#478: All But Impossible – The Impossible Files of Dr. Sam Hawthorne [ss] (2017) by Edward D. Hoch

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I’m probably starting in the wrong place with this chronologically fourth collection of the Dr. Sam Hawthorne impossibilities by short story specialist Edward D. Hoch.  However, it contains the very first Hoch story I ever read and so seemed as good a place as any to start.  I’ve read maybe three Hawthornes in other collections and figured it would be good to end 2018 with a long-awaited perusal of them in greater concentration, and…well, I’m a little underwhelmed.  Hoch has a talent for capturing ambience very piquantly, and the best of these stories are very good, but far too few of them have anything like the rigour or intelligence I’d expected given how highly-regarded this series seems to be.

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#475: The Sentence is Death (2018) by Anthony Horowitz

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Having gotten so successfully into the skin of Dr. John H. Watson for his Sherlock Holmes tale The House of Silk (2011), Anthony Horowitz has now found a Watson whose skin fits even better: himself.  And if Horowitz is to be Watson, he needs a Holmes — a role obligingly filled by the brilliantly perceptive ex-D.I. Daniel Hawthorne, a man as private as he is borderline-unlikable, who is parachuted into cases which run the risk of sticking around for a while and making the Metropolitan Police Force’s statistics look bad.  And with Horowitz as his chronicler, it’s to be hoped that any cases they meet will require at least 80,000 words to solve…

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#472: The Pit-Prop Syndicate (1922) by Freeman Wills Crofts

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Back in 2015, before I’d ever opened any of Freeman Wills Crofts’ works, Puzzle Doctor reviewed The Pit-Prop Syndicate (1922) at his place and ended by saying “I could go on, but I’ll just keep writing euphemisms for BORING BOOK over and over again. Absolutely, 100%, NOT RECOMMENDED. I’d go so far as Actively Avoid”.  Shortly after reading that I broke my first bread with Crofts and, almost exactly three years later, I’ve read and loved seven Crofts novels and — in a move some might consider hasty — have tracked down all but four of his oeuvre. Still, I picked this one up with the Doc’s warning echoing in the back of my skull.  Gulp.

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#469: The Man Who Loved Clouds (1999) by Paul Halter [trans. John Pugmire 2018]

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The last time anyone tried to use the wind as a threatening murder weapon we got The Happening (2008) from the, er, mind of M. Night Shyamalan.  Nine years prior, however, Paul Halter had written about the small coastal village of Pickering in 1936, and the youthful, ethereal Stella Deverell predicting the deaths of locals ahead of the storms and winds that batter the vicinity.  And what Stella predicts comes to pass: not just deaths, but madness, relationships breaking down, and unforeseeable good fortune for fishermen.  Add in her own talents in making gold from rocks and vanishing without a trace and you’ve got an impossible crime tale on your hands…

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#467: Seven—And Death Makes Eight – The Game’s Afloat in The Last of Sheila (1973) [Scr. Stephen Sondheim and Anthony Perkins; Dir. Herbert Ross]

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I’ve not reviewed a movie here on The Invisible Event before, but then The Last of Sheila (1973) is not your average movie.  I first became aware of it at the Bodies from the Library conference in 2017, when it was recommended as one of the few examples of a fair-play mystery in long format, and that was enough for me.

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#466: The Traces of Brillhart (1960) by Herbert Brean

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Late one night, journalist William Deacon is surprised in his office by an old school friend with an unusual request.  Seemingly everywhere Archie Sinclair goes, people are talking about the singer-songwriter Brill Brillhart — the places they met with him, the dinners they’ve had with him, the appearances he’ll be making later that week — which wouldn’t be so weird if Sinclair didn’t have it on such good authority that Brillhart has been dead for the last two months.  So, would Deacon be willing to look into it?  And Deacon, with misgivings aplenty, agrees, and soon finds that Brillhart is indeed both dead and seemingly everywhere.  How can this be possible?

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#463: They Can’t Hang Me (1938) by James Ronald

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My first encounter with James Ronald was via the puply and hugely entertaining Six Were to Die (1932), in which six business associates found their lives threatened by an ex-colleague they had wronged, and were killed one by one in ingenious ways.  Six years later, he wrote They Can’t Hang Me (1938), in which four business associates find their lives threatened by an ex-colleague they have wronged, and are killed one by one in ingenious ways.  And, hell, when the book is this good, I wouldn’t mind if he’d written this plot another 25 times.  In fact, I wish he had.  This, my friends, is a little beauty.

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#460: Dead Men Don’t Ski (1959) by Patricia Moyes

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It’s fitting that Noah’s review of Dead Men Don’t Ski (1959), is what first brought the book to my attention, because the novel exemplifies for me a strata of fiction that I only got thinking about on account of Noah’s own, far superior, ruminations on the subject.  Much like Murder on Safari (1938) by Elspeth Huxley, contemporary familiarity with the milieu would probably see this classified as ‘cozy’ these days — but to do so would be to ignorantly overlook the newness of this sort of setting at the time of writing.  I’m tempted to call these Travelogue Mysteries, where the setting appeals as much as the crime on account of how novel it would have been at the time.

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#458: The Sleek Interpreters – Bringing the Young Holmes Brothers to Life in Mycroft and Sherlock (2018) by Kareem Abdul-Jabbar and Anna Waterhouse

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Three years ago, when The Invisible Event was but a callow youth, I happened upon a Sherlock Holmes-universe novel co-written by someone who shared their name with NBA Hall-of-Famer Kareem Abdul-Jabbar.  “Wow,” I thought, “that guy must hear the same thing all the time…” — and then it turned out that it actually was NBA Hall-of-Famer Kareem Abdul-Jabbar, and, well, I became even more interested.

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#457: Black Beadle (1939) by E.C.R. Lorac

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It comes to us all in the end: the moment that a prolific, tantalisingly-just-about-available author we’ve been low-key enjoying without ever really loving suddenly turns in an utter duffer of a book.  It happened with the last Lorac I read — Slippery Staircase (1938) — and while Black Beadle (1939) doesn’t quite plow the same ignominious farrow, it’s not exactly leaps and bounds better.  And yet Edith Rivett’s take on the standard GAD milieu is so atypical that while she’ll miss the mark on a few occasions, I don’t believe she’ll have written anything without any merit whatsoever.  This is still a substandard effort, but with enough wrinkles to warrant attention.

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