The following is a quote from the Neglected Books (http://neglectedbooks.com/?p=241) regarding The Incredible Charlie Carewe:

“[. . . . ]  A year later, Doubleday released her first novel, The Incredible Charlie Carewe.

Although it suffers some of the typical construction problems of a first novel, The Incredible Charlie Carewe is a remarkable work that demonstrates “qualities of depth and reality” equal to those Anderson noted in Astor’s acting. Charlie Carewe is the handsome, charming, charismatic son of a wealthy East Coast Establishment family with impeccable bloodlines. On the surface, it seems as if the sky is the limit–no doors are closed to Charlie Carewe.

Unfortunately, something is a bit, well, odd, about Charlie. At first, there is just a sense that his behavior is a bit hard to explain, but given his class and status, his parents, his sister, the help–everyone writes it off to quirks in his character. But then his sister comes across Charlie in the rocks along the shore of their country estate–bashing a playmate’s head into the rocks:

There was absolutely no savagery in the action, no passion or hatred, no viciousness, He looked up briefly as he saw Virginia and Jeff and called out a smiling “Hi!” and then went back to his task. Firmly, purposefully, as though he were occupied in cracking a coconut. In the seconds before movement came back to the paralyzed observers another wave whispered up to the two boys and receded with pink in its foam.

Charlie’s victim is rushed off to the hospital with permanent brain damage and the Carewe’s social finesse is put to the test as they graciously usher out their guests as if nothing more than an unfortunate accident had taken place. The next morning, as he tucks into his breakfast, he asks chattily, “What’s the news on Roger? Did he die?”

The Carewes can recognize that they have something of a ticking time bomb on their hands, but their upbringing and lack of psychological awareness (the incident above takes place in the early 1920s) leaves them helpless when it comes to dealing with it. They shuttle Charlie through a series of elite prep schools, smoothing over matters when he’s quietly asked to leave due to thefts, attacks on other students, or other indiscretions. For a long time, the only person who seems remotely able to accept that Charlie’s actions are more than a little abnormal is his sister Virginia, and even she is at a loss to explain it:

As usual, she thought, she was making a fuss, putting too much importance on Charlie’s behavior. She should be used to it now. Wearily she thought, at least there was one consistency; in any given situation, Charlie could be counted on to do the wrong thing, the inappropriate thing. Nobody, but nobody, could be more charming when he wanted to be. He had, it seemed, a full command of the social graces, and in any gathering, especially of people who were strangers to him, could attract attention with no effort. People would gravitate toward him, toward the sound of his pleasant voice, his contagious laugh; but always he seemed to want to destroy it….

Schools could expel him, friends were quickly made and quickly lost, his contact with any kind of social life was brief, and none of it seemed to matter to him. Nor did it matter that the cumulative effect was destroying a family.

Astor displays a clinical objectivity in leading us through every step along the way as Charlie spreads havoc into the lives of almost everyone he meets. In each situation, the pattern is the same: glittering, showy success followed by abrupt failure due to some or other act of willful brutality. His forms a company, makes a great splash, achieves fame as a tycoon and philanthropist, and within a couple of years is being escorted out by his nearly bankrupted partners. He makes a show of joining the Navy after Pearl Harbor, then weasels his way out by pretending to be a bed-wetter. He drives his wife to divorce and alcoholism, borrows and loses money from friends, seduces wives and ruins friendships.

Not even the incredibly strong defenses of family fortune and status, though, can withstand the destructive force of Charlie’s will, however, and only an unlucky trip on a staircase keeps Charlie from standing alone in a wasteland of his own fallout. What Charlie is, we can now see in a glance with the benefit of much greater awareness, is, of course, a psychopath. The psychiatrist Hervey Cleckley recognized this, citing Astor’s book in the 1964 edition of his classic work on psychopathology, The Mask of Sanity:

In many respects the most realistic and successful of all portrayals of the psychopath is that presented by Mary Astor in The Incredible Charlie Carewe. The rendition is so effective that even those unfamiliar with the psychopath in actual experience are likely to sense the reality of what is disclosed. The subject is superbly dealt with, and the book constitutes a faithful and arresting study of a puzzling and infinitely complex subject. Charlie Carewe emerges as an exquisite example of the psychopath – the best, I believe, to be found in any work of fiction.

The Incredible Charlie Carewe should be read not only by every psychiatrist but also by every physician. It will hold the attention of all intelligent readers, and I believe it will be of great value in helping the families of psychopaths to gain insight into the nature of the tragic problem with which they are dealing, usually in blindness and confusion.

By this point, anyone reading this review who’s been in a bookstore in the last decade can’t help but think of Bret Easton Ellis’ American Psycho. If asked to sum up the book in a single catchphrase, I would have to say, “Imagine American Psycho written by Louis Auchincloss (or Edith Wharton).” Where Ellis writes to shock, Astor writes to show how people of refinement and elaborate rules of conduct respond when faced with pure irrational violence.

The Incredible Charlie Carewe is a remarkable novel not just in the detail and accuracy of its portrayal of a psychopath but in the “depth and reality” of its portrayal of the society in which this particular psychopath operates. Astor is very much in the territory of Wharton and Auchincloss, and she’s clearly deeply familiar with it. This is a novel that has more than a few parallels with the story of the 20th century as a whole, which is one reason it’s a genuine shame that it vanished after a single Dell paperback release in 1963.”

(http://neglectedbooks.com/?p=241)

Other mentions of Astor’s Charlie Carewe:  https://pathwhisperer.info/?s=carewe&submit=Search

From the ‘[S]nake-hearted’ era . . . post:

Sadly this was written in the 1950s.  I’m sure the authors, William March (the novel) and Maxwell Anderson (the play), thought knowledge of psychopathy would spread quickly in the modern age.  As did Hervey Cleckley, Mask of Sanity, and Mary Astor, The Incredible Charlie Carewe, (https://kat.cr/the-incredible-charlie-carewe-mary-astor-mobi-t7972573.html, https://openlibrary.org/books/OL5798604M/The_incredible_Charlie_Carewe), no doubt.  I don’t know what went wrong.  (https://pathwhisperer.info/2014/11/08/this-snake-hearted-era-reginald-taskers-monologue-from-the-bad-seed/)

Why knowledge of psychopathy has not spread throughout society is worthy of an extended discussion.