#599: Heir Presumptive (1935) by Henry Wade

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Without wishing to overlook the great work once done by The Murder Room, someone needs to reprint Henry Wade.  I enjoyed The Hanging Captain (1933) and very much enjoyed The Duke of York’s Steps (1929), but Heir Presumptive (1935) is in another class altogether and, like Craig Rice the other week, if he has any other books written with even half the fizz and joy of this one, those are books I wish to read…but, goddamn, the man’s fully OOP at present and something needs to be done.  Because if you haven’t read this one yet, I urge you to find it at the earliest opportunity, and that means we’ll then be in competition for any other paperbacks out there once you love this as much as I did.

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#597: A Little Help for My Friends – Finding a Modern Locked Room Mystery for TomCat Attempt #13: Impolitic Corpses (2019) by Paul Johnston

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Cast triskaidekaphobia aside!  Sure, these modern impossible crime novels haven’t always shown the subgenre at its best, but Paul Johnston was one of the many contemporary crime fiction authors I read back in the early 2000s, and a chance to reconnect with him and the series that made his name can only be a good thing…right?

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#596: The Dartmouth Murders (1929) by Clifford Orr

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The name Clifford Orr first came to my attention on account of the Roland Lacourbe-curated ‘100 Books for a Locked Room Library’ list featuring Orr’s second and final novel, The Wailing Rock Murders (1932).  So when that title cropped up in this twofer of Orr’s complete output, I snapped it up and just had to wait for sufficient snow to clear from the peak of Mount TBR.  And, as it happens, I’m posting this review of his debut novel The Dartmouth Murders (1929) a mere two days after what would have been Orr’s 120th birthday — entirely by accident, as anyone who has met me in real life will be able to attest.  Such organisation is not one of my strong points.

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#595: Reflections on Detection – The Knox Decalogue 2: The Supernatural

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Sometimes I regret saying I’ll do stuff; this week, I regret saying I’ll explore each of the rules of Ronald Knox’s Detective Fiction Decalogue in depth.  Mainly because I’m busy, and so I’m not going to do this as well as I otherwise might.  And that frustrates me doubly, because Rule 2 is the one that got me thinking about this in the first place.

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#593: Home Sweet Homicide (1944) by Craig Rice

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As a rule, I start getting a bit nervous if it takes me more than three days to finish a book.  I read Home Sweet Homicide (1944), the first of Georgiana Ann Randolph Craig’s novels I’ve ever attempted, over one week and one day and, quite honestly, would have happily kept reading it for another month or two.  I’ve never gotten a sense of her as an author from her short stories — largely, I’d imagine, because of the need to cram in character and plot in less space — and, if I’m honest, didn’t relish the screwball antics her reputation seemed to promise.  Well, no fear.  This isn’t screwball, it’s not especially tightly plotted, and it’s possibly the best book I’ve read in a long ol’ time.

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#590: Mystery at Olympia, a.k.a. Murder at the Motor Show (1935) by John Rhode

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While Freeman Wills Crofts’ work has caused me much delight over the last few years, that of his fellow ‘Humdrum’ John Rhode/Miles Burton doesn’t inspire in me quite the same raptures.  Rhode (as I’ll call him here) writes swift, events-focussed novels, and constructs plots with the same deliberation and consideration from multiple sides…so maybe it’s that his plots always feel like a single idea with some people bolted onto it.  Here as in Death Leaves No Card (1944) or Invisible Weapons (1938) I come away with the impression that he read about a single obscure murder method and thought “Yeah, I can get 60,000 words out of that”.

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