Philip MacDonald
Philip MacDonald (who some give as 1896 or 1899 as his date of birth) was the grandson of the writer George MacDonald and son of the author Ronald MacDonald and the actress Constance Robertson.
During World War I he served with the British cavalry in Mesopotamia, later trained horses for the army, and was a show jumper. He also raised Great Danes. After marrying the writer F. Ruth Howard, he moved to Hollywood in 1931. He was one of the most popular mystery writers of the 1930s, and between 1931 and 1963 wrote many screenplays along with a few radio and television scripts.
His detective novels, particularly those featuring his series detective Anthony Gethryn, are primarily "whodunnits" with the occasional locked room mystery. His first detective novel was 'The Rasp' (1924), in which he introduced his character Anthony Gethryn.
In later years MacDonald wrote television scripts for Alfred Hitchcock Presents ('Malice Domestic', 1957) and Perry Mason ('The Case of the Terrified Typist', 1958).
He twice received an Edgar Award for Best Short Story: in 1953, for 'Something to Hide', and in 1956, for 'Dream No More'. Indeed many critics felt that his short story writing was superior to his novels and they did win five second prizes in the annual contests held by 'Ellery Queen's Mystery Magazine'.
He also wrote under the pseudonyms Oliver Fleming, Anthony Lawless, Martin Porlock, W.J. Stuart and Warren Stuart.
“He (The 4th Doctor) concludes, as befits his Bohemian heroism, that the quest itself fulfils the quest - to travel is better than to arrive, and taking part is more triumphant than winning.”
“Anthony took the pipe out of his mouth and smiled at her. "Sorry, dear! You know I don't mean to get like this, but I can't help it. What you want me to tell you is what I'm thinking, but I can't, because I don't know. Now, now, that's not clever, it's purely a statement of fact. We've been married quite long enough for you to know me by this tim, but you never seem to have understood properly what a tidy mind I've got. That, you know, is really why I'm always getting mixed up in this 'finding-out' business. When I see a thing all unreasonable and all at loose ends, I just have to see whether I can't straighten it out, and it's the same with my own thinking. When my own thinking's just a mess, it isn't tidy, and therefore I won't let it release its untidiness onto the world. I have to get it nicely rearranged and sorted before I can really talk.”