The Silk Stocking Murders
A classic Golden Age crime novel, and one of the first to feature a serial killer.Investigating the disappearance of a vicar’s daughter in London, the popular novelist and amateur detective Roger Sheringham is shocked to discover that the girl is already dead, found hanging from a screw by her own silk stocking. Reports of similar deaths across the capital strengthen his conviction that this is no suicide cult but the work of a homicidal maniac out for vengeance – a desperate situation requiring desperate measures.Having established Roger Sheringham as a brilliant but headstrong young sleuth who frequently made mistakes, trusted the wrong people and imbibed considerable liquid refreshment, Anthony Berkeley took his controversial character into much darker territory with The Silk Stocking Murders, a sensational novel about gruesome serial killings by an apparent psychopath bent on targeting vulnerable young women.
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‘THE DETECTIVE STORY CLUB is a clearing house for the best detective and mystery stories chosen for you by a select committee of experts. Only the most ingenious crime stories will be published under the THE DETECTIVE STORY CLUB imprint. A special distinguishing stamp appears on the wrapper and title page of every THE DETECTIVE STORY CLUB book—the Man with the Gun. Always look for the Man with the Gun when buying a Crime book.’
Wm. Collins Sons & Co. Ltd., 1929
Now the Man with the Gun is back in this series of Collins Crime Club reprints, and with him the chance to experience the classic books that influenced the Golden Age of crime fiction.
Published by COLLINS CRIME CLUB
An imprint of HarperCollinsPublishers Ltd 1 London Bridge Street London SE1 9GF
First published in Great Britain by The Crime Club by W. Collins Sons & Co. Ltd 1923
Copyright © Estate of Anthony Berkeley 1928
Introduction © Tony Medawar 2017
Cover design © HarperCollinsPublishers Ltd 1928, 2017
A catalogue copy of this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
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Source ISBN: 9780008216399
Ebook Edition © February 2017 ISBN: 9780008216405
Version: 2016-12-28
Contents
III. MISS CARRUTHERS IS DRAMATIC
V. ENTER CHIEF-INSPECTOR MORESBY
VI. DETECTIVE SHERINGHAM, OF SCOTLAND YARD
VII. GETTING TO GRIPS WITH THE CASE
VIII. A VISITOR TO SCOTLAND YARD
XIV. DETECTIVE SHERINGHAM SHINES
XVII. AN UNOFFICIAL COMBINATION
ANTHONY BERKELEY COX (1893–1971) was a versatile author who wrote under several names. Under his real name, he wrote humorous novels, political commentary and even a comic opera. As A. Monmouth Platts, he wrote a light-hearted thriller involving a vanishing debutante. As Francis Iles, he wrote the groundbreaking psychological crime novels Malice Aforethought (1931) and Before the Fact (1932). And, as Anthony Berkeley, he wrote 14 classic detective stories, many of which feature Roger Sheringham, an amateur investigator who works sometimes with—and sometimes against—Chief Inspector Moresby of Scotland Yard.
In some senses, Anthony Berkeley was Roger Sheringham; at the very least the two have much in common. Roger, like his creator, was the son of a doctor and ‘born in a small English provincial town’. Both went to public school and then to Oxford, where Berkeley achieved a Third in Classics and Roger a Second in Classics and History. Both served in the First World War: Berkeley was invalided out of the army with his health permanently impaired, while Roger was ‘wounded twice, not very seriously’. Roger became a bestseller with his first novel, as did Berkeley, and both men spoke disparagingly of their own fiction while being intolerant of others’ criticism. Against this background, Berkeley’s comment that Sheringham was ‘founded on an offensive person I once knew’ is likely to have been an example of the writer’s often-noted peculiar sense of humour.
Humour, and above all ingenuity, are the hallmark of Berkeley’s crime fiction. While many of his contemporaries concentrated on finding ever more improbable means of dispatching victims and ever more implausible means of establishing an alibi, Berkeley focused on turning established conventions of the crime and mystery genre upside down. Thus the explanation of the locked room in Berkeley’s first Sheringham mystery, The Layton Court Mystery (1925), is absurdly straightforward. In another novel, the official detective is right while the amateur sleuth is wrong. In another, the last person known to have seen the victim alive is, after all, the murderer. Above all, facts uncovered by any of Berkeley’s detectives are almost always capable of more than one explanation and the first deductions they draw are rarely entirely correct. In this respect, Berkeley clearly took some of his inspiration from certain historical crimes, particularly those whose solution has never been clear-cut and where the facts, such as there are, routinely offer more than one possible explanation.
