Gotta Get Down To It*

One of the more challenging jobs that police do is manage crowds of people. On the one hand, safety is the most important consideration. So, the police have to ensure that people aren’t looting, hurting each other, or worse. On the other hand, most of us agree that people have the right to go about their business, even in large crowds, without being stopped by the police. In many countries, too, it’s been determined that people have the right to protest peacefully, and protests and marches can draw large crowds.

The balance between protecting people’s rights, and ensuring public order and safety isn’t an easy one. And the vast majority of police strike that balance. If you think about it, a large number of crowd events, whether for fun, for protest, or something else, go off quite smoothly. But even so, they can be tense, and some spill over into conflict, or worse.

That’s certainly true in real life, and it’s true in crime fiction, too. For instance, in Agatha Christie’s The ABC Murders, Hercule Poirot, Chief Inspector Japp, and several local police officers, are looking for an elusive killer. Their target has already killed three people, and has warned that there’ll be more deaths. Before each murder, the killer sends a cryptic warning to Poirot, so he’s told in advance that this next murder will take place at Doncaster. At first, preventing that murder seems straightforward. But, the police haven’t considered the fact that the St. Leger is to be run in Doncaster on the day the killer has specified. Now, the police have to manage the crowds, look for a killer, and try to keep potential victims safe. In the end, we learn who the murderer is, and what the motive is. But the large crowds on St. Leger day don’t make things any easier.

There’s a very tense set of scenes featuring large crowds and police in Maj Sjöwall and Per Wahlöö’s The Laughing Policeman. In one plot thread of that novel, the Swedish government is preparing for a visit from a US senator. Many, many people are upset at the US’ involvement in Vietnam, and a large protest is staged outside the US Embassy in Stockholm. The police are already stretched rather thin, as the saying goes, and the demonstrators are determined. With the police force pushed to its limit, a gunman boards a bus, killing eight passengers, including Åke Stenström, a police officer. And it turns out that this murderer ‘hid’ that death among the others on the bus.

In Peter Robinson’s A Necessary End, the town of Eastvale gears up for an anti-nuclear demonstration. Several groups have come into town for the occasion, and DCI Alan Banks and his team know that things could turn ugly. So, they prepare as best they can for the crowds. The day of the demonstration arrives, and the police do their best to manage everything. Then, tragedy strikes. Someone takes advantage of the large crowd to murder P.C. Edwin Gill. Banks’ superior officer, Superintendent Richard ‘Dirty Dick’ Burgess, is convinced that one of the demonstrators is responsible for Gill’s murder, and wants Banks to make a quick arrest. But Banks isn’t so sure that the demonstrators had anything to do with the killing. And, as he digs more deeply into the case, he finds that Gill had a reputation as a thug, who abused his authority more than once. So, there are plenty of people in town who could have a very good motive for murder.

Ian Rankin’s Mortal Causes takes place during the Edinburgh Festival, which is always a very difficult time for police. It’s a major tourist draw, there are parties, plenty of drinking, and big events. So, it’s very hard to keep the peace and ensure that everyone is safe. That background is tense enough. Matters get worse when the body of Billy Cunningham is discovered at Mary King’s Close, one of Edinburgh’s busiest streets. It turns out that Cunningham may have had ties to the IRA and to some Scottish ultra-nationalist groups. What’s worse, it turns out that he was the son of Morris Gerald ‘Big Ger’ Cafferty, a local crime boss, and Inspector John Rebus’ nemesis. Cafferty, as you can imagine, is all for dealing with his son’s killers in his own way. But Rebus knows that this could lead to a bloodbath. So, he’ll have to find Cunningham’s killer, find a way to manage Cafferty, and deal with the festival crowds.

And then there’s Felicity Young’s The Anatomy of Death (AKA A Dissection of Murder).  In that novel, which takes place in 1910, Dr. Dorothy ‘Dody’ McCleland returns to London from Edinburgh. She’s just finished qualifying in forensic pathology, and is hoping to work with the noted Dr. Bernard Spilsbury in the Home Office. As she’s waiting for that opportunity, she takes a job at a women’s hospital. She’s no sooner arrived and gotten settled when she learns that a women’s suffrage march in Whitechapel turned very ugly. Several of the protesters were beaten, and many were arrested. There were three deaths, too, and McCleland performs the autopsies. It turns out that one of the deaths, that of Lady Catherine Cartwright, might not have been accidental. And it turns out that this killer used the large crowd as a ‘cover’ for a very deliberate murder.

That happens, too, in Brian Stoddart’s A Madras Miasma, which takes place in 1920 Madras (today’s Chennai). This story takes place during the last years of the British Raj, and there’s a lot of talk of social and political reform. In fact, in one plot thread of the novel, there’s a demonstration against the entrenched British establishment. Stoddart’s protagonist, Superintendent Christian ‘Chris’ Le Fanu, understands both the need to keep order and the benefits of some sort of power-sharing. He’d like the ‘powers that be’ to at least hear out the other side’s arguments. There are plenty of people in the upper levels who don’t want to give up power, though, so the protest takes place.  Le Fanu is sympathetic to the protesters’ cause, but, he is a police officer, and is sworn to uphold the law. The demonstration turns ugly, and Madras Commissioner of Police Arthur Jepson insists that his men use their weapons. At the end of it all, there are twenty-three deaths, and eighty-five people with injuries. One of the dead is a key source of information for another case that Le Fanu is investigating, and he learns that that person was killed by someone who used the large crowd and the unrest to ‘cover up’ the murder.

