Murray Hall by Milo Allan review: 'illuminates hidden history'

Based on real events, this novel will provide pleasure and invite speculation at the same time, writes Allan Massie

Murray Hall is a novel set mostly in New York as the 19th century became the 20th, a turbulent time in the fast-growing city when it was in the hands of a corrupt government, generally known as Tammany Hall.

Reform was already underway, in part stimulated by some newspapers. Those who remember the early part of Orson Wells's Citizen Kane will find the activity of Milo Allan's investigative journalist Samuel Clellan, engaged in exposing police corruption, quite familiar.

Milo Allan | Contributed

Clellan, however, is to some extent diverted from this by his exploration of the strange story of Murray Hall. Hall, based on a Scottish emigrant, is apparently a real historical figure. Known to Clellan a bondsman and collector, the journalist is surprised to find him in a bookshop buying histories of surgery. Hall is odd-looking, small and delicate. He is always dressed in a suit and even in a New York summer wears a heavy black overcoat. He also carries a thin blackthorn cane, which he is known to use effectively in a tavern brawl or in the streets.

The journalist eyes him with caution and is glad not to be recognized. Then Hall dies, and it is discovered that, though apparently a family man with a wife and daughter, he is really a woman. This fascinates the journalist and leads him to explore Hall's history, this involving him in conversations with senior Tammany men, drinking sessions and card games.

Though Milo Allan - a pseudonym, for the novel has two authors, Vicky Allan and Milo Clenshaw - treats Clellan's investigation of municipal corruption seriously and gives us a fine picture of the bustling and often dangerous metropolis, with its taverns and oyster bars, its street fights and other dangers, like Clellan, the authors are also fascinated by Murray Hall's history: how did he get away with this impersonation, and indeed why?

One already knows that the journalist may have more than a professional interest in Hall's story and, as he sees it, masquerade. Nevertheless, he combines his search for Hall's past with his professional investigations of Tammany, and, in doing so, gives us a lively and agreeable picture of turn of the century New York.

In a note at the end of the book, the authors make it clear that their particular interest is in examining the nature and significance of trans and queer life, both in New York and, in the treatment of Hall's early life, in Scotland as well. Fair enough. Much of this has remained concealed, and illuminating hidden parts of history is suitable and, one may say, worthy work for a novelist. Some readers will doubtless find this element of the novel tiresome, but there is enough about the journalist's investigation of the municipal corruption of New York to make for a fine and very enjoyable story. So, even if you take the recovery of Hall's early life and management of his long deception without much enthusiasm, you will still find much to enjoy.

Hall’s lifelong deception, though treated with admiration, is nevertheless shown to have imposed hardship and some unhappiness on those close to him. However, the authors' treatment of his deception shows an understanding of its gallantry, and the image of the strange little man-woman in his too heavy overcoat who makes such effective fighting use of his blackthorn cane is splendidly done. In short, the authors have written a very enjoyable novel, one that can give pleasure and invite speculation at the same time.

Murray Hall, by Milo Allan, Black & White, £16.99