#314: The Word is Murder (2017) by Anthony Horowitz
100π posts was always going to be a special one for me, and it’s the perfect opportunity to dive into the latest from Anthony Horowitz, a man who in recent years has — thanks to The House of Silk (2011), Moriarty (2014), and Magpie Murders (2016) — become something of a favourite among fans of detective fiction. He spoke at a signing I attended recently about the joy of being able to discover his own voice as a writer (he also wrote an official James Bond novel, with another one imminent), and it’s unsurprising to find him — now that he can have things completely his own way — involved once again in the exploration of structure shown not just in Magpie Murders but also his oft-neglected The Killing Joke (2004).
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#313: All the Feels and I Just Can’t Even About The Mysterious Disappearance of Leon (I Mean Noel) (1971) by Ellen Raskin
I have never quite understood the preoccupation with the Oxford v. Cambridge: Dawn of Justice boat race; it reeks of a class consciousness that belongs in an older, less enlightened time and should, therefore, be a perfect match for my beloved GAD. And so here we are, with Swartwout coxing the 1930 Cambridge crew to victory and so having an insider’s eye that should provide plenty of contemporary interest. And a locked bathroom with a dead body in it, too, the key found on the floor inside once the door is broken in…and this after a discussion about detective fiction and how to go about committing a baffling murder that name-checks Freeman Wills Crofts. Sounds good, right? Well, it isn’t, for quite a lot of reasons. Let’s attempt to explain them.
After the 
