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Seymour Merriman would not have even imagined that a little bit of help from strangers would catapult him into the world of crime syndicate, spanning two continents. He had only followed Lorry Number 3 in the hopes of getting some petrol for his bike. But that ended up with him noticing that the number plates had been changed! Why were the number plates changed? Who were these people whom Seymour had inadvertently met?
Reproduction of the original: The Jack-Knife Man by Ellis Parker Butler
From the Collins Crime Club archive, the third standalone novel by Freeman Wills Crofts, dubbed 'The King of Detective Story Writers'. Seymour Merriman's holiday in France comes to an abrupt halt when his motorcycle starts leaking petrol. Following a lorry to find fuel, he discovers that it belongs to an English company making timber pit-props for coal mines back home. His suspicions of illegal activity are aroused when he sees the exact same lorry with a different number plate - and confirmed later with the shocking discovery of a body. What began as amateur detective work ends up as a job for Inspector Willis of Scotland Yard, a job requiring tenacity, ingenuity and guile . . . Freeman Wills Crofts' transition from civil engineer on the Irish railways to world-renowned master of the detective mystery began with The Cask when he was fully 40 years old; but it was his third novel, the baffling The Pit-Prop Syndicate, that was singled out by his editors in 1930 as the first for inclusion in Collins' prestigious new series of reprints 'for crime connoisseurs'. This Detective Club classic is introduced by John Curran, author of The Hooded Gunman, and includes the bonus of an exclusive short story by Crofts, 'Danger in Shroude Valley'.
In 1972, in an attempt to elevate the stature of the "crime novel," influential crime writer and critic Julian Symons cast numerous Golden Age detective fiction writers into literary perdition as "Humdrums," condemning their focus on puzzle plots over stylish writing and explorations of character, setting and theme. This volume explores the works of three prominent British "Humdrums"--Cecil John Charles Street, Freeman Wills Crofts, and Alfred Walter Stewart--revealing their work to be more complex, as puzzles and as social documents, than Symons allowed. By championing the intrinsic merit of these mystery writers, the study demonstrates that reintegrating the "Humdrums" into mystery genre studies provides a fuller understanding of the Golden Age of detective fiction and its aftermath.