#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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#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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#454: The Perjured Alibi (1935) by Walter S. Masterman

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I’m on a bit of a Ramble House kick at the moment: Rupert Penny, Norman Berrow, Walter S. Masterman, with E.C.R. Lorac coming soon.  The Perjured Alibi (1935) is my third Masterman title to date, and I’d intended this to be where I’d make the decision whether or not to persevere with him.  But, well, I have a copy of Robert Adey’s Locked Room Murders (1991) now and that’s got me thinking that I should at least give the remaining couple of impossibilities a go — especially as it turns out Ramble House have recently republished his debut The Wrong Letter (1926), which I’ve been after for a while.  So it would be churlish to stop here…

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