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The mechanisms of abnormal psychology can be used to good advantage in a mystery story so long as no attempt is made to go deep into the personality formations, and no reference to cure or possible change of
pattern is brought in. The book in question is something between a “psychological thriller” as it is called on the jacket, and a “psychological novel” as it is called on the title page; and must be judged somewhat differently according to the angle from which it is considered.
The plot is slow in getting under way—taking time out for up-to-the-minute repartee, desultory character delineation and unconvincing conversations, as for example between two servant girls where the “atmosphere” is not authentic and the false-trail element too obvious.
From the first, however, Mrs. Millar shows a sympathetic understanding of some of the upper mental levels of the main character—Lucille—who had married Dr. Andrew Morrow, the husband of her friend and neighbor, Mildred, not very long after the mysterious murder of Mildred some sixteen years before the story opens. Lucille was living “happily” with Andrew and preserving a semblance of friendship with Mildred's two children (who didn't like her) and Andrew's sister Edith (who wanted Andrew to herself) until a sudden and mysterious shock upsets her equilibrium, and lands her behind the Iron Gates of Penwood—which is of course a psychiatric institution. and here the story suddenly comes to life with a lively account of Penwood, and some of the inhabitants, as a new background for the story of Lucille.
From this point on the plot moves forward towards impending doom and retribution with something of the grim fatality of a Greek tragedy—handled with a deft touch that steers away from all emotional appeal and keeps it entertaining, according to the mystery-story formula. The chief detective, Sands, is a sympathetic type, and holds the balance well between his official duty and his human interest in the Morrow family.
Perhaps the mos