Book Review #19 – “Fer-de-Lance” by Rex Stout (The Art of Solving Problems)

Book Review #19 – “Fer-de-Lance” by Rex Stout; published 1934, Bantam Doubleday Dell Publ.

“That, of course, is the advantage of being a pessimist; a pessimist gets nothing but pleasant surprises, and an optimist nothing but unpleasant.” (Nero Wolfe, “Fer-de-Lance“).

An Amazing Detective Series of Murder Mysteries. If you’re a fan of crime thrillers/murder mysteries/detective stories, this is the book review for you! Let this article serve as an introduction to one of the premier crime series ever written… the Nero Wolfe series by Rex Stout. This particular book being reviewed was the first one of over 70 in Rex Stout’s famous detective stories, and SPOILER ALERT, maybe you won’t want to read my synopsis of this story a little later in this review. But the joy of reading Rex Stout is one that can be repeated time and again even if you know what is going to happen. Every Nero Wolfe novel can be reread many times over with great pleasure because of the personalities involved, the characters being portrayed, the clever plot lines, the unexpected strategies for solving the crimes, and the unpredictable interactions between all the principal players in the drama. So if your local library doesn’t have any Nero Wolfe books, complain, sign a petition, do whatever it takes to inspire the librarian to order every novel in the series and display them near the front door, right next to Sherlock Holmes, Perry Mason, and Agatha Christie.

Brief Bio of Author Rex Stout (1886-1975). Born in Indiana into a Quaker family, Rex was a celebrated “early learner” when he was but a toddler. He was a prodigy in mathematics and had read completely through the Bible twice by the time he was four years old. After a stint in the Navy and then a successful business career, he decided to devote full-time to writing. Rex Stout ended up writing over 70 novels, novellas and short stories. He was most famous for his Nero Wolfe detective novels, but he didn’t write his first Wolfe story, Fer-de-Lance, until he was 44 years of age. Once he started inventing Nero Wolfe and Archie Goodwin stories, he couldn’t stop, averaging one novel per year from 1934-1966. During that time, Stout won the Grand Master Award for Mystery Writers, several Silver Dagger Awards for best crime novel, and was nominated for both Best Mystery Series and Best Mystery Writer of the Twentieth Century. And believe it or not, with every novel, his first draft was always his final draft. He never needed an editor, because after he thought through the story in his head, he just sat at his typewriter and composed it straight through, with nary a word change needed. When he died at 88 years old, he had just finished his last Nero Wolfe novel, A Family Affair, which of course turned out to be a big hit.

The Two Main Characters of this Famous Detective Series:

Nero Wolfe. He was a one-of-a-kind fictional character with a larger-than-life personality.  He was a middle-aged immigrant from Yugoslavia, and was noted for his substantial girth at 5’11” and at least 300 pounds. But what made him memorable were his unusual idiosyncrasies… his unwavering daily schedule that had to include his sacred time up in his orchid nurseries in the top floor of his house in New York City, from 9-11 a.m. and 4-6 p.m. without fail; his love of exquisite meals prepared by his live-in world-class French chef, and an absolute rule that business is never discussed while enjoying the food; his times reserved for daily business was invariably 11 a.m.- 1:15 pm and 6 p.m. to the midnight hours; he refused to leave his home for any business reason or job-related duties; his library full of books, a 3′ in diameter globe, and a clever waterfall picture on the wall that had a secret opening so he could spy on what was going on from the hallway outside his office; his daily quenching of thirst with 5 quarts of beer; his dependence on using the in-house elevator to go upstairs, absolutely never using the stairways. Nero Wolfe was a self-professed genius who could be cranky, impatient, dismissive, unable to be intimidated, ill-mannered, surprisingly (to most everyone) brilliant, and thought of himself as someone who was successful in making detective work an art form. He once said, “I have no talents; I have genius or nothing.”

