One thing with Gaudy Night is that it's really not a mystery, to me. The anonymous letters etc. are a non-starter for me as a crisis, because being me here in the 21st century, I'm just "ignore the twit already. Can anyone really take someone like this seriously?" I don't see a threat, I see an expensive annoyance.

The book primarily strikes me as story of women in what is considered at the time an "unnatural" environment. 70 years later, the crisis there is minimal to me as well. If someone was wanting to be introduced to Sayers, I would give them "Murder Must Advertise".

One thing with Gaudy Night is that it's really not a mystery, to me.

The book primarily strikes me as story of women in what is considered at the time an "unnatural" environment.

Which I presume is why it, and it alone, makes the book club recommended reading list.

t insert standard Susan W. genre rant here

Yeah, the story in Gaudy Night is really just a dopey little backdrop, sort of a dressmaker's dummy, on which to hang the Courtship of Harriet.

I just have fun with her placement of things around the city.

But Advertise is brilliant. And yes, Nine Tailors is also very cool, with the fen country and the campanology and everything.

Gosh, campanology. I just skim those sections and nod and say "Mystic art, not for the unitiated."

I like Nine Tailors slightly better than Advertise, but it's a microscopic difference. Having worked layout, the description in Advertise of a layout person being a beast of burden caught between the artists and copywriters resonated with me. But Nine Tailors has the whole land and water thing, which, as someone who grew up on land "reclaimed" from a swamp, also resonated with me. I think that Nine Tailors wins because I like the actual mystery best.

I tend to read Gaudy Night as a romance with mystery bits, rather than as a mystery. I believe that the whole idea of women in Oxford was barely a generation old at the time, and such men as had made it back from the war might have liked some of those higher education slots, so I can see where the female deans would have worried about any possible threat to their school's reputation.

I love Gaudy Night so much I can't be rational about it. I care about the mystery only so far as it weaves in with Harriet and Peter's story, and I think it does so beautifully.

Dana, I'm that way about Marsh's Final Curtain. It's really Troy's story - Rory's been off in New Zealand for most of the war, he's coming home, and she's wondering if they're still in love, after five years apart.

Plus, the mystery on that one is a real live genuine mystery. Well-plotted, really interesting characters.

edited for mistyping the title. Doh!

Troy rules.(Even if she does paint every berk in England)...I've not read them in years, but I found myself thinking "Couldn't she paint somebody who's not a dick?" I think my friend gave me an Annoying Sayers, because I never got into those people at all...even in my biggest English house mystery phase.Now, I like more grit than that.

I don't think I've ever read any Marsh.

I don't think I've ever read any Marsh.

Oh, dear heavens. You have been severely, severely deprived.

In this order: Start with Artists in Crime. Then Death in White Tie. Follow that with Overture to Death. After that comes Death and the Dancing Footman.

After that? Rock out. Order doesn't matter.

For the war years, I suggest Dyed in the Wool (one of her best) and Colour Scheme, because it gives you Rory Alleyn in New Zealand. I mentioned Final Curtain, which gets him home to Troy and Scotland Yard again.

There are too many wonderful Roderick Alleyn mysteries to list. Black as He's Painted, written in the sixties, has to do with dip corps and embassy stuff, and takes place in my old working 'hood in London.