"Three hundred years ago, Lord Carpenter, I'd have had your head on a
spike on Tower Hill.."
It is 1938 and newspaper chief Lord Carpenter is about to publish a
front-page story that will guarantee war with Russia. But before the
paper can go to print, he is found stabbed in his office, and
circumstances suggest the killer is one of his staff. Everyone from the
editor-in-chief to the staff librarian had the opportunity. But was the
motivation for the murder political or personal?
Crime reporter Charles Venables finds himself both suspect and sleuth as
he tries to disentangle the clues and determine which of his colleagues
is the guilty party. Red herrings abound, but it soon becomes apparent
that more than one person had a reason to want Carpenter dead....
Fatality in Fleet Street displays the author's trademark wit and a
plot with plenty of twists and ingenuity to please the reader. Equally
interesting are the political overtones and the militaristic pretensions
of the deceased newspaper baron. The novel is set in 1938 - five years
later than its real publication date - and presents a Russia whose
economy is growing, which makes the country 'a real menace to the
established order of things' in Carpenter's worldview. Although the
imperious newspaper baron meets his demise early on, his outsized
personality and ambition are the bedrock that propels the story. Sprigg
makes his satire clear; there is more than a passing resemblance between
the fictional Lord Carpenter and the real world Max Aitken, Lord
Beaverbrook, owner of the Evening Standard and Daily Express.
Sprigg started his career as a cub reporter and the book's setting of a
busy newspaper is well realised. Fatality also takes a sardonic view of
socialist activity in Britain. When Venables goes to investigate a local
chapter of the Communist Party, the situation is alternately threatening
and farcical, with members parading their revolutionary credentials and
loudly denouncing the 'bourgeois'. Sprigg later became an active member
of the Communist Party and published Marxist literary criticism, but his
gently mocking tone in Fatality suggests this conversion was some way
off in 1933.
