#499: Cat’s Paw (1931) by Roger Scarlett

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Dear Elderly Patriarchs Who Hold the Purse-Strings and Delight in Making Everyone Jump and Dance on Cue: you’d live a lot longer if you stopped gathering your slavishly pecuniary-minded families around you before announcing a surprise amendment to their financial situations.  Weren’t you supposed to be captains of industry at some point?  Don’t your creators lay it on a bit thick with your business acumen, your cut-and-thrust tactics, and the rapier-like intelligence that resulted in you rising to the top?  Gordon’s beer, man, exercise a little nouse; at least change the will and then tell them…

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#496: The Beast Must Die (1938) by Nicholas Blake

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“I am going to kill a man” — it must surely be the most famous opening line in the whole firmament of Golden Age detective fiction, and but for Sherlock Holmes and “the” woman I’d suggest the famousest opening line in all detection ever.  When Aidan at Mysteries Ahoy! and I realised we were reading this near-contemporaneously, he kindly agreed to delay his review by a week that we might publish our thoughts as simultaneously as possible — I’ve not read his review as I write this, but I will by the time you’re reading it, and I am fascinated to find out how successfully he feels the game is played after that wonderful opening serve.

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#495: Little Fictions – The Uncollected Paul Halter: ‘Nausicaa’s Ball’ (2004) and ‘The Robber’s Grave’ (2007) [trans. John Pugmire & Robert Adey 2008/2007]

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My five-hundredth post approacheth — a reread and re-evaluation of The Fourth Door (1987), the debut novel of M. Paul Halter, of whom I am quite the fan — and so Tuesdays in February will focus on the six translated Halter stories featured in Ellery Queen Mystery Magazine that have yet to be collected into a second English-language anthology.

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#493: The Groote Park Murder (1923) by Freeman Wills Crofts

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A mere nine books into the 37-strong output of Freeman Wills Crofts (soon to be 38 thanks to the excellent work of Tony Medawar and Crippen & Landru), I’m going to make a bold assertion: Crofts, I suggest, went out of his way to never write the same type of book twice.  Oh, I know, you’ve heard they’re all just a boring man in a boring office poring over boring train timetables and talking boringly about boring tides on the way to solving a boring murder (to be honest, the only truly boring thing about Crofts is being told how boring he’s supposed to be)…but first read nine books by the man before telling me I’m wrong.

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#490: It Howls at Night (1937) by Norman Berrow

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The detective novel often requests that you, the reader, swallow some fairly difficult concepts in order to fully engage with it — that someone can organically devise the methods of murder and misdirection depicted within, for instance, or that the mechanical solutions sometimes put froward do actually work in the manner described.  However, the delightfully creative Norman Berrow, in his werewolf-on-the-prowl novel It Howls at Night (1937), demands of you the greatest degree of forbearance I’ve yet encountered, a hurdle some may struggle to overcome, in requiring you to believe that a man would actually go by the name of ‘Pongo Slazenger’.

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#487: The Polferry Riddle, a.k.a. The Choice (1931) by Philip MacDonald

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For now, like, the fourth time in my experience — and the second involving a book by Philip MacDonald — the Roland Lacourbe-curated list of 100 excellent impossible crime novels has disgorged a title which is not in any way an impossible crime.  I’m still fully capab- (hang on, carry the one…then minus…yup, you’re good) fully capable of enjoying a book which is sans-impossibility, but I find it weird that a list compiled by such eminent heads includes so many books that don’t qualify.  The simplicity of MacDonald’s own narratives should be a giveaway anyway, since he’s really not about the complexities or misdirection, sticking more to a simpler, thriller-tinged path.

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#485: “What I say is, is it wise or necessary to rake up things?” – Memory as Evidence in Elephants Can Remember (1972) by Agatha Christie

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You’ve heard of Elephants Can Remember (1972): it’s the final time Hercule Poirot investigates a case at Agatha Christie’s direction, written in the final stretch of her career when everything she did was awful and without merit.  Not even I could find something positive to say about it…could I?

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