The Crime At Black Dudley ~ Margery Allingham

IMG_0251My first encounter with the crime fiction of what is known as the Golden Age came about through a friend of my parents.  She had a full collection of the works of both Agatha Christie and Ngaio Marsh which she was willing to lend me at the rate of two a week.  I was as vociferous a reader then as I am now and two a week seemed a bit parsimonious, but nevertheless I was duly grateful and over the space of a couple of years got to know the likes of Poirot, Miss Marple, Timothy and Tuppence and the redoubtable Roderick Alleyn.  However, as much as my benefactor apparently enjoyed the genre it seemed that her reading had never encompassed the works of Margery Allingham and so it wasn’t until a decade later, when I moved house and found myself in the vicinity of a library which had hung onto its collection of 1920s and 30s crime fiction, that I discovered Albert Campion.

The Crime at Black Dudley is the first of Allingham’s novels about this apparent scion of British nobility, if not of royalty itself.  (As far as I am aware we never actually get to know Campion’s precise antecedents.)  It is also a completely new read for me, not being one of the novels that I had borrowed in that earlier exploration of the world of interwar skullduggery.  And, I have to admit, that it surprised me, Campion being neither at the heart of the story, nor being the character that I thought I knew.

This earliest instalment centres round one George Abbershaw, a pathologist who works for Scotland Yard, and who has been invited by his friend, Wyatt Petrie, to be a member of a weekend house party at Petrie’s home, Black Dudley.  Abbershaw is particularly pleased with the invitation because among the party is one Margaret Oliphant, the woman of his dreams.  However, joy turns to horror when, on their first night, Petrie’s uncle by marriage, Colonel Coombe, is murdered and it becomes apparent that the Colonel’s associates, clearly a very bad lot indeed, are intent on covering up the killing to further their own nefarious ends.  Signalling their intent to keep the members of the house party prisoner until such time as a mysterious missing package has been recovered, they show themselves to be villains of the first water, even stooping as low as to isolate and then violently question a woman.

Onto the stage steps Albert Campion, a member of the house party, despite the fact that no one really knows who invited him or what he’s doing there.  As I remember Campion, albeit from around three decades ago, he always covers his serious intent with a certain about of buffoonery and bravado, but I don’t recall him as coming across as quite as fatuous as he does here.  Nevertheless, it is he who saves the day, even if ultimately it is because he recognises the voice of “Old ‘Guffy’ Randell”, and is thus able to call upon the local hunt to come riding to the rescue.  However, it isn’t Campion who tracks down the murderer.  That falls to Abbershaw, from whose point of view the story is told and who is undoubtedly the main protagonist.  Was Campion intended to be the linchpin of a series at this point?  Or did Allingham invent him for this one book and then realise that she had a character with potential on her hands?  I don’t know.  I shall have to make sure I read the novels in chronological order and give close attention to just how he develops.

This isn’t the greatest novel ever, but it is a first class romp with all the tropes that you would expect from crime fiction of the period, including the dagger that is supposed to bleed again when the murderer touches it, the secret passages that lead to unexpected places and a withered old crone, who exemplifies the appalling class consciousness of the age.  There is also, however, a really interesting discussion going on about the way in which identity can be masked, whether that is in the shape of an actual mask used to disguise a person’s real features, the use of an old chassis covering a new Rolls Royce engine or the adoption of the persona of an idiot to conceal an astute brain and, if truth be told, less than scrupulously honest intentions.  I came to the book intending to read my way through the series bit by bit and, of course, I do know that the novels get stronger, but even if that had not been the case, this indication that Allingham is using the genre to explore the psychological world around her would have been sufficient to entice me further into Albert Campion’s domain.


11 thoughts on “The Crime At Black Dudley ~ Margery Allingham

    1. This was very much more dated than I had anticipated, I have to say but it was difficult to make that clear without giving too much of the plot away. The scene with the hunt is so redolent of upper class 1920s as to almost read like a spoof.


    1. Yes, I think you have to read this with your tongue in your cheek and enjoy it for what it is. If I were to try and bring to it the sort of critical approach that I would apply to modern crime fiction that would not only be pointless but would also be missing the point of reading Golden Age crime in the first place.

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  1. I listened to the audiobook of this one a few months ago. The narrator was clearly going by this book and not some preconceived notion of Campion. The text repeatedly describes Campion’s voice as ‘falsetto’ and that’s exactly how the narrator played it. Not being a big Campion fan, I found it added immensely to the fun – it made him sound a bit like Bertie Wooster on speed. But reviews from dedicated Campionites were considerably less enthusiastic! I keep meaning to listen to a later one to see if the narrator tones the voice down as they go on… 😉


    1. I’ve been listening to a lot more audiobooks recently and that sort of continuity is definitely a problem; do you treat each book on its merits or do you take an over view before you start the series and redict ahead? It is also a problem when the narrator is changed halfway through the series as happens with Elly Griffiths Ruth Galloway novels. Cathbad suffers particularly badly. It’s hard to credit it’s the same person.

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    1. Having only read later Campion novels before I was definitely confused, Harriet. But I will go on through the series if only because I am now fascinated to see what the developmental process is.


  2. I really love Allingham, and even briefly belonged to an Allingham online group (which became inactive), but have reread very few of her books, and discovered that books of hers I never heard of are now published as e-books. A. S. Byatt wrote an intro to the Folio Edition of Traitor’s Purse, and called it the best crime novel ever, if I recall. (You can read Byatt’s intro in The Guardian.) I did reread Traitor’s Purse, and was very impressed.


    1. I’ve just got hold of a copy of ‘Mystery Mile’ which is the next in the series and I’m looking forward to it. It wasn’t that I didn’t enjoy ‘The Crime at Black Dudley’ but that it wasn’t quite what I was expecting. I shall probably work my way slowly through them all over the next couple of years because they are easy to drop into in between rather more demanding reads and so no doubt come to ‘Traitor’s Purse’ eventually. As I very much trust your judgement (except when it comes to Hardy!) I shall look forward to it.


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