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I'm planting trees with my site. Yachts come in many shapes and sizes. But no matter whether it's a small pleasure yacht, a larger party vessel, or a giant ship capable of holding smaller yachts within it, they usually share similar naming styles.

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In addition, I shall be involved in an event focusing on Golden Age detective fiction with a number of lovely colleagues. More details will be available soon. The pandemic has made life difficult for all events organisers - including those of us who are involved with Alibis in the Archive, which will also take virtual form this year, in October. But the efforts that everyone is making to provide entertaining alternatives are admirable, and whilst an online event is not quite the same, it is far, far more enjoyable than sitting at home on one's own thinking about what might have been.

I didn't, however, see the TV version which came along as part of the Ruth Rendell Mysteries anthology series in , and it's taken until the lockdown to repair that omission. The script is by Guy Meredith, and although the decision to turn the story into two episodes of over fifty minutes each mean that there is a bit of padding, overall it's a production which stands the test of time pretty well.

The cast is top-notch - there is even a small part for Idris Elba, playing a young pest controller. Anthony Andrews plays Luke, a handsome canon at a lovely cathedral I gather the production was filmed at Winchester.

His wife has recently died after suffering from cancer, although as the story begins, it seems there is a possibility that she may have been poisoned. We see events through the eyes of Elvira Emily Mortimer , the elder of Luke's two daughters. She and her sister Spinny Daisy Haggard, whose father Piers was the director have a close relationship, and they are devoted to Luke.

When Luke falls for another woman, however played by Helena Michell , tensions mount and it is foreseeable that there will be fatal consequences. This isn't one of Rendell's best-known stories, but it's pretty good and well worth watching.

Hamilton was a Manchester-born writer, broadcaster, and civil servant who served as Labour MP for Blackburn from Her brief Parliamentary career came to an end with her party's political collapse in the general election.

Unlike Wilkinson, who was a politician to her fingertips, she did not return to Westminster. But she turned her knowledge of the political scene to account in her novel. Hamilton was educated at Cambridge and had a varied literary career.

She wrote a book about Greek legends, biographies of women trade unionists and Ramsay MacDonald, anti-war fiction, a book about John Stuart Mill, and much more. Quite a polymath. I don't know why she didn't write more detective fiction. I suspect the simple explanation is probably right - that, like a lot of intellectuals during the Golden Age, she dabbled with the genre without having a passionate commitment to it.

A very good judge strongly recommended Murder in the House of Commons to me, and it is conspicuously well-written. The Westminster setting is used throughout, which makes for a slightly claustrophobic feeling, and the focus is on amateur detective work conducted by a couple of Parliamentarians.

An oddity is that neither the victim nor one of the key characters spends much time on centre stage, and the book is Build Your Own Yacht Online Names very talky. Intriguingly, there is a seal before the solution - a marketing gimmick that Hamish Hamilton had used previously when publishing UK editions of John Dickson Carr's first novels which were Sealed Mysteries.

I don't know if Hamish Hamilton used this device on other books by other British authors. This title is rather a curious choice for the 'sealed mystery' approach, since the whodunit puzzle isn't especially strong. I doubt Mary Agnes Hamilton was much interested in ingenuity for its own sake.

This is an interesting novel in a number of ways, but I don't think that Hamilton was, for all her literary prowess, really a top-flight storyteller. The Division Bell Mystery is less ambitious as a novel, but the story has greater verve. Higgins, published three years earlier in It was his first book, and there are those who think that in his long career he never surpassed it.

The film was directed by Peter Yates, a Briton who had previously directed two other crime films, Robbery very British and Bullitt very American , to great acclaim. He does an equally good job here. Robert Mitchum is at his best in the role of Eddie Coyle. This is not Mitchum at his most menacing, but a rather nuanced performance of a low-level criminal, a gun-runner who works for the Irish Mob in Boston.

He's at risk of going jail, and so he turns informer. But of course, where the Mob are concerned, informing is a very dangerous game. Can he stay one step ahead of the police and the criminals? Coyle supplies a gang of bank robbers with guns, and the robbers use their weapons to take hostages.

We see two robberies in some detail. The first goes to plan, but the second goes awry, with fatal results. This has consequences for the gang members and also for Eddie Coyle.

Coyle is giving information to Dave Foley played by Richard Jordan , a cop who also has a relationship with Dillon Peter Boyle , who runs a bar and is a hit man on the side.

