The Queens of Crime

“Words float over my head like clouds—‘bobbed hair’ and ‘full-time nurse’ and ‘stockings’—and I want to reach out and grab them, make them solid on the page. I resist the urge to jot all these tidbits down in my notebook.”

The novel suggests that Dorothy’s career as a mystery writer makes her uniquely suited to solving the real-life mystery of May Daniels’s disappearance. Here, Dorothy visualizes her literary depiction of May Daniels, which allows her to see May as a full human, not just a victim. The repeated reference to writing in this passage reflects how Dorothy’s career influences her worldview.

“I meticulously map out the method, the motive, and the murderer. Then I layer in clues and red herrings before the details about the suspects and the victim begin to creep into my mind. Only at that point do the characters begin to take shape.”

Each of the five members of the Queens of Crime has a different writing process, which their unique investigative styles reflect. Here, Agatha Christie explains that she prioritizes developing the plot details of a mystery over character development. This style is evident in Agatha’s attention to detail during the investigation into May Daniels’s disappearance.

“Nearly two million men died in the war, and this means that prospective husbands were in short supply for years to come. Many unmarried women have had to support themselves in perpetuity, almost always at low-paying jobs. Rather than compassion, however, these ‘surplus’ women elicit scorn.”

Misogyny in the early 20th century is an important theme in the novel as the protagonists and the victims they investigate struggle to make their way in a male-dominated society. This passage, which underscores the theme of Challenges Facing Women in 20th-Century Europe, suggests the postwar period was difficult for young women, who were forced to provide for themselves in a society that resented them for having jobs at all. Dorothy’s empathy for young women makes her especially suited for the investigation.

“Ngaio’s eyes drift away from me as if she’s not listening, but I see the bloom of pink on her cheeks. I purposely did not single her out by name because resilience, flexibility, and care are traits we all need as we pursue May’s killer.”

The novel portrays mystery writer Dorothy Sayers as a thoughtful, considerate person whose natural leadership skills allow her to build a coalition of female writers. This passage suggests that the group’s strength lies in their focus on traditionally feminine traits like flexibility and care.

“It’s as if May didn’t want Celia to witness the hat purchase. Why didn’t the authorities make more of a fuss over this strange behavior? Most likely, they chalked it up to the frivolous nature and changeable mind of a young lady; that’s why the police report only makes fleeting reference to the girls’ visit to the millinery. The investigation has been underwhelming at best.”

The novel suggests that, as women, Dorothy and the other Queens of Crime have unique investigative abilities that their male counterparts lack. Because Dorothy takes the young women she speaks to seriously as people, she can recount details that male detectives consider unimportant.

“The notion of the women as drug dealers is laughable. To me, a syringe of morphine discovered near a dead body is an example of the most obvious technique employed by mystery authors: a red herring.”

The novel often contrasts the investigative techniques of reporters like Mac Fleming and mystery writers like his wife, Dorothy Sayers. This passage suggests that, while reporters pursue sensationalized rumors about the nurses as drug dealers, mystery writers recognize attempts to lead investigators away from the truth.

“‘It’s a way for the police to excuse their failure in solving May’s disappearance and finding her killer—by laying the blame at her feet,’ I maintain. ‘The drug angle provides a convenient story.’”

Dorothy and the other Queens of Crime are openly skeptical of police in France and England investigating May’s disappearance. This passage, which alludes to the theme of Problems in the Criminal Justice System, suggests that the police are pinning the murder on the drug trade because they believe the public will be more willing to excuse a failed investigation if the victim used drugs.

“This is the stuff of their very own novels—stories that have been labeled far-fetched and outlandish by critics. Well-written, brilliant books that have been denied reviews by The Guardian and The Times because they are supposedly too commercial, too pulpy. Narratives now come to life.”

This passage acknowledges the interplay between fact and fiction by suggesting that the real-life disappearance of May Daniels through disguise would be considered unrealistic if it had occurred in the novel. Ironically, the novels by Dorothy and the other Queens of Crime may have inspired May’s decision to disguise herself.

“Did the gendarmes not think the observations of Madame Brat, the millinery salesgirl, or this shopkeeper worth recording? Interesting that these everyday women have been devalued or ignored by the authorities, even though they see and hear and know more than anyone believes possible.”

This passage thematically highlights the association between two of the novel’s themes, Problems in the Criminal Justice System and Challenges Facing Women in 20th-Century Europe. Dorothy suggests that the French police are missing crucial pieces of information because they refuse to take working-class women seriously. This misogynistic attitude contributes to the systemic unfair treatment of women.

“Suddenly, I wonder: Have I ever had my detectives experience these emotions as they study the belongings of the victim? I fear I’ve created cold and calculating investigators who don’t recognize the humanity of the deceased and feel a sense of loss at their death.”

The novel suggests that Dorothy’s experience investigating the disappearance of May Daniels improved her understanding of the intricacies of producing mystery fiction. In this passage, Dorothy realizes that the detectives in her novels lack the kind of emotional connection with their victims that she feels with May.

“His coverage—capitalizing on the discovery of the needle near the body—had been terribly upsetting. I’d felt riven with disloyalty to the Queens […] And truth be told, I don’t like thinking about my husband in a negative light.”

Dorothy includes her husband in her criticism of the sensationalistic media coverage of May’s disappearance. This passage, in which she directly criticizes him, acknowledges that Mac’s willingness to engage in this type of reporting is contrary to Dorothy’s moral code.

“Am I a bit wary thanks to the rumors that her aristocratic detective, Albert Campion, was created as a parody of my Wimsey? Or is it because she seems the sort of eager, stylish young woman who might have rejected me at university?”

