The Second World War is drawing to a close. Nicholas Vaughan, released from the army after an accident, takes refuge in Devon – renting a thatched cottage in the beautiful countryside at Mallory Fitzjohn. Vaughan sets to work farming the land, rearing geese and renovating the cottage. Hard work and rural peace seem to make this a happy bachelor life.
On a nearby farm lives the bored, flirtatious June St Cyres, an exile from London while her husband is a Japanese POW. June’s presence attracts fashionable visitors of dubious character and threatens to spoil Vaughan’s prized seclusion.
When Little Thatch is destroyed in a blaze, all Vaughan’s work goes up in smoke – and Inspector Macdonald is drafted in to uncover a motive for murder.
It’s no part of my duty to get murdered. From the point of view of detection that’s merely making a mess of it.
In Bats in the Belfry, a lot of people repeat “Detective novels are different from real life” and how a real murder isn’t the fun puzzle mystery novels make it out to be. It comes over as very condescending and didn’t work for me at all. In Fire in the Thatch people also exclaim “this isn’t a detective novel” but they do so as a reaction to one character suggesting that the body that was burned beyond recognition in the fire might not have been the tenant of the thatch. That was in all likelihood also the thought most experienced mystery-readers had. Unrecognisable bodies are always suspicious. But now? Is this really a detective novel that’s not like the other detective novels? Or is it a bluff?
Inspector Macdonald has his own opinion on this question. And a few other ideas about what is and isn’t important in this investigation. Admittedly, he’s rather quick to make these decisions and dismisses some clues for no discernible reason but it is a rather short book (by a very prolific writer). Besides Macdonald’s character makes up for much of this. He’s no genius eccentric or laugh-out-loud funny guy but he has a dry humour that makes for very enjoyable reading.
The setting also adds some unusual elements: not many mysteries are set mid-World War II. And while the location – rural Devon – doesn’t suffer from bombings like London or other big cities, the war has many indirect effects on the people (and the plot), which makes a nice change to many of the murders committed country-houses that are frozen in time and have nearly no connection to the outside world.
ARC received from NetGalley