The Hook Runyon mysteries seem quite atypical to me. Though they often involve finding a murderer, the bizarre situations which instigate the investigations are quite intriguing. I also enjoy the way Runyon doggedly pursues the mysteries, even with negligible progress, despite law enforcement’s and his immediate superior’s nonchalance concerning eventual justice. In The Hanging of Samuel Ash, Runyon is set off by the possible suicide or lynching of a military hero hanging from a railroad “wig-wag” signal. It is also significant in that Hook doesn’t seduce the inevitable young woman character (I say that, even though I read this one ahead of reading Dead Man’s Tunnel, which should have been the third in the series. There may not be a beautiful young woman in that one.) in the story.
The lack of seduction might be because this woman is a former novice in a nunnery. But it may not be because she left the nunnery and indicates that it didn’t go well for her in the following exchange in which Hook admits that his life was significantly affected by the loss of his arm. “’We’re all shaped by something,’ she said. ‘My handicap came in the form of religion, large doses of it. At least your disability is out there where you can see it.’
‘Along with everyone else,’ he said. ‘But it’s only something I have to contend with so long as I’m alive.’ He held the prosthesis up. ‘I’ll be leaving this behind when I die, while you’re going right into the hereafter with yours.’” (p. 271) Hook’s belief about eternity may not be entirely clear in that exchange, but it was an interesting juxtaposition, nonetheless.
One of my favorite lines occurred after a supporting character provided Hook with a clue due to following an intuitive feeling. It reads: “’…intuition only whispers, but if often speaks the truth.’” (p. 233) The Hanging of Samuel Ash also has its lighter moments along with the usual number of near-misses and concussion-rousing blows to the head. Of course, that would even be the case if Hook were a Raymond Chandler character (or, perhaps, Stuart Kaminsky’s Toby Peters?). Hook doesn’t get any respect. Though he doesn’t have to deal with Koko the Clown after his head is bashed, he has to deal with telegraph operators, an unsympathetic supervisor, pickpockets, and wildcat strikers (as well as looters). Even the pugnacious (and sometimes, larcenous) mutt he calls “Mixer” makes multiple appearances.
There are comedic scenes involving accosting the wrong individual(s), having to train a highly educated young man (my dad would have called him an educated ignoramus, in many ways), borrowing money and trying to weasel out of it, and significant adventures aboard an unreliable road-rail (vehicle that travels on both roads (barely) and rails). My favorite scene of comedy relief came when Hook tried to teach his young charge how to hop a moving freight. “Junior,” the young trainee, grabs Hook’s pants instead of the grab iron. “Hook’s pants slipped low on his hips from Junior’s hold, and his arm went dead with fatigue. When he could hang on no longer, he shoved off hard, his pants now around his ankles, and they tumbled off down the right-of-way in a cloud of dust.” (p.239) Of course, if that type of slapstick in the middle of an intriguing mystery doesn’t tickle you, you won’t enjoy several scenes in this novel.
Truth be told, more than the other Hook Runyon novels I’ve read, The Hanging of Samuel Ash reads like an intriguing television pilot. Some of the frivolous portions overshadow the fact that the motive for the murder in this book was entirely different than one would expect. One senses the culprit behind the hanging at first meeting, but it takes the last third of the book to get the “honda knot” of the motive figured out.