As the novel progresses, the distinctions between the real-life writers in the Queens of Crime and their fictional detectives start to blur. In this passage, the suggestion that Margery Allingham’s fictional detective is a parody of Dorothy’s character Lord Peter Wimsey mirrors Dorothy’s fear that Margery is secretly making fun of her. The real-life tension between the authors mirrors the tension between the fictional characters.

“Money and land had gone hand in hand with title and rank since time immemorial, but taxes and death and the economic depression have eroded the status quo.”

The novel takes place in 1931, during the interwar period, in which European culture changed dramatically. Here, Dorothy notes that the loss of life during the war and the economic depression that followed led to dramatic social changes, enabling common people to join the upper ranks of English society. This passage reflects the novel’s thematic concern with Class Expectations in British Culture and the tension among classes.

“We’ve both experienced that golden moment when all the elements of the story—character, setting, themes, and plot—coalesce into a shining, unbroken whole. Capturing that elusive moment is why we write. ‘We will do that again here. Not for ourselves and not for our stories. We will do it for May.’”

The novel repeatedly suggests that Dorothy’s skills as a professional novelist are useful in her amateur attempts to solve a mystery. In this passage, Dorothy notes that the patterns of narrative thinking that guide her writing allow her to see all strands of the mystery at once. Her ability to weave together fictional mysteries increases Dorothy’s confidence that she can uncover the details of May’s disappearance.

“They have every right to be angry, I think. I should never have approached Louis Williams without the group’s consensus. He’s the main suspect, after all. It doesn’t matter that Agatha wasn’t miffed. It doesn’t matter that Easter weekend delayed my informing them by several days […] What matters is that I broke their trust.”

The newly formed Queens of Crime club is founded on principles of egalitarianism and justice, based on their exclusion from the all-male Detection Club. In this passage, the other women grow angry when they learn that Dorothy and Agatha pursued a theory without discussing it with them. Dorothy acknowledges that the real problem is that they broke lines of communication.

“I cannot do any of those things as his mother—not without damning his reputation and ruining my ability to earn a living for us both. An illegitimate pregnancy is a stain that would never, ever fade.”

This passage underscores two of the novel’s themes: Class Expectations in British Culture and Challenges Facing Women in 20th-Century Europe. In addition, the passage implies that Dorothy’s decision to give up her son, John (who was born out of wedlock after his father abandoned her) was rooted in her awareness of the expectations of her class. The fact that class expectations can dictate decisions in this way reflects the importance of class in British culture at that time and how this often affected women in profound ways.

“So missing young women are either labeled surplus and disregarded or labeled whores and disregarded?”

In the novel’s setting, unique problems face women in the criminal justice system. A society that devalues single working women dismisses May Daniels as a “surplus woman” and sexualizes Leonora Denning as a loose woman who ran away with her boyfriend. Both stories are designed to absolve the police of the responsibility to investigate the disappearances, thematically highlighting both Challenges Facing Women in 20th-Century Europe and Problems in the Criminal Justice System.

“Reaching into the depths of my handbag, I place one of the calling cards I took from the sisters’ Dollis Hills home. ‘My card,’ I announce, channeling Emma’s imperiousness as I slide Mrs. Lloyd’s card across the desk.”

As the novel progresses, the women become more aggressive in their investigation, blurring the differences between themselves and their fictional characters. In this passage, Dorothy’s decision to impersonate a victim’s family suggests that she has begun to think of herself as a detective rather than a private citizen.

“Without asking again, Margery places her hand over mine. Together, we turn the key to the right—hard. And the lock springs open.”

As the novel progresses, Dorothy becomes more dependent on the other Queens of Crime, revealing her vulnerabilities to them. Here, the sticky lock on May’s luggage locker symbolizes their teamwork as Dorothy can’t open it on her own.

“I’m not seeking more apologies, only the somber demeanor May deserves. No more grabbing, as if her testament is a prize for finishing first rather than a legacy to preserve and protect.”

Although the women initially pursue May’s disappearance as a way to prove themselves, Dorothy becomes emotionally attached to May. In this passage, Dorothy chastises the others for treating the case as a game or competition rather than a serious attempt to get justice for May.

“They’d asked themselves, What would Dorothy do? Apparently, the way I’d handle this situation is not to wait around for the scales of justice but rather to lay a trap. They are correct that Harriet Vane would take this tack, and I consider that the highest compliment the Queens could give me.”

Dorothy frequently compares herself and the other Queens of Crime to the fictional detectives in their novels. Although she repeatedly insists that she isn’t a detective, this passage suggests that she sees her comparison to Harriet Vane as a compliment and aspires to be like her.

“You were raised at a time when some women had the right to vote and had the ability, albeit limited, to carve out independent lives, even if that garnered them the ‘surplus’ label. I had no choices; my era was incalculably harder for women and the choices far narrower. In fact, your path has been paved by women like me.”

In this passage, Emma Orczy argues that her young adulthood in the late 1800s was significantly more difficult for women than Ngaio Marsh’s experience in the early 1900s. She argues that the sacrifices of her generation enabled social changes that helped the next generation of women succeed. Despite Emma’s belief that things are better, the novel suggests that the early 20th century posed significant challenges for women.

“Had I envisioned fist thumping denials that give way to a confession? Perhaps I hoped for tears of remorse? If this were one of my novels, I’d probably have them do all three in quick succession.”

As she gets closer to solving the mystery, Dorothy repeatedly refers to the conventions of mystery fiction, including her novels. In this passage, she acknowledges that a speedy confession and distribution of justice are unlikely outside of fiction. Ironically, this is exactly how the novel (itself a work of fiction) ends.