Archie Goodwin. He might appear to be a secondary character after reading about his boss Nero Wolfe, but most lovers of this series consider Archie the main character. He was in his thirties, 6′ tall, and 180 lbs of well-proportioned muscle, and unafraid to use those muscles if the situation demanded it. Archie is Nero’s live-in primary assistant in all the detective work, Nero’s private investigator who actually does all the work while Nero sits in his office and thinks. Nero and Archie are a Thought-and-Action team, with Archie providing all the action in order to get the job done. He is a confident, often cocky, wise-cracking, shrewd sleuth who faithfully follows Nero’s orders and is able to report back what he has done and what has been said flawlessly verbatim from memory. If Archie is wondering what to do next, which isn’t often, Nero’s standing orders are for him to use his intelligence guided by experience. Archie is much more that Nero’s handy sidekick, since nothing would ever get done without him. Nero would starve if it weren’t for Archie. The fact is, Nero couldn’t even begin to function in any productive way without Archie’s unique skills, and they both know it. But the fun begins and ends with the ongoing interchange between the two, their creative brainstorming, their abrasive conversations, their usual grudging respect for each other that underlies an apparent disrespect. The sparkling chemistry between Archie and Nero are always worth the price of the book.

The Basic Storyline of “Fer-de-Lance.”  This first and longest Nero Wolfe novel doesn’t begin with much of a bang, but the ending of the story has as much bang as anyone would want. This is a mystery that involves a duel between an ingenious murderer who has the unfortunate destiny of matching wits with the genius detective Nero Wolfe. Because all the main characters of the entire series is introduced as fully-developed characters, with the main background of all 70 novels laid out for all to see, this novel has been deemed “one of the most influential works of mystery fiction ever written.” A stranger walks into Nero’s office one day and implores him to find her missing brother. Rather than reject her, Nero sends Archie to investigate, and before long this brother who has disappeared had a good reason to do so, since he was found murdered. So Archie and Nero investigate with more vigor because they are as curious as the sister in discovering the reasons for this man’s murder. Nero brilliantly deduces that there is a direct connection between the brother’s murder and that of a college president who was innocently enjoying a round of golf with friends. And the hunt is on. The way Archie and Nero finally discover the mastermind’s identity is exciting and mind-boggling, and it includes the murderer’s gift of a venomous snake from South Africa, hence the name of the novel. They let the criminal know that they are on to his game, and so the murderer proceeds to admit his guilt and then the big bang occurs. This is obviously only a bare-bones look at this terrific mystery, and because of the strategies and conversations, the fascinating characters and the plot’s twists and turns, this story is just like the rest of the Nero Wolfe stories… worth reading again and again.

Getting to Know Nero and Archie through “Fer-de-Lance” Quotes: 

(1.) “Wolfe lifted his head. I mention that, because his head was so big that lifting it struck you as being quite a job. It was probably really bigger than it looked, for the rest of him was so huge that any head on top of it but his own would have escaped your notice entirely.” (Archie, page 2).

(2.) “Wolfe told me once, not as if mattered much, that he really had no cowardice in him, he only had an intense distaste for being touched by anyone or being compelled without warning to make any quick movements; and when I considered the quantity he had to move I was willing to believe him.” (Archie, page 26).

(3.) “The folds of his cheeks pulled away a little from the corners of his mouth; when he did that he thought he was smiling. It was his substitute for a smile.” (Archie, page 34).

(4.) “Some day, Archie, when I decide you are no longer worth tolerating, you will have to marry a woman of very modest mental capacity to get an appropriate audience for your wretched sarcasms.” (Nero, page 54).

(5.) “Sit down, Archie. I would prefer to have you here, idle and useless. As I have remarked before, to have you with me like this is always refreshing because it constantly reminds me how distressing it would be to have someone present – a wife, for instance – whom I could not dismiss at all.” (Nero, page 55).

(6.) “Nero was elegant with women. He had some sort of a perverted idea about them that I’ve never caught the hang of but every time I had ever seen him with one he was elegant. I couldn’t describe how he did it because I couldn’t make it out myself; it was hard to see how that enormous lump of flesh and folds could ever be called elegant, but he certainly was… Even when he was bullying one of them.” (Archie, page 69).

(7.) “I had never really understood Wolfe’s relapses. Sometimes it seemed plain that it was just ordinary discouragement and funk, but other times there was no accounting for it at all. Everything would be sailing along, and for no reason at all he would lose interest. He was out and that was all there was to it. Nothing I could say made the slightest dent on him.” (Archie, page 75).

