On home ground

Neil Clark on Cyril Hare’s Tragedy at Law, first published in 1942.

‘The best detective story that has appeared for some time and at the end of the year will tundoubtedly stand as one of the class leaders in the English school’ was how The Spectator described Cyril Hare’s Tragedy at Law, when it first appeared in 1942. ‘A detective masterpiece’ was the New Statesman’s verdict. Others were even more generous in their praise: the crime writer and critic, Julian Symons, included the book in his survey of ‘best, anywhere, ever’.

Tragedy at Law is a detective story like no other. There can’t be any other murder mystery in which the killer strikes so late — on the 221st page out of 252. In fact, to label Tragedy at Law a ‘detective story’ does it an injustice. It’s a wonderfully well-crafted and brilliantly characterised novel which just happens to have a crime in it. Agatha Christie presents great puzzles, but if you don’t like puzzle-solving, her books have relatively little to offer. Hare’s work, by contrast, while featuring ingenious mysteries, can be read even by those who don’t particularly care for the genre: even if Judge Barber didn’t get stabbed to death outside the Old Bailey in chapter 21, Tragedy at Law would still be a cracking read.

The book is set in that strange, twilight world of the autumn of 1939 — a world of blackouts but no bombs — and portrays in great detail wartime life on the Southern Circuit, with its curtailed pomp and ceremony, but far from curtailed rivalries and jealousies.

It was a world that Hare — or rather Alfred Gordon Clark — knew well. Clark was born into a family with strong legal traditions and after schooldays at Rugby (where he said he was ‘starved of food and crammed with learning’) and three years at Oxford (where he obtained a first in History), he made a beeline for the Bar.