- By Ellery Queen
- First published: US: Little Brown, 1948; UK: Gollancz, 1948
‘By its light I made out the pattern, the whole, hideous, magnificent pattern. I say “pattern” because there’s grandeur in it, Mr. Van Horn – the grandeur, say, of Satan who was, after all, Lucifer. There’s beauty in the Dark Angel, of a sort; and the Devil can quote Scripture to his purpose. I know. This is gibberish to you. But I’m still not over the apocalyptic awfulness of it.’‘The Eighth Day’
Ten Days’ Wonder is the ne plus ultra of Ellery Queen’s work; at once colossal and intimate, conceptual and naturalistic, the most mythical and the most human of the Queen novels, it is one of the greatest detective stories ever written.
As in The Murderer is a Fox, a troubled young man comes to Ellery for help. Howard Van Horn, a sculptor, suffers amnesiac blackouts, and comes to days later, sometimes about to commit suicide. He is frightened he might have committed a crime… Wonder begins inside Howard’s head; the ‘mystery’ is understanding the inside of that head, who Howard is, and why he can’t remember. And so Ellery once more returns to Wrightsville – not to solve a murder, but to solve a man.
Ten Days’ Wonder is not a conventional detective story; whodunnit doesn’t even arise. In fact, one of the challenges here is working out what genre Wonder is. We’re a long way from the formal puzzle plots of Period I: the murder is the climax, not the query; and there are only half a dozen characters, including Ellery. Wonder is more like a noir novel: the millionaire, his beautiful wife, and his stepson; adultery, betrayal, blackmail, and theft; the detective called in not to investigate but to protect his clients. It unfolds not as an investigation but as a series of events over a feverish week; some of them criminal, some of them apparently meaningless. It is also a psychological case study, a fantasia on Freud and the Bible, Œdipal if not Thesean.
Wonder may have a seemingly cramped board to play on – no murder until very late, almost no mystery, four characters – but the plot is vast and intricate. Queen propounds two solutions that will stupefy the reader: the first a brilliantly ingenious understanding of the pattern, the second the design behind the pattern. Its sheer magnitude is astonishing; every incident turns out to be part of a subtle, truly diabolical plan. When I first read Wonder at 16, I felt the top of my head had been taken off. It is overwhelming, cosmic, cataclysmic in a way the detective story rarely attains. It illuminates, it dazzles, it blinds in the same instant; it strikes like a divine thunderbolt, hurled in the middle of a tempest whose very fury rattles creation. Imagine King Lear set to music by Mahler, with set designs by Breughel. It is colossal – immense – sublime!
And … Breathe!
But, yes, this is so good all the poor reviewer can do is reach for superlatives. As one early web reviewer said: “It’s mind-blowing.” And God, it’s a hell of a trip, man.
ROT13: Naq Gra Qnlf’ Jbaqre vf Ryyrel Dhrra’f pbasebagngvba jvgu Tbq. Gur zheqrere vf n qrvfgvp zrtnybznavnp, jub qrfgeblf uvf reevat perngvbaf, naq vf qrfgeblrq (qevira gb fhvpvqr) ol gur engvbanyvfg Ryyrel.
Qvrqevpu Ina Ubea vf pbaprvirq va obgu Serhqvna naq eryvtvbhf grezf; ur vf obgu qbzvangvat sngure-vzntr naq qrvgl, Qbzvahf, Qrhf rg Qnqql. Jura Ryyrel svefg zrrgf uvz, Ryyrel vf erzvaqrq bs gur qrzv-tbqf bs zlgubybtl, jvgu gurve “ivprf nf jryy nf gurve iveghrf”, naq bs n sbepr, “cevzr naq hapunatvat”. Uvf nqbcgrq fba jbefuvcf uvz, naq qrcvpgf uvz nf “ybbzvat qrvgvrf bs znyrarff”: Mrhf, Zbfrf, Nqnz. Uvf jvsr yvxraf uvz gb n tbq; fur vf uvf perngvba: “Jungrire V nz, ur funcrq jvgu uvf unaqf.”
Ohg Qvrqevpu vf nyfb gur nohfrq puvyq bs “na vgvarenag rinatryvfg, n shaqnzragnyvfg snangvp jub cernpurq gur naguebcbzbecuvp, crefbanyyl iratrshy, wrnybhf Tbq bs gur Byq Grfgnzrag – jub hfrq gb ‘orng gur uryy bhg bs’ lbh naq lbhe oebgure”. Naq jura uvf jvsr naq fba phpxbyq uvz, Qvrqevpu xvyyf gurz obgu.
“Gur nssebagrq nyy-cbjreshy unq gb niratr gur nssebag gb uvf cbjre; naq ur unq gb ercnve gur vawhel gb uvf rtb ol niratvat jvgu vzchavgl – fubjvat gung ur jnf nobir gur ynj tbireavat beqvanel zra, gung uvf cbjre jnf terngre guna gur cbjre bs ynj.”