It’s not easy to be a police officer under the best of circumstances. Add in a large crowd, no matter how peaceful, and things can get very dangerous, very quickly. That’s part of what makes such scenes so suspenseful, and potentially so effective in a crime novel.


*NOTE: The title of this post is a line from Neil Young’s Ohio.


Filed under Agatha Christie, Brian Stoddart, Felicity Young, Ian Rankin, Maj Sjöwall, Per Wahlöö, Peter Robinson

23 responses to “Gotta Get Down To It*

  1. I see you that have again cited an Agatha Christie novel, and I am reminded of a question I have wanted to suggest as a follow-up to something I read in a book — The Perfect Murder: A Study in Detection by David Lehman; in the book, Lehman recommends a long list of crime-detective-mystery novels by numerous authors, and he recommends four by Christie — The Murder of Roger Ackroyd, Murder on the Orient Express, The ABC Murders, and And Then There Were None. So, here is my suggestion: Why don’t you do a posting someday in which you offer your top-ten list of Christie favorites. I bet a lot of readers would be interested in your recommendations. I know that I would be interested.

  2. Excellent topic, Margot. What came to my mind is the excellent opening of the James Bond film, Spectre, which opens in Mexico City during the carnival for the Day of the Dead. Fancy dress can be a splendid disguise.

    • Oh, that’s a great example, Christine, so thank you. And thanks for the kind words. You’re right, too: a carnival, holiday, any of those fancy dress occasions can let all sorts of things happen because of the confusion caused by big crowds and disguises.

  3. I find tense crowd scenes very discomfiting – which is obviously the authors’ intentions! The idea of trying to escape from someone in a crowd gives me the shivers. Graham Greene in Brighton Rock did the Bank Holliday crowds in the eponymous town very well. The first line – Hale knew, before he had been in Brighton three hours, that they meant to murder him – brings us right to the centre of the action.

    • That’s a great first line, Moira, isn’t it? I like it very much. And you’re right; when there’s a big crowd, you never know what’s going to happen. As a matter of fact, you’ve got me thinking now of Josephine Tey’s The Man in the Queue. Now, that’s an excellent use of a large crowd and the way someone can get up to some nefarious business under cover of that crowd…

  4. I can’t remember if Reginald Hill actually had any scenes of the mass pickets of the miners’ strike of 1984 in his books, but the effect they had on relations between the police and the mining towns is certainly reflected in many of them. And in fact in many other books – the violence that erupted between miners and the police has left effects that are still being felt even today in some Yorkshire communities.

    • That’s exactly the sort of thing I had in mind, FictionFan, when I was preparing this post. In novels like Underworld and On Beulah Heights, you really do feel that residual tension. And I’m not at all surprised to find that it still impacts relations in the area. Those were difficult times for both sides. Thanks for filling in that gap.

  5. Margot, I’d love that list of recommended Christie books as well, although I think I’ve read them all…

    I’m uncomfortable in large crowds and even find stories about them alarming. My first thought on reading your post was a scene in the TV version of Stephen King’s Under the Dome where a large group of people are just quietly standing and waiting for orders to do the leader’s bidding, no matter what. It was ominous and even more frightening than a rioting mob.

    • Thanks, Pat. As I say, I might do that sort of list someday.

      And I can see how you’d find large crowds discomfiting. You never know what can happen. Thanks, too, for mentioning Under the Dome. That’s the sort of thing I had in mind with this post, so I appreciate your filling in that open hole. King is so good at evoking chilling eerieness with his writing.

  6. Reblogged this on .

  7. I hate and avoid anything that involves crowds. The only event that we attend voluntarily with crowds is the Chalk Painting event, and we go early before the real crowds are there.

    • I know what you mean, Tracy. I’m not much of a one for big crowds, either. There are some events that are worth large crowds, but usually, I try to avoid them, too.

  8. Col

    A Madras Miasma was a great book Margot. I have the Rankin and the Sjowall/Wahloo to look forward to yet. The crowd scene lends itself well to film – usually a chase of a suspect through an unsuspecting crowd, though I’m struggling for an example.

    • I think Stoddart’s series is great, too, Col. And I think you’ll like both the Rankin and the the Martin Beck series. You’re right, too, about big crowd scenes. They really do lend themselves well to film. The pushing, the chasing, the hiding, it can all be very suspenseful.

  9. Loved your examples, Margot. Your memory never ceases to amaze. Now that I think about it, I doubt I’ve ever read a scene about crowd-control. If I have, it’s not ringing a bell. But I bet it works great in a crime novel.

  10. Pingback: Writing Links 6/19/17 – Where Genres Collide

  11. Pingback: Writing Links 6/19/17 – Where Genres Collide

  12. gumersindo

    And I can see how you’d find large crowds discomfiting. Margot, I’d love that list of recommended Christie books as well, although I think I’ve read them all…
    I’m uncomfortable in large crowds and even find stories about them alarming.

What's your view? I'd love to hear it.

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s