@Number 71

“Allow Me To Lay The Evidence Before You”

Posted on: August 12, 2009

It was on a bitterly cold night and frosty morning, towards the end of the winter of ’97, that I was awakened by a tugging at my shoulder.

"There was a pond in the park, and to this my friend led the way."

"There was a pond in the park, and to this my friend led the way."

The Abbey Grange is a grand old study of the master. Early on, Holmes delivers a classic scolding of Watson’s love for the sensational narrative over the instructive examination. The doctor seems, in his writing up of the ensuing case, to take the criticism to heart: here is a story which is thoroughly satisfying precisely because Holmes, his methods and his quirks, are at its very centre.

The principle engine of the story is, however, an uncharacteristic doubt: faced at first with an interesting case, he comes quickly to accept the story of the Lady of the manor which, at first glance, covers all the facts. The exchange in which he discusses his reservations with Watson is vintage Holmes: obsessed over the most trivial, most pertinent, details.

Upon returning to the scene, we are given his analysis – that is, the step-by-step process of observation-to-conclusion – in unusual detail. Once he has his answer, the story moves to its denouement more slowly than is ordinary, dwelling on the process as much as the plot.

Holmes’s Scotland Yard protege, Stanley Hopkins, returns yet again here, and even another exotic past in the colonies is developed just enough. This feels like a story which yields its secrets to Holmes properly – not because Conan Doyle forces it, and not without the reader being able to nod along as the detective detects.

Holmes’s textbook of detection alas never appeared – but in The Abbey Grange the game is instructively afoot anyhow.

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1 Response to "“Allow Me To Lay The Evidence Before You”"

[...] young police inspector for whose career Holmes has “high hopes” (for Dimmock read Hopkins). The affection for and knowledge of the original stories exhibited byMoffat cannot be questioned. [...]

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71 is the number of an apartment we return to regularly in Whinfell Forest, Cumbria. We like it there.


‘We’ are Anna French and Dan Hartland. The Story and the Truth is a sort of inadequate catch-all term for what goes on here: we tend to talk about novels, history, food and fashion, politics and music, but there may also be photographs of soft toys and musicians. Stick around and see.

Words We Like

The Blind Man's Garden, by Nadeem Aslam


Aslam's fourth novel is that rarest of things, a focused picaresque. It has been criticised by the formidable Adam Mars-Jones for a failure of courage - and yet having read the novel cover to cover and word for word, I found myself more in agreement with the praise of Pankaj Mishra. In this story of two young men who travel, naively, to Afghanistan in the October of 2001, it is the very ambivalence of the resulting consequences which render its portrayal of history at the sharp end so memorable. We are used to hearing, from one side or another, the verities of black and white. In The Blind Man's Garden, Aslam paints in technicolour shades of grey. Essential.

Sounds We Like

The Stand-In, by Caitlin Rose


The ever-present temptation to be cooler-than-thou might have demanded I list Lord Huron or Keaton Henson in this space, and yet few records I've been listening to this month have had the sheer charisma of Caitlin Rose's third LP. There's a cleverness - even a slickness - to how Rose balances the cache of retro country with the accessibility of the modern pop sound here, and, if that sounds like a demerit, then the way in which this sly production always works in support of often fabulous songwriting is certainly not. They do make 'em like they used to, after all.

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