#554: The Case of the Solid Key (1941) by Anthony Boucher

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Several years ago, discovering that the impossible crime novel was a thing, I read Anthony Boucher’s Nine Times Nine (1940), originally published as by H.H. Holmes, and loved it.  I then discovered TomCat’s list of favourite impossible crime novels and was intrigued by the fact that, eschewing the accepted classic that Nine Times Nine is, Boucher’s later, less discussed The Case of the Solid Key (1941) was included there instead (TC, it must be said, is something of an iconoclast…).  More Boucher followed, some of it disappointing, and last year I finally ran to ground a copy of TCotSK in a secondhand bookshop in Philadelphia and — at long, long last — here we go.

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#551: The White Cockatoo (1934) by M.G. Eberhart

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Sometimes quality and taste do not overlap.  For instance, I have every reason to believe that The White Cockatoo (1934) by Mignon G. Eberhart is a very good book, but given that it veers far more heavily into the suspense/HIBK/EIRF schools of writing rather than anything qualifing as detection it’s not especially to my taste.  It’s well- (if perhaps a little over-) written, has some good atmosphere, and introduces in the eponymous bird Pucci an unusual twist that enlivens the eventual resolution…but amidst all the mysterious happenings — sinister hotelier, sinister guests, sinister wind, sinister banging shutters, sinister everything — it’s just a bit too bland for my palate.

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#547: Little Fictions – Curiosities from Adey: ‘The Hiding Place’, a.k.a. ‘As If by Magic’ (1961) and ‘The Invisible Poison’ (1961) by Julian Symons

Locked Room Murders

Another month of me taking advantage of the wonderful resource that is the British Library to investigate stories from Robert Adey’s Locked Room Murders (1992) — and we begin with an author I was very eager to read further after recently encountering him for the first time: Mr. Julian Symons.

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#523: Death in a Million Living Rooms, a.k.a. Die Laughing (1951) by Patricia McGerr

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Quite apart from having the best damn title ever, Death in a Million Living Rooms (1951) by Patricia McGerr employs one of my favourite conceits of classic-era detection: the Live On Air Murder. With The Dead Are Blind (1937) by Max Afford, Murder in the Melody (1940) by Norman Berrow, and And Be a Villain (1948) by Rex Stout giving us death on the radio, McGerr turns to the television studio to kill her poor victim live in front of the several million who tune in to Podge and Scottie’s weekly comedy show, with — as in Stout’s take — poison in the sponsor’s drink responsible.  That you know it’s coming makes it no less horrible, so whodunnit?

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#520: Seeing is Believing, a.k.a. Cross of Murder (1941) by Carter Dickson

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Socialising is difficult, isn’t it? One minute you’re making polite dinner party conversation about jobs with someone you’ve only just met, the next a hypnotist performs a few mesmeric passes and goads a wife into stabbing her husband with a knife everyone knows is fake but which — awks — actually turns out to be real and, oh my god, she’s killed him.  We’ve all been there, and we all know how tricky it can be to factor this sort of thing into one’s TripAdvisor rating.  An unexpected, impossible murder can dampen the mood somewhat — especially when so many people seem to be operating at cross-purposes — but remember you did say the canapés were lovely…

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