Pam’s Pictorama Post: While bunker-style living here in Manhattan during our modern plague has not resulted in an increase in reading time (quite the opposite as days seem to somehow blur into seven-day-a-week, 14 hour day work-a-thons), I do make time every night for a bit of Judy Bolton before bed. With the last few volumes looming on the horizon I know I will miss her and the dollop of her 1940’s daily life when I eventually finish the last volume. However, today I offer this next Judy installment as suggested reading for those of you hunting a little escapism from your current reality.
I have always believed that in stressful times that one should be extremely thoughtful about what one is reading. (Kim is currently deep in Max Brand – I thought he’d already read all of him – and of course Little Orphan Annie on weekends, but none of this is different, just business as usual for him.) These days I read only what I feel is necessary of the newspaper in the morning and quickly move on.
In the evening, I need something to lead me into a relaxed enough state to sleep. Therefore, I try to put down the phone (Wynton Marsalis, please take note) and pick up my Judy Bolton novel to read a chapter or so. I am finishing up volume 20 currently, The Warning on the Window, and am fascinated by the fact that my copy, with a 1949 copyright, sporting a dust jacket and purchased on ebay, had never been read! I found several pages that had never been split. Imagine this book being passed from hand to hand over seventy years and never read. Extraordinary!
As I mentioned in my first post about Judy (which can be found here) about halfway through the series Judy marries one of her two suitors throughout the earlier volumes. While Judy’s role is not diminished to one of housewife, some of the aspects of 1940’s pre-feminism jabs at me in these latter volumes. Judy’s husband leaves his nascent law practice to join the FBI after one of their adventures and somehow the series that was about her with him occasionally helping becomes about her helping him. Although hers always does end up being the star role the author now feels the need to work at storylines that allow for this. (Meanwhile, reality has never been a strong suit of these books, but the evidence of this sticks in my crawl a bit.)
Meanwhile, Judy and Peter have acquired a child along the way, Roberta, whose father is mysteriously “at sea” and from what I can tell they have never heard a peep from him. As a result they now have a ready made family and Roberta’s mystery solving abilities, given her age, somewhat make up for Judy’s post-marital status.
As part of this shift in storyline, I was a bit worried about Judy’s black cat, Blackberry, who seemed to be meeting his demise in The Living Portrait. A puppy, Tuffy, was introduced in this volume as Roberta’s pet and I was quite peevish when it seemed that Blackberry would be sacrificed for him. I hope I am not giving away too much plot when I assure readers that he makes a strong eventual comeback and remains part of the family. (In fact up next, The Black Cat’s Clue.)
The thing that interests me most about the second half of the series is that Margaret Sutton’s writing style seems to morph in tandem with Judy’s role as wife. Almost immediately the books become a bit more complex. The mysteries go from being excuses for a storyline with unreal plots to more logical storylines. They are still stuffed with really bad criminals and if anything Judy appears to be in actual danger in some of these stories. In particular The Secret of the Musical Tree managed to have me a bit worried about her at one point. (Even if harrowing at times, all is of course viewed from the safety of knowing that Judy appears in another volume, waiting patiently for me next to the bed.) Judy as an adult clearly meant that Sutton could step out a little in a different direction.
To both Judy and Sutton’s credit, Judy spends little if any time worrying about her appearance (Judy’s attire is only ever noted if it is a plot point) and only glancingly makes mention about things like cleaning the house or cooking a meal. Judy’s mother tends to worry about Judy’s mystery solving ways and one gets the sense that this is the evolution of young women of the times moving yet another notch out of the home and into the working world.
Still, plot devices are needed in order to get Judy away from her husband and let her do her stuff, which by today’s standards is unnecessary and even insulting. Peter can therefore expect to be conked on the head unconscious, or to find that somehow Judy is off in another town, unable to phone, and turns out to be knee deep in trouble. Despite being dated in this way, these books are a more or less perfect antidote for the stresses of the spring of 2020 for me. Just intriguing enough to lead me peacefully down the garden path, again and again each night. I highly recommend them if you like me need a bit of evening escapism.