The Golden Spiders (Crime Line)

Rex Stout

The Golden Spiders

Introduction

My library owes no debt to Mr. Dewey’s decimals, none to alphabetical order. The Nero Wolfe novels are shelved among “books of comfort,” which I loosely define as novels riveting enough to hold my attention in the dreaded dentist’s chair, yet never filled with onstage gore. Reading a Nero Wolfe is akin to visiting the home of an old friend or returning to the same inn on Cape Cod each year, nodding in delight at the familiar star-patterned quilt on the same canopied bed in the usual room, finding the idyllic view from the patio unchanged, unspoiled.

During stressful times I’ve devoured the Wolfe novels, charging so briskly through the canon that many of the titles seem interchangeable. Caught without reading material in an airport, I have, more than once, purchased a title I already own, only to discover the error at ten thousand feet. I’ll cheerfully reread a Wolfe novel for the fourth or fifth time rather than resort to an airline magazine.

What should the reader expect from a Nero Wolfe novel-besides superb plotting, well-developed main characters, and crisp prose?

A quick summary of the house rules:

At 325 West Thirty-fifth Street, Wolfe devotes the hours of 9 to 11 a.m. and 4 to 6 p.m. to the cultivation and propagation of orchids.

Theodore Horstmann, gardener par excellence, supervises Wolfe’s participation in the above.

Fritz prepares outstanding cuisine.

No interruptions are allowed during meals; conversation is encouraged.

All guests and clients are offered refreshment.

Archie Goodwin, Wolfe’s stalwart assistant, answers the door. He is available for a wisecrack. He’ll punch a bad guy in the jaw. He’ll dance with a woman if she’s on the “right” side of thirty, and he can samba and rumba with the best.

Other than a well-heeled widow or two (clients), murderesses (surely more than statistically justifiable), and the occasionally glimpsed Lily Rowan, (whose name combines both flower and tree; perhaps she should be kept in the potting shed), no women are allowed within the all-male clubhouse on West Thirty-fifth. They are not even to be included among the cleaning crew. The entire gender is suspect and illogical. Each and every one might burst into tears, which would be intolerable!

Since the maintenance of the brownstone requires a substantial monthly outlay of cash, Nero Wolfe uses his Holmesian powers of observation and deduction to solve crimes that have baffled, or will soon baffle, the New York police force.

The Golden Spiders is atypical Stout, atypical Wolfe, and as such I take particular delight in introducing it to both devoted fans and new readers. The novel begins with humor, involves a child, and contains a personal element of vengeance. All rarities.

The opening of a Nero Wolfe novel is usually a set piece, a ritualistic “feather-duster” scene, containing the obligatory paragraphs defining Fritz’s and Theodore’s roles in the Thirty-fifth Street menage as well as a description of the red leather chair and the immense globe in Wolfe’s spacious book-lined office.

As practiced by Rex Stout, the consummate pro, the detective novel generally begins with the client’s initial visit, scheduled well within Wolfe’s carefully prescribed hours. The client sits in the red leather chair. The client may be telling the truth; the client may be lying. If the client has sufficient financial assets, Wolfe takes the case.

The Golden Spiders starts in the kitchen with a fit of Wolfian petulance brought on by a disagreement over the proper preparation of starlings. Archie, amused by Wolfe’s childish behavior, invites a child, a neighborhood tough who’d never ordinarily be admitted to Wolfe’s presence, much less considered as a client, to join Wolfe at the table, shattering precedent and rules alike.

Archie’s playfulness has terrible consequences.

We accept that the writer of amateur-sleuth detective novels has a built-in credibility problem. Why does our hardworking chef, writer, or actor keep stumbling over those unpleasant corpses? Why doesn’t the chef, writer, or actor behave in a normal fashion, i.e., call the police and leave the investigation to them? It’s less obvious that the writer of the professional detective series has her or his motivational problems as well. How does the detective become personally involved in each case? A fictional detective is not a neurosurgeon, for whom emotional detachment might be considered a plus. If she or he is to grasp and hold the reader, even the most curmudgeonly detective must find a reason beyond the check at the rainbow’s end to pursue a case to its conclusion. Generally, it’s Archie, our Everyman on a good day, who provides this sympathy, this bond. Rarely does Wolfe become engaged, much less enraged, by the crime in question.

Wolfe hates interruptions during meals. He dislikes children. He abhors deviations from his schedule. All of these indignities are heaped upon him in The Golden Spiders. They grate. They