#192: The Tuesday Night Bloggers – First Steps Into the Woods with Orion’s Crime Masterworks…


Last week I talked about my first encounter with both Agatha Christie and classic detective fiction, and it got me all reflective about how things built from there and brought us to the point where via magic of some sort you’re reading words that I’ve written and anticipating that this will have something to do with classic crime and detective fiction any minute now…

Continue reading

#162: The Tuesday Night Bloggers – Meta-Fictional Historical Deconstruction in Magpie Murders (2016) by Anthony Horowitz


Anthony Horowitz is probably my favourite contemporary author of detective fiction, as his superb Sherlock Holmes novel The House of Silk (2011) and its genuinely exceptional follow-up Moriarty (2013) displayed an affinity for both the milieu of Holmes and the necessary misdirection and construction of a blistering plot that blindsides you at will which seems to elude many who try to walk this path these days.  His earlier novel The Killing Joke (2004) isn’t really detective fiction per se, but shows a playfulness with narrative that is aware of many of the tropes of genre fiction and is worth mentioning here precisely because of how much it foreshadowed the work he does in Magpie Murders when it comes to deconstructing the classical detective and his ilk.

Continue reading

#118: Jack Glass (2012) by Adam Roberts

Jack Glass“The impulse for this novel,” says Adam Roberts “was a desire to collide together some of the conventions of ‘Golden Age’ science fiction and ‘Golden Age’ detective fiction, with the emphasis more on the latter than the former.”  Well, count me in!  Sure, the authors he then cites (Margery Allingham, Ngaio Marsh, Dorothy L. Sayers, Michael Innes) don’t all fill me with delight, but this is a collision of my two favourite genres plus impossible crimes — how could I pass it up?!  And it would have passed me by entirely had not blog-commenter ravenking81 brought it to my attention, so my most genuine thanks for that; at its best it’s a fascinatingly successful attempt at merging the two genres in a way that recalls both Isaac Asimov and John Dickson Carr, who, y’know, are the two finest authors to have worked in their respective genres.  So that’s a good thing.  By definition, however, it is not always at its best. Continue reading

#73: The Murder Room is dead, long live The Murder Room!

Murde Room titles

Mark Twain-esque, it seems that I may have extrapolated incorrectly from reports that Orion’s e-book initiative The Murder Room was ceasing operations and that the books will in fact be available for a little while yet.  Former Murder Room publisher Julia Silk – or someone purporting to be Julia Silk, but it seems an unlikely deception to perpetrate as she hasn’t even requested my bank details – has dropped by to let us know that not only a) will the books be available for a while yet (whew!) but also b) there’s new stuff coming as well.

Happy days!

#71: The Case of the Borrowed Brunette (1946) by Erle Stanley Gardner

Borrowed BrunetteThere’s an appealing irony in the assertion that you know an author has hit the big time when everyone remembers the name of their characters over that of the creator themself: Lisbeth Salander, Jack Reacher, Tarzan, Jason Bourne, we erudite types remember them, of course, but the world at large – fuelled no doubt by TV and films – associates more with their representations than their origins.  Erle Stanley Gardner – a King of Crime, lest we forget – is not just less well-known than his character, but also the piece of music that character is himself overshadowed by; all together now…  Frankly, he must be like the biggest-selling author in the world on those terms.  Well, uh, yeah, he kinda is, actually.  And yet, despite my avowed love of the man and his writing, it’s taken me 70 posts to get round to reviewing him here; what gives?

Well, two things.  Firstly, I’d read a lot of Gardner before starting this blog and had sort of lost track of exactly what I had and hadn’t already encountered, and secondly a lot of it was written at high speed and with, er, some quality control issues and so some of what I’ve read since hasn’t exactly covered him in glory.  However, The Case of the Borrowed Brunette is about as classic a Perry Mason – oh, yeah, that’s the famous character, but the way – novel as you’ll get, and showcases a lot of what Gardner did extremely well and also a lot of the flaws in his process.

Continue reading

#67: The Murder Room is closing its doors

The Murder Room

Orion’s digital crime arm The Murder Room will apparently be ceasing operations in the near future, meaning to those of us in the UK the loss of  high-quality e-books from classic Golden Age authors like Anthony Boucher, Pamela Branch, John Dickson Carr, J.J. Connington, Stanley Ellin, Erle Stanley Gardner, Geoffrey Household, Ronald Knox, John D. Macdonald, Helen McCloy, and E. L. White, and more contemporary fare such as Charles Willeford and many others.

They have excelled in the high standards of their output, the range of authors they promoted, the fact that they made these books available to the widest possible market, and their commitment to the Golden Age long before it was fashionable again.  Goddammit, this has really spoiled my day.

Murde Room titles

#66: The Bride of Newgate (1950) by John Dickson Carr

Bride of NewgateExisting somewhere between an early 2000s romantic comedy – probably starring Chris O’Donnell or Matthew McConnaughaghay – and The Count of Monte Cristo, John Dickson Carr’s The Bride of Newgate was his first foray into the historical mysteries that would come to typify his later career.  You never write Carr off – like Christie he waned as he wore on, but there are enough flashes of fire after his peak for everyone to have two or three Later Carr highlights – but these dalliances with the extra detail required show a different side to our man.  Mainly they show that he was a massive history nerd –  detailing not just what people are wearing, say, but also what they would have removed from their outfit to be left with what they’ve got on – and that he was able to fit this into his wonderful brain and stir up something both necessarily of its setting that also fulfilled the expectations raised by his name on the cover.

I’m not going to tell you the plot – the opening four or five chapters are full of schemes, plans, and revelations enough that you should really experience completely pure – and will instead focus on the writing.  Because while he gradually loses his grip on his narrative, his powers of portraiture are sent to their grandest heights with a renewed enthusiasm that is both this book’s chief joy and its main undoing.   In a way it’s like a debut: he gets it wrong, but he tries hard and would improve after a few more attempts.

Continue reading