(8.) “Mr. Nero Wolfe? My name is Sarah Barstow.” “Be seated,” Wolfe said. “You must pardon me; for engineering reasons I arise only for emergencies.” (page 85).

(9.) “The effect that the orchids have produced on you is only bluff. There is not such a thing as too much beauty.”  (Nero, page 94).

(10.) “Nero put his hands on the edge of the desk and shoved his chair back, moved his hands to the arms of the chair and got himself to his feet, and stood in front of her. “People often find it difficult to think in my presence, I do not leave enough space.”  (page 96).

(11.) “Much as Nero hated flies, he couldn’t kill them; he said that while a live fly irritated him to the point of hatred, a killed one outraged his respect for the dignity of death, which was worse.” (Archie, page 134).

(12.) “You know what my boss says? He says that skepticism is a good watchdog if you know when to take the leash off.” (Archie, page 143).

(13.) “Detach yourself from resentment, Archie, personal resentment of a general statement is a barbarous remnant of a fetish-superstition… If a man constructs a dummy, clothes and paints it in exact outward resemblance of yourself, and proceeds to strike it in the face, does your nose bleed?” (Nero, page 157).

(14.) “There were times when Wolfe’s awful self-assurance gave me a touch of a dash of a suggestion of a pain in the neck, but there were other times when it was as good as a flock of pure and beautiful maidens smoothing my brow. This was one of the latter.” (Archie, page 227).

(15.) “Wolfe was whistling; that is, his lips were rounded into the proper position and air was going in and out, but there was no sound. I loved seeing him do that; it never happened with anyone but me. He told me once that it meant he was surrendering to his emotions.” (Archie, page 267). 

(16.) “No, Archie. I understand your contention that a point arrives when finesse must retire and leave the coup de grace for naked force. I understand it, and I deny it vehemently.” (Nero, page 270).

(17.) “The trouble is,” Nero murmured, “that as usual you’re so engrossed in the fact that you’re oblivious to the environment. You stick to it, Archie, like a leech on an udder… Put myself up as a substitute for fate? Certainly; we do it constantly; we could avoid it only by complete inaction.” (Nero, page 284).

On the Nero Wolfe Detective Series as an Allegory. Biblical scholar and pastor Eugene Peterson wrote a fascinating essay published in the “Christian Ministry” magazine back in 1973, entitled, “Wolfe in Sheep’s Clothing.” In this essay Dr. Peterson explained how Rex Stout’s famous Nero Wolfe novels can actually be used as an effective allegory, what he called “a complex, analogical parable” of Christian ministry.  He went into great detail about his favorite crime series with thoughts like these:

On Nero Wolfe as the Church. Nero’s vast bulk, his weighty presence, reminds us of God’s glory on earth, His weighty presence in the world. Nero is renowned for his body, as the Church is acknowledged by many to be the Body of Christ. Nero is a presence that cannot be overlooked, an immovable force to be reckoned with, as is the Church in society. Nero, like the Church, is “a center around which the action revolves, a center of will and thought, not of power and activity.” Like Nero, the Church does not accommodate itself to the needs of the world by moving its Body or changing its viewpoint. There is nothing particularly attractive about Nero that inspires a following, and he doesn’t feel the need to defend his existence, to explain his function through PR programs or advertising techniques. Like Nero, the Church doesn’t feel obligated to make itself acceptable in terms that the world would understand. Nero established credibility by being good at what he does, and asks for others to simply trust him, that his word is his bond. The world might not like what the Church has to say as it speaks the truth, but it isn’t here to be cherished for its own sake. Like Nero, the Church does not intend to earn affection or be sentimentalized. After all, Nero, like the Church is only present because there is a problem in the world… in the case of Nero, the problem is a murder to be solved; in the case of the Church, the problem is sin to be healed. Petty crimes don’t even begin to interest Nero in his detection business, nor does it interest the Church. The primary focus is good and evil, solid right and wrong, the spiritual felonies not the misdemeanors, the problem of sinfulness. Nero never fawned over his clients or interpreted his job as helping them to feel better. That wasn’t his function. The Church needn’t fawn over their members, be people-pleasers, or be overly concerned about their emotional temperature. The Church intends to do whatever it takes to solve the problem by providing a Savior and helping its members become new creatures. Nero has a larger-than-life persona who offers to solve a crime by discovering the criminal. The Church, like Nero, isn’t going anywhere as it defeats the evil one by welcoming the Good One. Like Nero, the Church is immovable as it sends the Archie Goodwins of the world outward to represent Nero and do his work.

