It was my understanding that William Shakespeare invented the word “eyeball”. The noun eye was extant at the time, as was the concept of a ball being something round, but that Shakespeare was the one to take the two principles and conflate them. It turns out he didn’t [see the comments below this post], but presumably someone did, and that’s all I really need to be the case for this opening paragraph.
Today was due to have been the sixth (sixth!) Bodies from the Library conference at the British Library but, for obvious reasons, it’s not. I can’t, alas, give you a whole day of GAD-based discussion, but I can at least fill an hour with someone from that line-up of exceptionally knowledgable people, Tony Medawar.
Every post could be someone’s first post, so just in case you’re new here: this post today is rich in spoiler-heavy details about the novel The Eye of Osiris, a.k.a. The Vanishing Man (1911) by R. Austin Freeman. Read on only if you don’t mind having plot details discussed. Do not assume I’m going to be vague and mindful of avoiding spoilers.
This post serves a double purpose: firstly to reassure you that the promised spoiler-heavy discussion about The Box Office Murders, a.k.a. The Purple Sickle Murders (1929) by Freeman Wills Crofts is on the way, and secondly to let you know about the next spoiler-heavy review coming in April.
When digging his garden to lay a foundation for a new sundial, quiet, unostentatious bachelor Marcus Pottermack uncovers a previously-unknown well. That same day, he receives yet another demand for money from the man who is blackmailing him, and it’s only a matter of time before one problem is used to solve the other. And when curiosities about the man’s disappearance are raised in passing with Dr. John Thorndyke, it’s only a matter of time before that pillar of truth is on the trail of quiet, unostentatious Marcus Pottermack. And yet, for all its conventional-sounding setup, Mr. Pottermack’s Oversight (1930) is a delightfully unconventional inverted mystery.