Rex Stout - The Golden Spiders (A Nero Wolfe Mystery)

This book is fiction. No resemblance is intended between any character herein and any person, living or dead; any such resemblance is purely coincidental.

THE GOLDEN SPIDERS
A Bantam Crime Line Book / published by arrangement with Viking Penguin

PUBLISHING HISTORY
Viking edition published October 1953
Bantam edition / November 1955
Bantam reissue edition / July 1995

CRIME LINE and the portrayal of a boxed cl are trademarks of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc.

All rights reserved.
Copyright 1953 by Rex Stout.
Introduction copyright 1995 by Linda Barnes.
No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.
For information address: Bantam Books.

eISBN: 978-0-307-75597-1

Bantam Books are published by Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. Its trademark, consisting of the words Bantam Books and the portrayal of a rooster, is Registered in U.S. Patent and Trademark Office and in other countries. Marca Registrada. Bantam Books, 1540 Broadway, New York, New York 10036.

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M y library owes no debt to Mr. Deweys 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 dentists 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 Ive 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. Ill 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 novelbesides 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 Wolfes 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, Wolfes stalwart assistant, answers the door. He is available for a wisecrack. Hell punch a bad guy in the jaw. Hell dance with a woman if shes 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 Fritzs and Theodores roles in the Thirty-fifth Street mnage as well as a description of the red leather chair and the immense globe in Wolfes spacious book-lined office.

As practiced by Rex Stout, the consummate pro, the detective novel generally begins with the clients initial visit, scheduled well within Wolfes 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 Wolfes childish behavior, invites a child, a neighborhood tough whod never ordinarily be admitted to Wolfes presence, much less considered as a client, to join Wolfe at the table, shattering precedent and rules alike.

Archies 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 doesnt the chef, writer, or actor behave in a normal fashion, i.e., call the police and leave the investigation to them? Its 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 rainbows end to pursue a case to its conclusion. Generally, its 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 affect his appetite. They cause him to accept a retainer of four dollars and thirty cents fromhorrors!a teary-eyed woman.

They do my heart good.

I have loved and read these books all my life, and yet I rub my hands in secret satisfaction.

Let the old misogynist suffer.

Linda Barnes
June 1994

W hen the doorbell rings while Nero Wolfe and I are at dinner, in the old brownstone house on West Thirty-fifth Street, ordinarily it is left to Fritz to answer it. But that evening I went myself, knowing that Fritz was in no mood to handle a caller, no matter who it was.

Fritzs mood should be explained. Each year around the middle of May, by arrangement, a farmer who lives up near Brewster shoots eighteen or twenty starlings, puts them in a bag, and gets in his car and drives to New York. It is understood that they are to be delivered to our door within two hours after they were winged. Fritz dresses them and sprinkles them with salt, and, at the proper moment, brushes them with melted butter, wraps them in sage leaves, grills them, and arranges them on a platter of hot polenta, which is thick porridge of fine-ground yellow cornmeal with butter, grated cheese, and salt and pepper.