The Art School Murders

The Art School Murders

by Moray Dalton

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“I’m worried. . . .This damned black-out. I’m afraid of what may happen in the dark.” Artists’ model Althea Greville was, in life, known as something of a femme fatale. But the phrase becomes only too literal. What initially appears to be red paint leads instead to Althea’s dead body, murdered in Morosini’s renowned school of art. Hugh Collier of Scotland Yard is called in, but two more murder victims follow, one of them a female student at the school, stabbed to death at a cinema. After many a twist, Collier selects the right piece in the puzzle to identify a murderer operating under cover of England’s World War Two black-out. It is a pleasure to accompany Hugh Collier in The Art School Murders as he suavely but relentlessly pursues, and finally brings to justice, a diabolically callous killer. This new edition features an introduction by crime fiction historian Curtis Evans.

Discussion questions for The Art School Murders

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  1. 1

    How does the wartime black-out setting enhance the atmosphere of suspense and paranoia in the novel, and how does the literal and figurative darkness reflect the moral ambiguity of the characters?

  2. 2

    Moray Dalton presents the art school as a vibrant yet insular community; how does this bohemian environment contrast with the rigid realities of wartime Britain?

  3. 3

    Althea Greville is introduced as a classic femme fatale whose life and death set the plot in motion. How does the novel subvert or play into traditional gender tropes surrounding female sexuality and power in classic mystery fiction?

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