Home / Restore the Empress of Crime: Dorothy L Sayers

Restore the Empress of Crime: Dorothy L Sayers

Please Share...Print this pageTweet about this on TwitterShare on Facebook0Share on Google+0Pin on Pinterest0Share on Tumblr0Share on StumbleUpon0Share on Reddit0Email this to someone

Three queens reigned over the great age of the English detective novel – Agatha Christie, Dorothy L Sayers and Margery Allingham. If they’d been served at a dinner party, Allingham would have been the clear, carefully strained soup, Sayers the rich and complex game pie and Christie the comforting nursery pudding. It’s thus perhaps not surprising that Christie has continued her reign over the genre, while Sayers has been reduced to the retired queen mother in a nunnery, venerated still by a small coterie of loyalists, and Allingham is a mere ghost of memory.

Yet Sayers deserves to be restored to her throne, to be read and enjoyed by many, for her novels have a richness of texture, a complexity of character and exploration of still-current themes that the sweet, unchallenging Christie utterly lacks.

Sayers fans can be divided into two: the first group is those who prefer Busman’s Honeymoon, in which Sayers’ two great characters, the mystery writer Harriet Vane and the diplomat/detective Lord Peter Wimsey, finally get hitched. And the epistolary appearance of Lord Peter’s mother&#8212the apparently fluttery but always acute duchess, is certainly a Sayers highlight. But that is for the romantics&#8212it has two minds finding perfect accord.

Those of a less romantic bent, among whom I would include myself, prefer Gaudy Night, and this is the novel to which I would direct the Sayers neophyte. Here Sayers is wrestling with the question&#8212new in the 1930s, but still, astonishingly, current today, of whether it is right for a woman to chose profession over domesticity, and whether she should put her ethics and integrity first or always, as politicians’ wives still so often seem to, “stand by her man”, whatever the personal cost.

It is set in a fictitious women’s college in a wholly real Oxford, where a poison pen is causing increasing alarm and distress among students and staff. What the former don’t know is that the offender must be among the latter, and Harriet is forced to look hard at each of the women who have chosen the celibate and professional path, and ask: why?

Some delightful, and delightfully awful, fringe characters also pop into this novel. My personal favourite is the dreadful Miss Schuster-Slatt, a loud American proponent of eugenics and middle-class brood-mare mothers. You get the feeling, however, that Sayers’ favourite might have been the delightful jolly historian, Phoebe Tucker, married to an archaeologist, who has managed the perfect blend of partnership, personal and professional.

Lord Peter, that foppish, high-bred but utterly moral aristocrat, is in the background for much of this book, but brings together the strings of plot and theme in a dramatic denouncement, at which point Harriet has to decide which of the paths she has seen laid out is hers.

The writing is rich – some might say too rich for modern palettes – quotations and allusions to the Great White Males of English letters, to Greek philosophers and Latin poets, fly thick and fast. My 1936 edition even boasts touches of Greek, in the original script. But this is never gratuitous, the references always apt&#8212indeed you might say, Sayers is an original “rapper”, drawing in, melding and remaking, well-worn tracks.

If you want to fill in an hour’s train journey after a tiring day, Christie’s lightweight predictability will meet the bill. But for a satisfying, enriching evening in a cultivated world, Sayers must be the choice.
Edited: PC

Powered by

About Natalie Bennett

Natalie blogs at Philobiblon, on books, history and all things feminist. In her public life she's the leader of the Green Party of England and Wales.
  • I haven’t read these Dorothy Sayers, but have read some Lord Peter Whimsey and always find him amusing, interesting and, even, whimsical. The butler, Bunter, is himself a great treat. The evocation of the times between the “great wars” is also very fine.

    I have still missed too many of them, obviously, even if I count the excellent radio plays from Sayer’s novels on BBC radio (NPR here) some years ago.

    A good reminder, your post.

  • viking mother

    I reread her mystery books regularly. This great scholar writes entertaining books that are only enriched by little bits of Sayers’ great learning.

    Just reread “Gaudy Night” and would love a fully annotated version where the quotes are translated & explained for those of us (me) who are not up to her Renaissance Woman level of knowledge.

    Her non Peter Wimsey mystery “The Documents in the Case” book is about a truly postmodern man (1920’s version) who must decide whether he will stay true to his “anti-principles” or do the moral thing and turn in the murderer. Thus, the reluctant hero is almost as modern as his great-grandchildren who are awash in post modern “no rules – except what we make up” ideology.

    People may not also realize – that (at least in the US) Sayers famous essay “Recovering the Lost Tools of Learning” (available on the Net) is influencing some who choose classical education, religious education and/or home school education for their child. I.e. they want their child to know how to reason logically. Another almost lost art today.

  • Actually, the ‘triumvirate’ of Golden Age English lady detective novelists is usually considered to number four, with the addition of Ngaio Marsh (who was actually a New Zealander). Marsh’s protagonist was the somewhat fanciful aristocratic police inspector Roderick Alleyn. (A fifth, Gladys Mitchell, is sometimes added, although she wasn’t a close contemporary of the others.)

    Of the four, Sayers was easily the most accomplished novelist, and Christie deserves her place for her absolute mastery of the craft of mystery plotting. Predictable she is not.

    The other two trail some way behind, although I must admit I haven’t read much of their work. Allingham’s The Tiger in the Smoke, though, is a well-crafted and atmospheric psychological mystery.

    I don’t agree that the four are sinking into obscurity with the exception of Christie. All these authors are still in print, can be found quite easily in a public library and are frequently adapted for TV and film. Christie does remain prominent, of course, but mostly because she was so phenomenally prolific – a publisher’s dream.

    Interestingly – as Natalie touches upon – some of their best work is that which features their regular protagonists only peripherally, like Sayers’ Gaudy Night (unusual among Golden Age detective fiction in that the mystery does not involve homicide), Christie’s Roger Ackroyd and Allingham’s aforementioned The Tiger in the Smoke.