#1011: Double or Quits (1941) by A.A. Fair

Double or Quits

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Where the novel of detection delights in tropes so as to better lull you in and then sock you with an unexpected development, I’m starting to suspect that the private eye novel likes tropes so that you’re as comfortable as possible throughout without ever having to pay too close attention. You sign up for wealthy families, suspicious deaths, shady hangers-on, and plenty of business malfeasance, all the better to then unfurl a complex final chapter explanation which probably works as well as anything else, but, hey, at least it was entertaining while it lasted. And the world absolutely has a place for that kind of book, just don’t expect me to get too excited when I encounter one of them.

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#1009: The Right Murder (1941) by Craig Rice

Right Murder

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“Now you take this guy who was killed New Year’s Eve. If he was gonna be killed, why couldn’t he have had his passport on him, or a driver’s license, or even a calling card? No. Not a damn thing. So I have to go to all the trouble of finding out who he was. When I do find out, then what? More trouble.” Homicide Captain Daniel von Flanagan has a point, as there’s also the matter of the dead man staggering into a bar where lawyer John J. Malone was drowning his sorrows and croaking out “Malone!” before expiring on the floor, added to Malone’s insistence that he’d never seen the man before. And what of the key numbered 114 the man slipped to Malone…a key that was apparently stolen from the lawyer only moments later?

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#1006: Green for Danger (1944) by Christianna Brand

Green for Danger

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I first read Green for Danger (1944) by Christianna Brand about 12 years ago on the back of enthusiastic Agatha Christie comparisons, and came away impressed with its wartime hospital setting but underwhelmed by what I remembered as the seemingly random allocation of guilt to an undeniably surprising party in the finale. Since then, I’ve been assured by reputable sources that the book is in fact rigorously — and very fairly — clewed and warrants re-examination, so its republication in the British Library Crime Classics range is the perfect chance to find out if it does indeed stand on its own or if everyone’s enthusiastic just because they also love the 1946 movie (because, my god, don’t people ever love that movie).

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#1003: Found Floating (1937) by Freeman Wills Crofts

Found Floating

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In the same year that Agatha Christie mixed sight-seeing and shipboard slaughter in Death on the Nile (1937), Freeman Wills Crofts sent his series detective, Chief Inspector Joseph French, into bat with a similarly travelogue-rich tale of marine-centric malfeasance. Found Floating (1937) might, in many ways, be seen as Crofts’ take on the essential principles of a Christie plot, even if it does highlight many of the reasons Dame Agatha has remained in the public consciousness while Crofts is only now enjoying a resurgence in awareness and popularity. Indeed, for a man who made hay in the annals of the realistic detective story, this might be his most successful brush with verisimilitude yet.

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#999: They Walk in Darkness (1947) by Gerald Verner

They Walk in Darkness

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If you’re reading this in the Southern Hemisphere — or in the year 2047, when global warming has reduced the planet to a scorched wasteland — then the raft of snow-bound mysteries reviewed in the run-up to Christmas might seem a little odd. Nevertheless, this snowswept tale of impossible murder, which came recommended by Tom Mead, has been reserved for this precise season so that its twofold chills — physical and atmospheric — might be better appreciated. Gerald Verner wrote so much that it would be easy to believe that quality wasn’t high on his agenda, but he does good work in They Walk in Darkness (1947) even if the overall edifice doesn’t quite live up to its promise.

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#997: “Actors never betray themselves…” – Final Acts: Theatrical Mysteries [ss] (2022) ed. Martin Edwards

I tend to read multi-author anthologies over — if I’m honest — a couple of months, to better ameliorate the often wild changes in style and content of each tale. In recent times I’ve sped this process up, so that I’m able to review the annual Bodies from the Library (2018-present) collections on this very blog, so let’s see how I fare doing the same for the latest Martin Edwards-edited collection in the British Library Crime Classics range, eh?

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#996: The Nine Wrong Answers (1952) by John Dickson Carr

Nine Wrong Answers

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In order to read the full text of The Nine Wrong Answers (1952) by John Dickson Carr you must read the first edition hardcover, as all paperback printings having been reduced by what Carr’s biographer Douglas Greene estimates to be about 15%. And, having now read the condensed text, it’s difficult not to feel that the book could actually be shortened by about another 30% since, in expanding this up from his radio play ‘Will You Make a Bet with Death?’ (1942), Carr has stretched a thin premise now too thin. A lot of the distractions here are simply that: distractions, and the core excellence of the plot is rendered tedious at times when trying to support so many circumlocutions.

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#993: Crook o’ Lune, a.k.a. Shepherd’s Crook (1953) by E.C.R. Lorac

Crook O'Lune

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I’ve enjoyed mixed fortunes with the work of E.C.R. Lorac, from the high of The Devil and the C.I.D. (1938) to the low of Murder by Matchlight (1945), and a return to her work has always been on the cards. And so, with the British Library kind enough to send me a review copy of Crook o’ Lune (1953), the eleventh title by Lorac to be reprinted in their august Crime Classics series, we return. There can be no denying that Lorac has been a huge success for the BL, undoubtedly allowing the taking of a risk on some more obscure titles elsewhere, so I knew that there were plenty of others in print for me to read if I enjoyed this one.

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