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FEW detective novels published during ‘the Golden Age of Murder’ between the two world wars were as eagerly anticipated by crime fiction enthusiasts as Trent’s Own Case. The book first appeared in 1936, and within months its publishers Constable felt able to boast that it was the best crime novel of the year—quite a claim given that the competition included Agatha Christie’s The ABC Murders, one of the enduring classics of the genre. Yet despite its initial success, the book has long been out of print.

Edmund Clerihew Bentley’s first novel, Trent’s Last Case (known as The Woman in Black in the US) had been published almost a quarter of a century earlier, in 1913. A journalist, Bentley (1875–1956) had been struck by the thought ‘that it would be a good idea to write a detective story of a new sort’. Although he admired the Sherlock Holmes stories, he was sceptical about the concept of the Great Detective, and soon ‘the most pleasing notion of all came to me: the notion of making the hero’s hard-won and obviously correct solution of the mystery turn out to be completely wrong. Why not show up the infallibility of the Holmesian method?’ The detective who proved all too human and error-prone was Philip Trent, a gentlemanly artist with a taste for amateur sleuthing. As the title of that first book suggests, Bentley had no thought of creating what is now known as a ‘series character’.

But Fate often conspires to defeat an author’s intentions. Trent’s Last Case was so well-written, and its plot twists so appealing, that people took it at face value as a highly entertaining country house murder mystery rather than as a parody. It became a best-seller, and was filmed. The legendary thriller writer Edgar Wallace hailed the book as ‘a masterpiece’, while Dean Inge, a prominent cleric and avid crime fiction fan, said it was ‘the best detective story I ever read’. After the First World War, when ingenious mystery novels packed with suspects, clues, red herrings and twists became all the rage, Bentley’s book inspired a new generation of writers, including Agatha Christie, Dorothy L. Sayers and Anthony Berkeley.

When Berkeley founded the Detection Club, a social network for leading detective writers, in 1930, Bentley’s lifelong friend G.K. Chesterton became the Club’s first President and Bentley was invited to become a founder member. Although he’d shown little appetite for building on the remarkable success of his debut, younger writers whom he’d influenced held him in high regard, and possibly it was encouragement from fellow Detection Club members that then helped to persuade Bentley to revive Philip Trent in a sequel.

Trent’s Own Case was, however, a collaborative work, and the person who did most to urge Bentley to return to the fray was his co-author, Herbert Warner Allen (1881–1968), a wine expert and occasional crime writer. It seems likely that the majority of the writing was done by Bentley, although Trent was not the only recurring character. Warner Allen’s own creation, the wine merchant William Clerihew, had appeared in ‘Tokay of the Comet Year’, a short story published in 1930, and also in the book Mr Clerihew: Wine Merchant three years later. Here a champagne cork supplies a clue which is discussed between Trent and Clerihew in one of the most appealing scenes in the book. The Clerihew name was a hat-tip to Bentley, who had, long before, devised the humorous four-line verse form known as the clerihew.

Trent’s Own Case concerns Trent’s investigation into the death of a philanthropist whose generosity towards charitable causes masks a deeply unattractive personality. The story is told in a leisurely, discursive style, but the writing offers a variety of incidental pleasures, and Trent’s return to the detection game after an extended absence is deftly explained:

‘It was long enough since he had resolved to have no more to do, in a quasi-professional way, with problems of crime. But the murder of a man whom he had known, and who had aroused his interest as a human curiosity, could not be disregarded; and the utterly unexpected appearance of an old friend in the character of the self-confessed criminal had given the keenest edge to Trent’s reviving taste for that grimly fascinating business.’

Writing to ‘Jack’ Bentley (as he was known to his friends) on 17 April 1936, before the book was published, Dorothy L. Sayers was rhapsodic: ‘I was just savouring the way the story was told and submitting to the spell of beautiful writing … nothing about a book is so unmistakeable and irreplaceable as the stamp of a cultured mind … all your figures get cheerfully up and walk out of the tapestry and talk and eat and move about in three dimensions, as if it was the simplest matter in the world. It’s not, of course, but you have the enormous advantage … of knowing, in the fullest sense of the words, how to read and write.’

The book’s publication, by Constable and Company, was celebrated at a private gathering, ‘The Trent Dinner’, on 21 May 1936. Most of the guests were members of the Detection Club: Sayers, Henry Wade, Freeman Wills Crofts, Milward Kennedy and Nicholas Blake. The novelist Frank Swinnerton, who was quoted on the back cover of the dust jacket as saying that Trent’s Last Case was the finest long detective story ever written, was also present; so were the publisher Michael Sadleir and his secretary, Martha Smith. But Chesterton, whom Bentley had met when they were boys at St Paul’s School, was missing; his health had given way, and he died on 14 June.

Bentley succeeded Chesterton as President of the Detection Club and, having written a handful of short stories about Trent more than two decades earlier, produced several more, which were gathered in Trent Intervenes and published by Thomas Nelson in 1938; Constable meanwhile published Warner Allen’s new murder story The Uncounted Hour. The Second World War put an end to Trent’s career once and for all, and although Bentley published one post-war thriller, Elephant’s Work (1950), it was not a success. His health declined, and he gave up the Presidency of the Detection Club in favour of Sayers. After the war, Warner Allen became a good friend of T.S. Eliot, despite Eliot’s decision to reject one of his thrillers: ‘The plot is extremely ingenious and involved, but I think that it moves too slowly, and especially that it is very slow indeed in starting.’ In his later years, Warner Allen’s publications mostly concerned wine.

The critics were kind to Trent’s Own Case. Torquemada, the Observer’s influential crime reviewer, was lavish in his praise, as were Milward Kennedy in the Sunday Times and Anthony Berkeley (under the name Francis Iles) in the Daily Telegraph. Later, the often acerbic Jacques Barzun and Wendell Hertig Taylor said in A Catalogue of Crime: ‘The problem is gripping and its solution good solid work’, and reckoned that it did not fall too far short of its legendary predecessor. In time, however, a reaction set in, which perhaps explains why the book has been absent from the shelves for so long. Bentley’s son Nicolas, a distinguished artist and himself an occasional crime writer, regretted that his father had allowed Warner Allen to talk him into producing the sequel. Inevitably, the story could hardly match Trent’s Last Case for originality or impact—very few books could. However, republication in the Detective Story Club now gives twenty-first century readers a welcome chance to judge this novel on its own merits.

MARTIN EDWARDS

January 2017