Perhaps April Fool’s Day isn’t the best scheduling of this post, but the recent experience of dragging my way through Helen Vardon’s Confession (1922) by R. Austin Freeman got me thinking about the literary detectives I’d follow to hell and back, and I figured that it might be worth expanding upon.
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Let’s get the new year off to a happy start by showing some appreciation for contemporary authors who make life difficult for themselves by upholding the traditions of Golden Age detective fiction in their own works. And, if you want to discuss modern detective fiction, few are better-placed than Puzzle Doctor, a.k.a. Steve from In Search of the Classic Mystery Novel.
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Sometimes you just have to bite a bullet: following the exceptionally sad loss of the Rue Morgue Press, this is the final Jeff and Haila Troy novel currently available, but, well, let’s enjoy it, eh? Audrey and William Roos did such a great job with so many aspects of the writing in these first four books — the dialogue is genuinely funny, the plots mostly move at a great pace, the mysteries are intriguing, and third book The Frightened Stiff is a genuine genre classic for all time — that we shouldn’t get too weighed down with lamenting their unavailability. Common sense will prevail, they’re too good to let go out of print for any length of time, and this won’t be the last we see of the Troys. Right?
There are times when it’s possible to pinpoint the exact moment when a novel doesn’t fulfil its promise, and given the intricacy of many novels of detection these can sometimes be very keenly felt. Perhaps the detective is an absolute duffer (an accusation frequently levelled at Freeman Wills Croft’s Inspector French), or the guilty party comes disappointingly out of nowhere (as in John Dickson Carr’s The Blind Barber), or perhaps the solution offered up to a brilliant problem is a shade on the simplistic side (the disappearance from the locked bathroom in John Sladek’s otherwise-superb Black Aura springs to mind). For this second novel by husband and wife team Kelley Roos, I’d say the main problem is in the selection of the victim: the setup is excellent, the characters are a delight, and come the murder…the most obvious victim is selected and the book never quite recovers.
The less you know about Pamela Branch’s debut novel the more you’ll get out of it, and obviously this poses a problem for my nascent blog. A few cultural touchstones, then: it falls somewhere within kicking distance of Alfred Hitchcock’s The Trouble with Harry (1954), 1980s comedy classic (one of those words should be in ironic quotation marks, surely?) Weekend at Bernie’s (1989), and the output of Kelley Roos. There is a dead body. It must be hidden. Difficulties ensue. And this undertaking (if you will) is very, very funny.
The Invisible Event 