The Vanishing Victim Mystery

In their fright the women bowed down with their faces to the ground, but the men said to them, “Why do you look for the living among the dead? He is not here; he has risen! Remember how he told you, while he was still with you in Galilee.

"Luke" 24:5-6 (New International Version)

 

Okay, it's only after writing this post I realized there's actually a boulder on the cover of this book...

An Egyptian interpreter who is part of a travelling merchant troupe arrives in Jerusalem, where they keep hearing rumors about a certain Jesus of Nazareth, who has been gaining support of the population. The interpreter becomes interested in this Jesus, who is apparently slowly travelling towards Jerusalem too. He decides to visit an old friend to see what he can tell him about Jesus, but it turns out many people have different opinions about the man. Some consider him a messiah or even think he should overthrow the Roman rulers, others a fraud and confidence trickster or lament their children, who have become followers of Jesus. The Egyptian records all of his interviews in his diary, but sadly enough, he and his troupe are leaving Jerusalem just the day before Jesus is about to arrive here. The Eygptian doesn't return to the city until half a year later, and the first thing he does is ask about what happened to Jesus after he left, and he is shocked to learn that not only was Jesus captured and put on the crucifix to die... there are also rumors Jesus had resurrected. The Egyptian once again starts asking questions and learns the circumstances behind Jesus' arrest, how he was crucified and how his body not only disappeared from the locked location where his body was being kept, there are multiple witnesses who state they did see Jesus after his supposed death. But has there really been a miracle, or could this also have been done by a human? That is the mystery in Komori Kentarou's Jesus Christ no Misshitsu ("The Locked Room of Jesus Christ", 1997).

I discussed a Komori novel early this year, so why not have one in December too, especially one that has a tie to Christmas? Like Nnwenre no Serdab ("The Sealed Chamber of Nnwenre", 1996), Jesus Christ no Misshitsu has an Egyptian theme as the book mostly revolves around a two-part account of an Egyptian who was in Jerusalem before Jesus arrived there, and who investigated the resurrection of Jesus several months later: this account is book-ended by the tale of the person who stumbled upon the papyrus rolls. As a mystery, the resurrection of Jesus is of course easily reimagined as a locked room mystery: if the tomb where Jesus' body was being kept in was sealed and guarded, how did he escape? Some years ago, I reviewed Kujira Touichirou's Yamataikoku wa Doko Desuka? ("Where is Yamatai-koku?" 1998), which contained the short story Kiseki wa Dono You ni Nasareta no ka? ("How Was The Miracle Accomplished?") where the characters refer to the bible and reinterpret the sources to give a rational explanation to the Biblical resurrection of Jesus. That series is set in contemporary times, with (amateur) scholars using quotes from real-life sources to offer new insights/theories regarding history. In that respect, Komori's book is quite different, as it is portrayed as the story of someone who was there at the time.

The first third/half of the book is set before Jesus arrives in Jerusalem, but the Egyptian interpreter has already heard many rumors about him, so he sets out to interview people from various circles in society to see what they think of Jesus. We get to see a lot of very short portraits of Jesus, with some people thinking very highly of him, while others see Jesus as nothing but a nuisance. Komori quotes a lot from the various bible books, refering to certain episodes that help shape all the different images people have of Jesus. Personally, I found this part a bit boring, as while this may work for say two or three times, I felt Komori was just overdoing it by the time we're reading like the fifteenth different opinion on Jesus. What's more, all of this doesn't have a direct connection to the later mystery: it's just presenting the different views people have of Jesus, and I guess this part is important for people who aren't that familiar with the bible, but even then, I couldn't help but feel like this was just padding (and the book itself is actually already quite short).

