The familiar cast of satellite characters also appears. There are daring and dangerous Lily Rowan, still trying and sometimes succeeding in manipulating Archie by his heartstrings, and the intrepid, antagonistic, and usually one-step-behind Inspector Cramer, who isn’t at all agreeable to Wolfe and Archie meddling in New York Police business, especially if that business is a homicide investigation.
This investigation is already complicated by the oddball tenants of an apartment building with a rooftop pigeon coop, folks described by even the worldly and tolerant Archie as “the goofy assortment of specimens.” Inspector Cramer would much rather that Wolfe and Archie weren’t part of the mix.
While the mood and tempo of
All of the Nero Wolfe novels are cleverly and tightly plotted, smooth, stylish, and generously peppered with wit and insight. Wolfe and his live-in confidential assistant Archie are in many ways direct opposites: Wolfe is essentially cerebral, engaging in little physical activity and absorbed in his hobbies of orchid growing, reading, eating fine food prepared by Fritz, and drinking (beer and more beer). And, of course, occasionally solving crimes. Archie has a sharp and retentive mind, but he’s more the physical type, needing to roam and be among the common man and woman in bustling and raucous New York, while Wolfe needs to spend hours alone in his office or his plant rooms among quiet, exotic orchids. The obese Wolfe is in his fifties, and the trim and handsome Archie is in his thirties, causing at times a clash of generations as well as one of personalities. But wry observations and acidic remarks aside, the two have affection and respect for each other, personally and professionally.
I’ve long been an avid fan of Rex Stout’s Nero Wolfe novels. I admire Stout’s fascinating characters, his innovative plots, the subtle but complete and totally believable world he created. He made it seem easy, and I know it isn’t.