Charles Runyon’s The Prettiest Girl I Ever Killed

Charles Runyon’s The Prettiest Girl I Ever Killed was published by Fawcett Gold Medal in 1965.

Charles Runyon (1928-2015) was born in Missouri and wrote science fiction as well as crime fiction.

This could be described as a serial killer story and that’s probably my least favourite literary genre but this is a very unconventional and interesting serial killer story, both thematically and structurally.

I’m going to be more vague than usual about the plot since I don’t want to risk giving away even the mildest of spoilers.

The novel uses first person narration but with more than one narrator. At first the switch in point of view may seem puzzling but if you stick with it you will find out why Runyon chose such an approach.

The novel begins with a man telling us how he murdered a woman after manipulating her into an affair. She is not the first woman he has murdered. Not by a long way. He tries to explain his odd motivations. It has something to do with playing a game. Games are an essential part of this story. Sometimes people know they are playing a game and sometimes they don’t.

Then the point of view switches to Velda. We already know that Velda was important to the killer but we don’t know why.

There was a murder many years earlier. A man was convicted. He may or may not have been guilty.

A man returns to a small town called Sherman, for somewhat enigmatic reasons connected with that murder.

There have been several murders. Possibly many murders. There is no way of knowing how many. There have been many violent deaths, some of which may have been murders but some of which may have been accidents or suicides. It’s possible that most of these deaths really were accidents or suicides. It’s also possible that they were all murders.

There is madness here, but the identity of the mad person is uncertain. At times we have reason to doubt the sanity of a number of characters. We certainly have cause to be suspicious of the motivations of a number of characters. There is plenty of paranoia and suspicion.

It will of course occur to us that we may be dealing with an unreliable narrator, or even two unreliable narrators. We can’t be sure. We can’t be sure if any of the characters knows what’s going on. We can’t be sure how many of the characters understand their own motivations. This applies not just to individuals. The paranoia and suspicion infects the whole town. Groups of people as well as individuals can go mad.

There are three, or possibly four, people who are cast in the role of investigators. There is no shortage of evidence, but all the evidence is hopelessly ambiguous. There are witnesses to certain events, but those witnesses may be lying or deluded or confused or stupid. They may have failed to mention crucial details.

These investigations are all conducted by amateurs. There is a sheriff, but his investigations are of no significance. His only interest is in being re-elected sheriff.

Runyon really does take an intriguingly unconventional approach and the result is a novel that initially doesn’t seem all that interesting but that becomes more and more fascinating as the reader is drawn into the author’s clever and devious game. Highly recommended.

This is one of three novels in the Stark House Noir Classics volume A Trio of Gold Medals, along with Dan J. Marlowe’s The Vengeance Man and Fletcher Flora’s Park Avenue Tramp.