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In the detection club, in the 1930s, using the proceeds from several collaborative book projects,

the Detection Club rented its own premises in Central London. Their two rooms were upstairs at 31-Gerard Street in the

Soho area of London's West End, which at the time was a proper red light district, known for its nightclubs of varying levels of legality and notoriety.

Indeed, Gladys Mitchell later recalled how, when the members were walking back to the club rooms after dinner at a local restaurant,

we women had to assert over the Gerard Street ladies who had attached themselves to the coat sleeves of our highly respectable men colleagues. Dorothy L. Sayers and Margaret Cole were especially fierce

defenders of their more timid male friend's virtue, apparently. In the rooms themselves,

the Detection Club had been able to create a little oasis that catered to their mutual preoccupations.

Comfortable armchairs, tables, supplies for making drinks and books to be shared and borrowed were soon installed.

Most interesting of all, they put up pictures on the walls.

Their taste in decoration was perhaps appropriate, if a little macabre.

They chose prints depicting scenes from famous real life murder cases.

From the list of villains and victims they immortalized in this way, one face in particular stands out to me, that of

William Corder, the so-called Red Barn murderer.

What was this relic of an apparently cut- dried murder case from 1827, doing looking down at a gang of mystery writers over a century later?

Why did they want Corder there at all? Why did he still matter?

Today we must go inside the red barn itself to learn more. Welcome to She Doneit. I'm Caroline Crampton. I've talked a great deal in the past on this podcast about the true crimes that influenced Golden Age detective fiction.

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