By the early 1950s, Gore Vidal was in a place of career transition. His career as a novelist had cooled off since the publication of his pathbreaking, controversial novel on homosexuality, The City and the Pillar (1948). As such, the chief executive at Dutton, his publisher, suggested he write mystery novels under a pseudonym. Intrigued by the idea and having known many of the tropes of the genre as a reader of Agatha Christie, Vidal assumed the name “Edgar Box” (a combination of Edgar Wallace, the godfather of the modern mystery tale, and the last name of an acquaintance) and wrote three mystery novels in a short clip: Death in the Fifth Position (1952), Death Before Bedtime (1953), and Death Likes it Hot (1954).
The main protagonist of all three novels is Peter Sargeant II, a dashing, witty public relations man and occasional journalist who finds himself stuck in the middle of mysterious murders with a colorful cast of potential subjects. In Death in the Fifth Position, he successfully solves the murder of a prominent ballerina whose star shined too bright to the liking of her killer. Death Before Bedtime, my personal favorite of the three, sees Sargeant exposing the murder of an ambitious U.S. Senator and prospective presidential candidate. In the final book in the trilogy, Death Likes it Hot, Sargeant unravels a fiendish murder plot in the Hamptons during the dog days of summer. All three have twists, turns, and red herrings—in the classic Christie mold—mixed with very clever dialogue and snapshots of American life in the early 1950s, albeit in power centers like New York and Washington, D.C. It would’ve been interesting to see him write a mystery novel under his own name, even with an historical bent, but that wasn’t to be.
While certainly not among his best work, these three novels represent the strongest of Gore Vidal’s pseudonymous works and illustrate his singular knack for genre fiction.