It’s fair to say that, in my reading of crime and detective fiction, I generally like my plots fast-moving, my clues brilliantly baffling, and my detection rigorous. It has been known, though, for something a little more calculated in its pacing or with an absence of well-drawn detection to scratch an itch that only manifests once every blue moon. It was absolutely the case with The Devil’s Flute Murders (1953) by Seishi Yokomizo and, returning to the Land of the Rising Sun and the fiction brought therefrom by Pushkin Vertigo, it’s proved to be the case with Murder in the House of Omari (2021) by Taku Ashibe. Another time, in a different mood, this would not have worked for me at all, but, honestly, I delighted in practically every page of this.