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3.0étoiles sur 5
Undistinguished, unmemorable Perry Mason mystery, Juil 8 2000
Background: The stylistic heritage of the Perry Mason mysteries is the American pulp magazines of the 1920s. In the early Mason mysteries, Perry - a good-looking, broad-shouldered, two-fisted, man of action - is constantly stiff-arming sultry beauties on his way to an explosive encounter that precipitates the book's climactic action sequence. In the opening chapters of these stories, Gardner subjects the reader to assertive passages that Mason is a crusader for justice, a man so action-oriented he is constitutionally incapable of sitting in his office and waiting for a case to come to him or to develop on its own once it has - he has to be out on the street, in the midst of the action, making things happen, always on the offensive, never standing pat or accepting being put on the defensive. These narrative passages - naïve, embarrassingly crude "character" development - pop up throughout the early books, stopping the narrative dead in its tracks, and putting on full display a non-writer's worst characteristic: telling the reader a character's traits instead of showing them through action, dialogue, and use of other of the writer's tools.Rating "Ground Rules": These flaws, and others so staggeringly obvious that enumerating them is akin to using cannons to take out a flea, occur throughout the Gardner books, and can easily be used (with justification) to trash his work. But for this reader they are a "given", part of the literary terrain, and are not relevant to my assessment of the Gardner books. In other words, my assessments of the Perry Mason mysteries turn a blind eye to Erle Stanley Gardner's wooden, style-less writing, inept descriptive passages, unrealistic dialogue, and weak characterizations. As I've just noted, as examples of literary style all of Gardner's books, including the Perry Mason series, are all pretty bad. Nonetheless, the Mason stories are a lot of fun, offering intriguing puzzles, nifty legal gymnastics, courtroom pyrotechnics, and lots of action and close calls for Perry and crew. Basically, you have to turn off the literary sensibilities and enjoy the "guilty" pleasure of a fun read of bad writing. So, my 1-5 star ratings (A, B, C, D, and F) are relative to other books in the Gardner canon, not to other mysteries, and certainly not to literature or general fiction. "The Case of the Empty Tin": C This undistinguished Perry Mason mystery has little to recommend it. There is some subterfuge, some shady business dealings, a bit of detection - unmemorable stuff for readers (and TV viewers) who have come to expect Perry to be getting into tight scrapes with the law and to unravel a complicated mystery with a bit of dramatic courtroom legerdemain. A man is murdered in the apartment beneath the lodgings of Perry's rich, but somewhat shady, client, a man with a past that touches on gunrunning and possibly murder. But the key clues to the crime seem to lie next door, in the basement of a boarding house where an empty tin is unexpectedly found among the fruit preserves. The purpose of the tin is the central clue to the connection between the two houses and certain of its occupants... A nice premise, but one that turns out - on closer inspection - to be too contrived and artificial - clearly a writer's somewhat desperate attempt to hang a mystery on an ingenious (but extremely implausible) clue. Another disappointment: in this case Perry acts solely as detective, and never enters a courtroom. This removes some of the drama, and a great deal of the suspense, since there is no court date relentlessly drawing closer and forcing Mason, Della Street and Paul Drake to race against the clock, which is half the fun of the Mason mysteries.
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