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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.
Collins Crime Club
an imprint of
HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
First published by Covici-Friede, New York 1932
‘John Archer’s Nose’ first published in The Metropolitan by Meeks Publishing Co. 1935 Introduction first published by Arno Press Inc. 1971
First edition cover art by Charles H. Alston 1932
Cover layout design © HarperCollinsPublishers Ltd 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: 9780008216450
Ebook Edition © February 2017 ISBN: 9780008216467
Version: 2016-11-18
Contents
John Archer’s Nose
THE CONJURE-MAN DIES is, first and foremost, highly readable, wholly entertaining.
This should go without saying, since the book is a mystery novel of merit, and the sole function of any mystery story is to entertain. Of all types of fiction, it is probably the least pretentious, which is all in its favour at a time when the novel is so often used by authors as sugar coating for indigestible messes of philosophy or polemics calculated to make the reading of fiction a duty rather than a pleasure. Or for self-indulgent exercises in Beautiful Writing by poets manqués which make it neither a duty nor a pleasure.
This is not to deny that the formal mystery story does have its limitations, nor that too many of its practitioners, adopting these limitations as a rule book, tend to turn out a sort of mechanically contrived product, one cheapjack job after another rolling off the production line, each similar to the other beneath its coat of paint.
But it is a fact that a writer of authentic talent can and will create within the genre a novel which, while staying in bounds, offers a good example of that talent. Rudolph Fisher was such a writer, and the one mystery novel he wrote, The Conjure-Man Dies, originally published in 1932, offers striking evidence of it, especially when viewed in the light