#601: Little Fictions/Going Home – The Crime Stories of Edgar Allan Poe: ‘The Murders in the Rue Morgue’ (1841)

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Sometimes my Tuesday posts are themed as Little Fictions, wherein I look at short stories; back in May I did a month themed around the origins of my detective fiction obsession called Going Home.  This month it’s a Megazord comprised of both, looking at short stories that formed the origins of detective fiction…and there’s only one place to go for that.

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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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#578: She Died a Lady (1943) by Carter Dickson

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Firstly, good heavens the excitement of posting a John Dickson Carr review without then tagging it OOP — Polygon Books have Hag’s Nook (1933), The Case of the Constant Suicides (1941), and She Died a Lady (1943) in their stable, and the British Library and Otto Penzler have added more, with more to come.  And after last week’s brilliant and baffling no-footprints murder in a lonely corner of England, and with my broadly chronological reading of Carr’s work bringing She Died a Lady back into my orbit, the stars seemed to be aligning on a reassessment of this, probably the most consistent contender for Best Carr Novel of All Time.

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#575: The Gold Watch (2019) by Paul Halter [trans. John Pugmire 2019]

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Similar to how Alfred Hitchcock’s two version of The Man Who Knew Too Much (1934/1956) use the same core ideas but differ in details, the motifs Paul Halter returns to in The Gold Watch (2019, tr. 2019) — the dual time period narratives of The Picture from the Past (1995, tr. 2014), a baffling no footprints murder at an isolated house a la The Lord of Misrule (1994, tr. 2006), the invocation of The King in Yellow from ‘The Yellow Book’ (2017, tr. 2017) — there’s no doubt this is a very different style of story simply using familiar ideas to very new ends.  Strange to say this of a Frenchman, but this is perhaps the outright Frenchest work of his yet translated.

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