Qvrqevpu, gur fhcerzr cflpubybtvfg, znavchyngrf nyy gubfr nebhaq uvz – vapyhqvat Ryyrel. Ryyrel vf zrnag gb ‘fbyir’ gur pnfr, naq npphfr Ubjneq. Ryyrel unf orra znqr uvf pngfcnj, “uvf yvggyr gva-tbq npprffbel orsber, qhevat, naq nsgre gur snpg”, ur ovggreyl gryyf Qvrqevpu.
Jvgu gur cbjre bs ernfba naq ybtvp, Ryyrel rkcybqrf gur zlguf Qvrqevpu unf jnagrq uvz gb oryvrir; ur eroryf ntnvafg orvat znqr Qvrqevpu’f nppbzcyvpr, uvf chccrg. Va n erznexnoyr raqvat, ur pbasebagf Qvrqevpu, naq sbeprf uvz gb fubbg uvzfrys. Ohg Ryyrel unf nyfb ybfg uvf oryvrs va uvzfrys, naq erfbyirf gb tvir hc qrgrpgvba.
“Lbh’ir qrfgeblrq zr. … Ubj pna V rire ntnva cynl yvggyr gva tbq? V pna’g. V jbhyqa’g qner. Vg’f abg va zr, Ze. Ina Ubea, gb tnzoyr jvgu gur yvirf bs uhzna orvatf. … V pna arire gnxr nabgure pnfr.”
Ur ibjf arire gb cynl tbq ntnva – hayvxr gur zheqrere.
Later made into a film by Claude Chabrol, La décade prodigieuse (1971). Slow-burning, and intriguing, although one can’t help but wish Hitchcock had adapted it. Online here. Trailer:
- The Green Capsule
- Justice for the Corpse (non-spoiler and spoiler)
- Something Is Going To Happen
- Reading Ellery Queen
Ellery Queen returns once more to Wrightsville! And he finds himself trapped in a maze of criminality even more perplexing and bewildering than the cases he handled so expertly and described so brilliantly in Calamity Town and The Murderer is a Fox, his previous Wrightsville investigations.
Howard Van Horn, emerging from a Bowery flophouse in New York, beaten, bloody, robbed, and dazed, goes in desperation to Ellery for help in his tragic and puzzling trouble. On the magnificent Van Horn estate in Wrightsville Ellery finds Howard’s father, Diedrich, a philanthropist of extraordinary power and insight; Diedrich’s charming young wife, Sally, who came from Low Village; Wolfert, the sinister and unlovely brother who had helped Diedrich acquire his millions; and a mysterious old woman, a centenarian who slips in and out of the case like a figure in a bad dream.
With these people as his new material, Ellery Queen fashions a detectival work of art – the masterpiece of his career and, in a very special sense, its climax.
Kirkus (6 October 1948):
Ellery Queen, sentimentally concerned and mentally nonplussed in his return to Wrightsville, intervenes in the household of majestic, magnate Van Horn, his amnesiac son, Howard, and the much too young girl, Sally, who had come between them. Blackmail, theft, and eventually murder provide full play for his psychiatric insight, deductive intuition, but it is an anagram which returns him to the scene of the crime and the true criminal a year after the case is closed. Enigmatic entertainment which proceeds with a smoothness suspiciously synthetic, but nonetheless masterful.
The Boston Globe (Avis DeVoto, 13 October 1948):
Ellery Queen returns to Wrightsville, in a case garlanded with typical E.Q. extravagances and related with usual E.Q. exhibitionism. Sizzles along, readable as all getout, and plot hinges on, guess what? Anagrams!
The Philadelphia Inquirer (Richard A. Thornburgh, 7 November 1948):
There is enough material for the most avid Ellery Queen fan in Ten Days’ Wonder, in which Ellery moves with great skill to untangle a serious mess.
Naturally there’s blackmail and romance behind the scenes, but Ellery, after a false start or two, quickly brings light into darkness. You may expect the usual high-class plot, carefully worked out, but also many large words and high-sounding phrases which will befuddle Ellery’s clients and readers alike. Expect a tricky solution handled in the amazingly clever manner which this author’s followers have come to expect.
The Capital Times (August Derleth, 19 November 1948):
Probably no whoduniteer of our time has the following that Ellery Queen possesses: the sales of his books move toward thirty millions, and his radio and magazine audience is incalculable. Ten Days’ Wonder is the first novel featuring Ellery Queen in three years, and, like its predecessors, is at the top of the lists. The story of the trouble in the old Van Horn estate in Wrightsville is typical of the Queen fare, and being typical, it must stand among the year’s best fiction in the field. Murder and horror, terror and the kind of chess puzzle in which followers of Queen take the greatest pleasure are here. Let no whodunnit fan miss these two books, or he will miss several hours of the kind of reading entertainment he enjoys most.
The Observer (Maurice Richardson, 2 January 1949): Ten Days’ Wonder, the new, long-delayed Ellery Queen, is a contorted tour de force. A whodunnit with only two suspects: Father – millionaire with too young wife; Son – sculptor suffering – yes, again – from amnesia. Nevertheless an infinitely ingenious piece of mystification and a safe read.