Death on Deadline - Robert Goldsborough Page 0,2

in Cairo, Egypt, raising guppies. For readers who are certain that life in the brownstone continues much as usual, this is intolerable. Reassurances from a continuator that Wolfe and Archie remain at West Thirty-fifth Street come as a great consolation to all loyalists.

That it can be done, and that there are adequate reasons for doing it, does not mean that it need not be done with a prudence that, at all times, respects the integrity of the corpus as it has come down to us from Rex Stout. Since 1975 I have been asked to appraise the manuscripts of a score of would-be continuators. More often than not, they were sincere admirers of the corpus. More often than not, though all unwittingly, they had, by their efforts, made a farce of what Rex had achieved. There were manuscripts purporting to have been written by Fritz, Lily, Saul, and even Theodore Horstmann. There was the suggestion that Archie move a live-in girlfriend into the brownstone, to spice things up. And can you conceive of a Nero Wolfe hurtling along a Bermuda road on a motorbike? Wind surfing at Cancun? Hotdogging at Aspen? Or eating Chicken McNuggets at McDonald’s? Now here we have, out in the open, one of the major difficulties a continuator must face. Archie and Wolfe must always comport themselves in ways consistent with the expectations Rex Stout raised. That does not mean they cannot surprise us on occasion. Didn’t Wolfe once tend bar at a Christmas party, got up as Santa Claus? Didn’t he climb mountains in Montenegro? Visit a dude ranch in Montana? Didn’t he once shed half his body weight to infiltrate the organization of a master criminal? Didn’t he even take up darts for exercise? No, the continuator must not see himself as tightly shackled to the preexistent world of Nero Wolfe. He must, however, with exquisite discretion, contrive exceptions that never give offense. How easy it is to say that. How difficult to carry it off.

Bob Goldsborough, the designated continuator of the Nero Wolfe saga, emerges as winner from a pack of aspirants not because he has had crass ambitions to hitch his wagon to the Stoutian star. He came into the picture with the wholesomest of motives, and it well may be this wholesomeness that has enabled him to succeed where others failed. A midwesterner, even as Stout and Archie had been midwesterners (a factor by no means to be discounted—picture an Archie with a Southern drawl or the clipped accents of a native New Yorker), Goldsborough was introduced to Wolfe and Archie by his mother, when he was a teenager. In 1977, stricken by what was to prove her final illness, Mrs. Goldsborough one day told Bob she wished she had another Nero Wolfe novel to read. Since she had read them all, Bob, at that time an editor of the Chicago Tribune, did what any dutiful, gifted son (who had a mother who loved Wolfe and Archie) would do. He sat down and wrote Murder in E Minor. With this splendid motivation, he made his story as authentic as possible—no buffoonery, no flippancies, no absurd departures, but a story as close to the spirit of the originals as he could contrive. Maybe he did not have, as Ian Fleming said Rex had, “one of the most civilized minds ever to turn to detective fiction.” Maybe he didn’t have, as Rex did, an IQ of 185. Maybe he was not a collateral descendant of Benjamin Franklin and Daniel Defoe, as was Rex. Maybe he could not say, as Rex could, that Archie was his spontaneous self and Wolfe his achieved self (though he was not lacking Neronian astuteness and Goodwinian panache), but love covers a multitude of shortcomings (if shortcomings these be), and the end result was a novel that not only pleased his mother but everyone else who read it (including Rex’s daughters), save the most surly of watchwolves.

To the mere reader, the task Bob Goldsborough faced—meeting scrupulously the demands Rex Stout’s meticulous formulation of Nero Wolfe’s world imposes—perhaps seems no great challenge. After all, with Wolfe’s routines and habits so clearly indicated, wouldn’t it be like traveling on a well-marked-out highway? Yes, as simple as writing a perfect Petrarchean sonnet, painstakingly adhering to the guidelines that govern that verse form. Simple? Try it sometime. Yet, Rex did it over and over again, never repeating himself, always carrying it off successfully. Infinite variations always attentive to the established framework of life