On Archie Goodwin as the Believer. According to Dr. Peterson, Archie was the “arch-type,” the witness who narrates the story and does all the work as assigned by his boss Nero Wolfe. Nero sends Archie out into the world to gather clues, represent his interests in the case, do the legwork. Wolfe couldn’t function without Archie, as the Church couldn’t function with followers of Christ, members of the Body. The Christian doesn’t make himself the main character in the story, but much of the action in the story of the Faith does depend upon him when he moves away from headquarters. Archie obeys orders, gets the job done, and reports back on any progress made or lack thereof. Archie often yearns to know the big picture in Nero’s mind, the reasons he is being assigned this and that, the fundamental reasons for particular errands. But Archie sees his job as a big adventure that requires a certain shrewdness and street-smarts, and he likes to exercise those qualities whenever he can. Archie loves working the angles and outsmarting his opponents as he clears a case for Nero, being relatively clever as a serpent and innocent as a dove. Even though he might bite his tongue occasionally when he is uncertain of what Nero wants to accomplish, Archie continues to trust Nero’s overall genius and incredible record of success. Archie remains fiercely independent even while trusting Nero, even when he has to operate in the dark. The Christian witness operates the same way as Archie, and often doesn’t understand the overall significance of what he is doing. But, as Archie inevitably stays the course and enjoys the action, the follower of Jesus finds discipleship an exciting adventure often enough to keep him motivated as he participates in the Lord’s purposes in the world.

On Nero Wolfe’s Home as the Church Headquarters. Dr. Peterson went into detail as he outlined the various functions of Nero’s home being a prototype of the church building. In both cases, every room has a function, is set apart to serve a particular purpose in the detective business. Every room is sacred, with no overlapping of function that might end up at cross-purposes. Nero’s home was carefully organized and mapped out, and is not, as Peterson said, “just a big jumble of activities.”

• The Orchid Nursery as the Prayer Chapel. The orchid nursery in the penthouse top floor was literally the “upper room” that was sacred to Nero, set apart for cultivating beauty and nurturing new life. He literally organized his entire day, every day, around his two blocks of two hours each for time upstairs with the orchids. Nero does not permit small talk during this meditative experience. This is sacred, life-giving time that is never violated, or compromised, or interrupted. Fresh growth is created through the efforts of Nero and his full-time orchid-man. They are a team as they provide the tender care and focus needed to raise thousands of orchids. Even new hybrids are developed in the course of their orchid-tending, and when Nero occasionally brings an especially loved orchid downstairs to place on his desk, the unusual fragrance spreads throughout the room. Could there be found a more apt description of a church’s prayer chapel?
• The Dining Room as the Lord’s Table. Connected to the kitchen where the world-class meals are prepared by his full-time chef, Nero clearly wants his dining room experience to be central in home and daily life. Food is considered sacred by Nero, and he wouldn’t even countenance fast-food or casual dining that was thoughtlessly prepared. His meals invariably consisted of the finest ingredients available and artistic presentation. During their time at the table, to which Nero often welcomed visitors in the true spirit of hospitality, there were to be no outside distractions. Nero’s time at the table was treated like a sacrament, so there were no business discussions, no job-related conversations, nothing to remind the diners of life outside the dining room. As Archie once said about Nero, “Which he loves most, food or words, is a toss-up.” Nero’s dining table directly point to Communion, the Eucharist, where Word and Sacrament are the centerpiece of existence.
• The Office as the Nave. Nero reserved his groupwork for his office that was filled with whatever would help him accomplish his goals. Here he would engage all the principal players, seeking clues through in-depth conversations with large groups of people. It was here where Nero did his best thinking, his most productive brainwork, and where he engaged in revealing who he was and what he wanted to do. Nero’s most effective times of self-expression were in his office as he gathered any number of people around him, whether victims, suspects, peripheral players, fellow detectives, or various police officials. The nave is the largest most central space in a functioning church where all the worshippers gather to lift up the Lord together and participate in the greatest drama in the universe, recognizing God’s glory and growing with others in faith.