heard of a thousand miles east and north of Hong Kong and never reported since."

Edward guffawed. "The producer knew what he was up to, Silva. I can just see you turning honest old folks out of doors. And where is Nellie ?"

"On these occasions the city has usually swallowed her up. Alone with her baby on the Embankment. Tobacco, Grey?"

My thoughts leapt back to the last time I trod the boards. My role was First Fool in Hans Christian Andersen's The Emperor and the Nightingale, and from there in a natural progression, at least natural the way I think, to that peculiarly British Christmas institution, which is to say the--

Look behind you!

Swivel your head around when you read that, did you?

I didn't mean the frightful fiend that trod close behind Coleridge's Ancient Mariner, but rather stage villains who, creeping up behind and about to pounce on their victims, have their evil designs betrayed by a crescendo of shrill screams from children begging the unwary to "Look behind you!"

Yes, December is pantomime time in the old country and once again familiar tales are gracing stages up and down the land.

My favourite panto presents the story of the poor orphan Dick Whittington, who, discouraged and about to leave the capital, hears Bow bells foretelling (I would say foretolling except I have the sense they would chime in merry fashion) he would be mayor of London three times. More precisely, the traditional account has their clamour declaring "Turn again, Whittington, thrice mayor of London". So Dick turns back, remains in London, and in due course his pet cat jumpstarts his owner's fortune with its rat-catching prowess, and Dick does indeed serve three terms as mayor, just as the tintinnabulating bells had prognosticated. Though I sometimes wonder why nobody else heard the same fortune told by their brazen tongues, persistence is certainly a virtue writers should cultivate -- after all, mayor is not that far from Mayer and cats have lived with us for most of our married life.

So somewhere or other in theatre land many old favorites will be presented this very night -- Puss In Boots, Aladdin and His Magic Lamp, Snow White, Mother Goose, Cinderella, Sleeping Beauty, Jack and the Beanstalk -- complete with celebrities playing major roles, lavish costumes, dancers, satirical topical songs, jokes (some over the heads of the younger fry or at last we hope so), slapstick, villains that put Sir Jasper to shame, special effects, and the all important audience participation. Not only screamed advice to the hero or heroine to look behind them but also argumentative parrying with one character or another, yelling Oh no it's not! or Oh yes it is! depending on their statements to the audience. This little bit of freedom to contradict adults must be loved by children, since where else can they indulge in it at such a volume and with social approval to boot?

Is there any other entertainment where the principal boy is always played by a comely young woman in tights and short jacket, much given to slapping her thigh to emphasize her dialogue, and the buffoonish principal dame by a man in billowing dresses made up in eye-aching clashing colours, amazing hats, enormous embonpoint, and wildly over-applied makeup?

Had the amateur productions in which Silva performed been pantomimes, by the time of the closing song, honest Jack would have reappeared possessed of a fortune earned in the Orient, saved the widow's house from foreclosure, dealt severely with the rotten old banker, shoveled a path through the snow, decorated the Christmas tree, located and married poor Nellie, adopted her baby, and run successfully for high office.

May all your endeavors in the new year end as happily!

Jane Finnis on Why She Loves Short Stories

by Jane Finnis

Intro from Mary and Eric: We first met Jane when we both had stories included in Mike Ashley's Mammoth Book of Roman Whodunits, before the first of Jane's Aurelia Marcella novels was published. Ever since that fateful meeting, she has been writing short stories for other peoples' anthologies and has finally published a collection of her own. "I have a specially soft spot for shorter mysteries", she declares, and in this blog she explains why...

One of the most prestigious annual writing competitions has just opened up for submissions for 2021: the Margery Allingham Short Mystery Competition. This is brilliant news for short-fiction writers everywhere; you may be published or not, but as long as your entry is unpublished you can enter it online. The winner gets £500, plus two passes to the 2021 CrimeFest book convention which (fingers crossed) will be in Bristol, UK, next June. If all this makes your little grey cells tingle and your keyboard fingers itch, full details are at https://thecwa.co.uk/debuts/short-story-competition.

Meanwhile, ignore those merchants of doom who regularly predict the demise of the short story. They’re wrong. In books, in magazines, on the Internet, mystery and crime stories of all lengths remain popular, and after all, the basic ingredients are the same whatever the word count. Margery Allingham gave a succinct definition of what those ingredients are, which is quoted each year among the guidelines for the competition she inspired:

“The Mystery remains box-shaped, at once a prison and a refuge. Its four walls are, roughly, a Crime, a Mystery, an Enquiry and a Conclusion with an Element of Satisfaction in it.”

In other words, it’s the puzzle element of a traditional mystery that hooks you. Believable characters, authentic settings...yes, they’re important; but it’s the puzzle, the whodunit and whydunnit, that are crucial, and they are directly in the spotlight in a short story.

Take one of my favourites – one of everyone’s favourites - Sherlock Holmes. Conan Doyle was a master of plotting. Of course the people and places featured in each short story are nicely sketched in with just a few telling details, but It’s the “what-happens-next” factor that’s important. Conan Doyle is superbly economical as he tells the tales. One of the classic examples of this happens in “Silver Blaze”, about a valuable racehorse abducted from its stable at dead of night. Holmes questions everyone at the racing stables, checks motives, formulates theories, and finally points the police inspector (and perhaps the alert reader) to the clinching detail by drawing attention to “the curious incident of the dog in the night-time.” This evokes the reply, “The dog did nothing in the night-time.” “That was the curious incident,” says Holmes. And “brilliant,” say I!