The relationships between the key characters is reveled in laconic dialogue - dialogue-writing was Higgins' great strength, and Paul Monash's script does his book justice. The New York Times said this is a 'good, tough, unsentimental movie', and that sums it up perfectly.

I've been rather consumed in recent weeks by the demands of the novel that I'm writing at present, as well as a series of online lectures and researching future titles for the British Library Crime Classics. This is book 89 in the Crime Classics series who would have thought we'd ever manage to produce so many?

Not me, that's for sure but it's unique - because it isn't a reprint. This is a book that was originally written in the s but which has never been published before. I talked about this book in a blog post last autumn and I must reiterate what a joy it is, after so many years of striving, to see the manuscript I'm familiar with turned into a book on the shelf. It's a different emotion from the experience of seeing one's own book in print, of course, but it still gives me personal pleasure - I feel like a literary detective!

It will be interesting to see what readers make of the story. I'm very encouraged by the positive response of blogger and GA fan Steve Barge, whose views about it happen to be similar to my own.

This is the very first review I've seen. Steve explains and this is entirely understandable that his expectations were modest, but that he thinks it is 'really rather good'. As he says, the characters are interesting and he likes the 'damn fine trick' played by the murderer.

I'm always inclined to look at things from the author's point of view. I'm as sure as I can be that Lorac would have been absolutely thrilled had she been able to conceive of the possibility of her novel finally being brought to public attention more Make Your Own Yacht 60 than sixty years after she wrote it.

It is such a shame when decent work fails to see the light of day. I'm genuinely proud of this particular entry in the series. John Ferguson was a Golden Age writer whose work enjoyed some success in its day but has seldom been discussed in modern times.

He was a Scot who made a remarkable transition in life: he was a railway clerk who became ordained as a clergyman and earned a separate reputation as a crime writer and playwright.

In the field of detective fiction, he was talented enough to be snapped up by Collins Crime Club. His ministry took him far and wide, and a spell in the Channel Islands gave him background material for Death comes to Perigord , which might just be the earliest detective novel to be set in Guernsey.

One of Ferguson's greatest strengths was that he wasn't content to work to a formula, and Death of Mr Dodsley , published in , is a bibliomystery concerned with the murder of a bookseller in his shop on Charing Cross Road.

There's an opening chapter set in the House of Commons, although the bulk of the story concerns the detective efforts of the official police and Ferguson's series detective, the Scottish private detective Francis MacNab. MacNab is a sympathetic character, but we don't learn much about him in any of the books that I've read, and this is rather a pity.

This is a story where, as Ferguson makes clear in a dedicatory preface, the emphasis is on a 'fair play' puzzle. Not for the first time with Ferguson, I felt that the early part of the story was the best, before we get embroiled in the complications of the plot, This is because, although I sense from occasional passages in his fiction that he was very interested in human behaviour, there is a sense of constraint about the writing that keeps one at a distance.

I don't have the same experience with Agatha Christie's books, despite the criticisms so often made of her presentation of her people. Ferguson is, therefore, to some extent a frustrating writer, but Death of Mr Dodsley is nevertheless an interesting example of period detective work. Kate Ellis is a friend of mine whose books I've been reading ever since we met at a crime festival in Manchester, more than twenty years ago. As a Christmas treat, I read her The Burial Circle , which is set over Christmas although thankfully the pandemic doesn't play a part: fiction can be so much more pleasurable than real life!

Afterwards, I started work on a blog post about her work which was interrupted by other projects. Alas, due to my techno-incompetence, this was published incomplete. Now at last I've got round to revising and expanding that post, so apologies if you've read some of this before. Kate contributed an interesting essay on her approach to plotting a crime novel to Howdunit.

She also kindly allowed us to reproduce one of the flow charts see also the photo above which she uses to keep track of her plot. I find it interesting to compare and contrast her methods as a writer with mine and those of Ann Cleeves which I discussed in a recent blog post and the nature of the similarities and differences in our respective storylines, a subject which I've also ruminated on in this blog.

The planning techniques that writers adopt are many and various, even in the case of authors working in the vein of the traditional mystery. Agatha Christie made random notes in an exercise book.

Austin Freeman wrote, as you'd expect from his stories, very neat and meticulous preparatory notes, accompanied by sketches.

Christianna Brand was also a great note-maker. I hope to write more about the methods of both Freeman and Brand in due course. Suffice to say that if I attempted to work from a flow chart, I'd be left with a mass of demented squiggles

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