The Golden Spiders (Crime Line)

The Golden Spiders

is atypical Stout, atypical Wolfe, and as such I take particular delight in introducing it to both devoted fans and new readers. The novel begins with humor, involves a child, and contains a personal element of vengeance. All rarities.

The opening of a Nero Wolfe novel is usually a set piece, a ritualistic “feather-duster” scene, containing the obligatory paragraphs defining Fritz’s and Theodore’s roles in the Thirty-fifth Street menage as well as a description of the red leather chair and the immense globe in Wolfe’s spacious book-lined office.

As practiced by Rex Stout, the consummate pro, the detective novel generally begins with the client’s initial visit, scheduled well within Wolfe’s carefully prescribed hours. The client sits in the red leather chair. The client may be telling the truth; the client may be lying. If the client has sufficient financial assets, Wolfe takes the case.

The Golden Spiders

starts in the kitchen with a fit of Wolfian petulance brought on by a disagreement over the proper preparation of starlings. Archie, amused by Wolfe’s childish behavior, invites a child, a neighborhood tough who’d never ordinarily be admitted to Wolfe’s presence, much less considered as a client, to join Wolfe at the table, shattering precedent and rules alike.

Archie’s playfulness has terrible consequences.

We accept that the writer of amateur-sleuth detective novels has a built-in credibility problem. Why does our hardworking chef, writer, or actor keep stumbling over those unpleasant corpses? Why doesn’t the chef, writer, or actor behave in a normal fashion, i.e., call the police and leave the investigation to them? It’s less obvious that the writer of the professional detective series has her or his motivational problems as well. How does the detective become personally involved in each case? A fictional detective is not a neurosurgeon, for whom emotional detachment might be considered a plus. If she or he is to grasp and hold the reader, even the most curmudgeonly detective must find a reason beyond the check at the rainbow’s end to pursue a case to its conclusion. Generally, it’s Archie, our Everyman on a good day, who provides this sympathy, this bond. Rarely does Wolfe become engaged, much less enraged, by the crime in question.