Well, see, that’s because I was working at trying to making it happen. And the result of that work is this: Bold Venture Press will be republishing two impossible crime novels by Theodore Roscoe — Murder on the Way! (1935) and I’ll Grind Their Bones (1936) — over the next couple of months or so, with yours truly having edited and prepared the texts for publication as well as writing introductions for each book.
Whether Christmas is your thing or not, I hope everyone has a relaxed, happy, restful, and caring period of calm at the heart of this festive season. It’s great fun discussing books here (and elsewhere) with all y’all, and I wish for you all a solicitous few days to ensure you’re taking care of yourselves out there.
And then get back reading, dudes. There’s still so much to talk about…
Half a lifetime ago, I put up this post looking at the consistency of language across the Sherlock Holmes canon, and for my first post today in celebration of John Dickson Carr’s 110th birthday — a second post will be going up later today, then a round-up of the posts I’m kinda just trusting that other people are doing will go up this evening — I thought I’d utilise a similar approach to analyse an aspect of Carr’s writing that is often much-discussed: his use of atmosphere.
Since reading Max Afford’s radio-set mystery The Dead Are Blind, I’ve had a new-found appreciation for the art of creating radio drama, especially during the age when radio held such a huge sway in the homes of most people. My interest in detective fiction from this era inevitably lead to some passing awareness of the serials produced at this time, but Afford’s novel really brought home the level of technical expertise required to produce something so much more complex than simply four people sitting at a microphone with a script.