Fer-de-Lance is the first Nero Wolfe detective novel written by Rex Stout, published in 1934 by Farrar & Rinehart, Inc. The novel appeared in abridged form in The American Magazine (November 1934) under the title "Point of Death". The novel was adapted for the 1936 film Meet Nero Wolfe. In his seminal 1941 work, Murder for Pleasure, crime fiction historian Howard Haycraft included Fer-de-Lance in his definitive list of the most influential works of mystery fiction. Plot introduction In the opening chapter, Wolfe decides to give up drinking bootleg beer and sends Fritz to purchase samples of every legally available brand (49 in all) so he can select a replacement. The date set in the novel is given as June 7, Wednesday, which makes the year 1933. The Cullen–Harrison Act had just become law on April 7, 1933, legalising "3.2 beer" (3.2% alcohol by weight, approximately 4% alcohol by volume), a point mentioned in passing in the novel. As Wolfe samples the beers and is surprised to find that none of them are unpalatable, Fred Durkin arrives and asks sheepishly if Wolfe can speak with Maria Maffei, a friend of his wife. Maria's brother Carlo, a metalworker, was unemployed (it was during the Great Depression) and was supposed to return to Italy. He suddenly seemed to come into money, and then disappeared mysteriously. Impressed by Maria Maffei, Wolfe instructs Goodwin to make enquiries. Wolfe and Goodwin soon learn that Carlo's disappearance somehow involves the death of a college president while playing golf in Westchester County, New York. As the first novel in the series, Fer-de-Lance introduces Nero Wolfe, Archie Goodwin, Fritz Brenner, Saul Panzer, Fred Durkin, Orrie Cather and other characters who recur throughout the entire corpus. Although the characters are not as fully developed as they would become later in the series, the essential characteristics of Wolfe, Archie and several other regulars already are clearly present. However, there are some inconsistencies with the characters and settings that would be used going forward. In particular, the novel's descriptions of Wolfe's Manhattan brownstone conflict with the established architecture set down by Stout in all subsequent novels and stories. Likewise, the characters have slightly different personalities: Wolfe's manner of speaking is notably more baroque and long-winded than in later stories, and Archie is generally coarser and less polished in this work than in later Stout volumes, even using racial epithets at times.