I have an undeniable fondness for the work of Edgar Allan Poe, having looked at his tales of ratiocination on this blog as well as written a novel inspired by one of his most famous stories. So Beyond Rue Morgue [ss] (2013), a collection of stories edited by Paul Kane and Charles Prepolec purporting to extend the career of Poe’s unfathomably influential detective C. Auguste Dupin, was certainly an intriguing find.
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Not to split hairs, but if you receive an anonymous note on the 1st June telling you that you have thirteen days to live, the person threatening your life is going to kill you on 14th June, not the 13th. Either way, the wealthy George Hayling waits the best part of a week, receiving one note a day along similar lines — including a threat to poison his dog, which is duly carried out — before consulting the police. As luck would have it, he’s ushered into the office of Chief Inspector Floyd just as that worthy is completing a discussion with the esteemed Sir Arthur Sinclair, and something about Hayling’s case piques Sinclair’s interest. Only, with so little time remaining, can Sinclair keep the man alive?
Given the state of limerence in which I exist when it comes to the impossible crime in fiction, it was with great excitement that I received a copy About the Murder of the Circus Queen (1932) by Anthony Abbot, which has not one but two entries in Adey.
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In principle, the core concept of Murder by the Clock (1929), the debut novel for both author Rufus King and character Lieutenant Valcour, is a good one: the youthful Mrs. Endicott calls the police because she fears her husband has gone out that evening to pay off a blackmailer, only for Valcour, the policeman who responds to the call, to find Mr. Endiciott dead in his closet at the close of the first chapter. Thus, the focus of the mystery becomes the Endicott ménage itself, as the questions of who would have killed the master of the house, and why, take understandable prominence. And some fun ideas remain, but the book containing them doesn’t quite compel as it might.
Something a little different today: knowing that I’m a fan of the Australian dramatist and novelist Malcolm ‘Max’ Afford, Tony Medawar — the closest thing the GAD firmament has to Indiana Jones — sent me a selection of Afford’s thus-far-uncollected short fiction, as found in a variety of Australian publications from the Golden Age, and I’ve read them and am going to write a little about each one.
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I have, since encountering the work of Charlotte Armstrong, developed a newfound appreciation for the novel of suspense. And so when Kate at Cross-Examining Crime mentioned that The Hours Before Dawn (1958) by Celia Fremlin was among her favourite debuts in the genre, I was willing to put my scepticism aside — Kate and I so rarely agree, y’see — and dive into this lovely Faber & Faber reprint. And, y’know, while it doesn’t completely work for me, this story of a new mother trying to fathom whether she’s being driven slightly mad by the sleeplessness induced by her new son, or whether there’s something more sinister behind the oddnesses she keeps encountering, has a lot to recommend it.
I have been known to be something of an impatient reader. In the first half of this decade, I read 713 books — an average of 2.74 a week — all while maintaining the physique of a Greek god, fighting crime at night dressed as a badger, holding down a full time job as a lawyer for the downtrodden, and winning the last six series of Mastermind in a raft of ingenious disguises.
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One of my favourite discoveries of recent years has been the character of Captain Duncan Maclain, the blind protagonist of a baker’s dozen of books by Baynard Kendrick. Having enjoyed The Odor of Violets (1941) and Blind Man’s Bluff (1943) as part of the American Mystery Classics range, I’ve been keeping an eye out for other books in the series, and got very lucky stumbling into a copy of The Whistling Hangman (1937) that was so severely beaten it must have owed money to six different loan sharks. And this was an especially exciting find as the novel has been praised by TomCat, apparently featuring some more ingenious impossible deaths in a large New York hotel…and, yeah, largely lives up to its billing.
In my very first post on this blog I shared the belief that G.K. Chesterton’s writing is “too verbose”, and I’ll confess that I’ve found him hard to enjoy in the past. But reading some stories with Countdown John got me thinking that maybe I could suffer to give him another go, and so here, eventually, we are.
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With an intriguing title taken from Oscar Wilde’s The Picture of Dorian Gray (1890) (“Murder is always a mistake. One should never do anything that one cannot talk about after dinner.”), Silence After Dinner (1953) is the eleventh Clifford Witting novel republished by Galileo Publishers. And since they were kind enough to send me a review copy, I can tell you about it fairly close to its release for a change. Opening with a startling, anonymous diary entry set in late-Communist Revolution China, we jump forward four years to the more bucolic South Downs where various people all seem to have spent time in that country and so might be the person responsible for the acts relayed in that opening. So, whodunnit?
The Invisible Event 