Rex Stout

Three Witnesses

Introduction

WHEN I WAS ASKED to introduce the novellas in this collection, I felt wary of the ominously titled “Die Like a Dog,” which I had always imagined to be yet another better-left-unread mystery in which my favorite character, probably a German shepherd, would rapidly and gruesomely perish in some misguided foreshadowing of the so-called real murder. To reassure myself on the crucial quadrupedal point, I read the third of these novellas first. Delighted to discover that I could recommend it to even the most tender-hearted dog lover, I turned to the beginning of Three Witnesses only to find myself assailed by self-doubt. In every Rex Stout I had ever read, Archie Goodwin had ably performed the introductions with no help from me. I was thus relieved to discover that, despite their doglessness, the first two novellas in Three Witnesses required a few introductory remarks that I was, after all, qualified to make.

“The Next Witness” and “When a Man Murders…” may unintentionally mystify the reader raised in the era of telephonic electronics, digit dialing, and workshops in model mugging. Back in the old days, young reader, answering machines had not yet been invented, telephone exchanges bore evocative names like Rhinelander and Gramercy, and the women who operated switchboards were quaintly known as “girls.” In those days, too, a lady who picked up a cigarette thereby compelled the nearest gentleman to offer her a light rather than a lecture on the hazards of second-hand smoke or a query about nicotine patches. I must also inform the young reader that although most of the “females” and “girls” in the world of Nero Wolfe are manipulative, neurotic, mendacious, or vacuous, Rex Stout was not actually scheming to do them in by encouraging them to smoke. As for the method of dealing with “hysterical” women that Archie employs in “When a Man Murders…,” I can say only that if Archie tried anything like that today, mystery fiction would lose one of its most engaging narrators.