Inspector Charlesworth, an up-and-comer on the Scotland Yard force, is known for having not just a keen eye for clues, but also a bright eye for the charms of women. With his latest case, though, he encounters a more concentrated dose of feminine pulchritude than he might ever have wished for. A murder has occurred at Christophe et Cie, an exclusive Regent Street dress shop, and when Charlesworth arrives there and starts looking for suspects, what awaits him is a bewitching retinue of British lovelies.
Death in High Heals joins the noble tradition of English detective novels that exploits the array of customs, personalities, and relationships that converge inside a certain kind of workplace. These tales, which include such classics as Murder Must Advertise (by Dorothy Sayers) and Smallbone Deceased (by Michael Gilbert), are typically set in small firms within the big city that is London. Whether the scene of the crime is an advertising agency, a law office, or a vendor of women’s apparel, it will have attributes that well serve a writer who doesn’t mind working in miniature: an array of passions, both overt and covert, that might inspire a zeal to kill; a tightly circumscribed physical space in which comings and goings are easy to track; a set of work routines that provide a sleuth with plenty of investigative fodder. In this instance, the commercial setting gives Brand a nice, compact bottle in which to construct her intricate little ship of a novel.
In its early and middle sections, the novel labors under the burden of featuring too many characters. But the resulting assortment of permutations provides Brand with the material that she needs to generate a satisfying denouement that involves multiple solutions. This work, the author’s début, marks an apt launch for a career that would reach the apex of what detective fiction can offer. Despite a few rough spots at the level of execution, Brand here shows her knack for blending a formal crime puzzle with a fine-tuned exploration of social mores and individuals manners.
[ADDENDUM: Curt Evans has written a sharp, informative review of this book. He notes, for example, the spirit of unembarrassed candor—somewhat unusual for prewar popular fiction of this kind—that Brand brings to her treatment of both female sexuality and male homosexuality. Her depiction of an obviously gay character has a sniggering, mildly homophobic tone, but that flaw seems less notable than the matter-of-fact way that she recounts the details of his romantic life. All in all, High Heels has a modern feel to it that trumps the dated quality of certain plot details.]