For me, the best thing about writing short stories is that I can let my imagination fly free, more freely than with a longer project because the time and research needed aren’t so overwhelming. A good story is like the fabled magic carpet; it can whisk you away to another reality, a distant place or time. My new anthology contains Roman-era tales, some featuring the innkeeper-sleuth from my novels, but I can steer my magic carpet wherever I fancy. For instance modern tales I’ve had published involve the shady business world of present-day London, and family secrets revealed in a peaceful (?) English country garden.

In my pipeline right now are, besides more Romans, a Cold War spy, and a murderer among settlers in a future colony on Mars. When and where they’ll see the light of day I don’t know yet. In an anthology or a magazine? Or one of them might be my next entry for the Margery Allingham 2021 competition...

Visit Jane's Website: Website: www.janefinnis.com

Review: A Pinch of Pure Cunning by Jane Finnis

Review: A Pinch of Pure Cunning by Jane Finnis

by Mary

A Pinch of Pure Cunning is a collection of short stories by Jane Finnis, author of the popular Aurelia Marcella historical mystery series. Several stories are about Aurelia, a Roman settler in Britannia, who with her sister Albia runs the Oak Tree Mansio on the road to York. The anthology also includes a couple of tales set in Rome itself. Titles are capitalised in my rundown of these diverting stories.

Aurelia relates an incident from the sisters' early days running the Oak Tree. A famous gladiator professionally known as Ferox The Wild Man -- his supporters call him WILD BY NAME, WILD BY NATURE-- arrives with his trainer Durus. They are on the way to games at Eburacum (York) where he intends to wipe the arena floor with the local champion. But Ferox is taken violently ill during the night and his trainer alleges poison is involved. Naturally the inn staff are suspected and Durus threatens to ruin the Oak Tree's reputation. Readers may think they have guessed the culprit -- until they reach the twist at the end of the story.

Aurelia is visited by her old friend Clarilla, sister-housekeeper of the local Chief Town Councillor. It seems some of her personal belongings and valuable pieces of jewelry have disappeared. Her household is harbouring a thief, and she asks Aurelia’s advice on how to find and prove who the culprit is. Aurelia recalls her grandmother's saying that "If the truth is hard to find, remember A PINCH OF PURE CUNNING is worth a box of brute force". And so it turns out. The motive for the thefts was a bit of a surprise although on reflection fitting the culprit.

Early one morning Valens, an officer of the Ninth Legion, arrives in great haste at the Oak Tree, enquiring about THE GOLDEN princess. This is a statue of his mother's favourite mare, intended as a surprise gift for her birthday. It was delivered to the inn the previous afternoon, to be collected this day. But the statue has vanished overnight, despite being locked into a guarded and inaccessible room. Aurelia helps solve the mystery of who was responsible and how the seemingly impossible crime was carried out.

In HIDE AND SEEK, at the court of Nero, Praetorian Guard Marius is pleading for his life. An intercepted letter from his brother predicts that Nero's plan to give a concert in Naples will be disastrous, and warns Marius not to attend. This, to Nero, is high treason. But whispers of a plot to assassinate Nero are already known to the authorities. Marius deduces there is a hidden message in the letter but has only a very short time to find and decode it to clear himself and his brother of capital charges.

THE CLEOPATRA GAME takes place In the rich Roman household of Tadius Sabinus. Rufus, bodyguard to Sabinus, is present at a banquet to celebrate the forthcoming nuptials of Sabinus' brother Marcus, to Egyptian heiress Chloe. She is fascinated by Cleopatra and insists on childishly imitating the queen in everything she does. It's a marriage advantageous to both houses, but Sabinus is not thrilled about it because Chloe humiliates his brother in public and laughs at him in private. At the banquet her play-acting leads to Marcus’ death. A clue from an unexpected quarter points to whodunnit. Another twist ending rounds off the sad tale.

Much-admired former legionary Sergius Fronto, nicknamed THE SINGLE-HANDED SOLDIER after losing his left arm while in service, now sports a wooden replacement. With winter approaching Aurelia gives him work in exchange for his keep until warmer weather arrives and he can move on. When Lady Caelia breaks her journey at the Oak Tree, a valuable piece of her luggage is stolen, and Fronto is suspected. A recent snowfall enables the thief to be easily tracked down, resulting in more than one revelation when he is caught.

As Jane Finnis observes of the times in which these stories are set, "human nature then was much as it is now, including jealousy and courage, love and hate, greed and honour, along with the feeling that justice ought to prevail. Readers of these entertaining stories will enjoy travelling the road to Aurelia's inn in a collection sure to leave them eager to read Jane's novels about Aurelia and the visitors to the Oak Tree.

Ebooks of the collection may be purchased from all the usual sellers and the paperbacks are available from a variety of different bookstores. If US readers have difficulty obtaining the print edition, signed copies are available from Jane's website https://www.janefinnis.com.

Pandemic in the Time of Justinian

by Mary

As we all struggle to cope with the virus our Byzantine mystery Five For Silver, set during the Justinian era pandemic, has sadly become all too timely. Today we wrote about the research for this dark novel on Lois Winston's blog:

A Circumstance Such as has Never Before Been Recorded