In the second half, the Egyptian interpreter returns to Jerusalem only to learn about Jesus' supposed resurrection and about how he disappeared from the tomb. The mystery here is two-fold: there are witnesses who say they saw Jesus after his death, so it appears he did ressurect, but how? And how did he escape the place where his body was being kept after being crucified? While the set-up is interesting (and one many, many people on this world will be familiar with), I have to say there are few times I was so disappointed. For even though Komori referenced the bible extensively in the first part of the boook, the setting for this mystery as painted by Komori is quite dissimilar to what you'd usually associate with the episode of the empty tomb. In this book, Jesus' body wasn't even actually kept in a tomb, but a cave that was sometimes used as a toilet (and now used as a temporary morgue) and there wasn't even a boulder in front of the cave to seal it, but just a door that could be locked! At this point, it felt like there were so many elements that strayed from what I would assume to be the mystery of the empty tomb from the bible, I have to admit I lost my investment in the story. The way the interpreter arrives at his solution to how Jesus could have resurrected, and also how Jesus' body could've disappeared from the tomb even though it was kept locked and there was only one key in possession of someone who would not have any reason to help Jesus and his disciples, actually has clever parts to it, and you can see Komori really did do proper research regarding the bible, the (theological) culture and time period, but so much of it is not part of the commonly known story of the empty tomb, and at that point, it might as well have been not about Jesus Christ. And again, the book is very short, so I feel like a short story, set in this period but not based on the bible, could have worked even better.

So I can't say I really enjoyed Jesus Christ no Misshitsu very much. Mystery-wise, it didn't really make use of the fact it was based on a well-known episode from the bible, introducing all kinds of original elements in order to make the mystery work. While Komori obviously did do his homework before writing this book, it seems like creating a properly clewed locked room mystery based on the New Testament was a bit too tricky, forcing him to add in more elements to flesh the setting out, but by doing so, it feels he strays too far from the basic setting.

Original Japanese title(s): 小森健太郎『神の子（イエス・キリスト）の密室』

Steal Me a Story

"There is no agony like it. You sit in a room, biting pencils, looking at a typewriter, walking about, or casting yourself down on a sofa, feeling you want to cry your head off."

"The Writing Habits of Agatha Christie"

The faces on the covers for Mitsuda's books published by Kodansha are always really creepy...

Horror novelist Mitsuda Shinzou receives a call one day from a friend, who is not only a succesful mystery novelist, but also acts as reader for a a Newcomer's Award for manuscripts by unpublished writers: this friend is not a judge, but he helps out in the first round by at least selecting the manuscripts that are actually complete novels and not half-hearted entries. While highly unusual, his friend decided to contact Mitsuda, because among the manuscripts he's reading, he has one that is sent in by someone called Tsuguchi, but the manuscript is written in the name of Mitsuda Shinzou! The story is also based on the horror stories Mitsuda has been collecting on his personal homepage, making it seem like he actually sent the manuscript, but Mitsuda assures his friend he has nothing to do with this. Meanwhile, Mitsuda finds a very creepy abandoned, classic British-style house: the house can not be reached via the street (which is already a dark place), but is reached via some back-alleys and having to go through the grounds of the neighbors: apparently, the house has been abandoned for decades now, with houses being built around it until it was "locked" in by the surrounding houses, making it nearly unreachable. Mitsuda is captivated by the house and goes great lengths in finding the real estate agent handling the property and manages to rent the place.  The house serves as the inspiration for his new serialized story, where a family moves into a house with a dark history. But as time passes by, the story start to develop on its own, beyond Mitsuda's control, and with sightings of ghosts in the vicinity, the mysterious writer using Mitsuda's name hanging about and the house's history slowly being uncovered, all leading to a catastropic finale in Mitsuda Shinzou's Ikan - Horror Sakka no Sumu Ie ("The Ominous House - The House Where a Horror Writer Lives", 2001).

I have read a lot of Mitsuda Shinzou's work in the last few years and have become a great fan of his work, but with a caveat: save for a short story I never reviewed here, all I have read by him is his Toujou Genya series, where he mixes folklore and horror with insanely brilliantly plotted mysteries. I can't overstate how crazy the quality level remains throughout the series, and the books always end up in my favorite reads of the year. Ikan is the first novel I have read by Mitsuda that isn't part of that series and it is also Mitsuda's debut novel: it was originally published with the title Horror Sakka no Sumu Ie (The House Where a Horror Writer Lives), which is now the subtitle of the book, and it is the first entry in a three-part series. Being up-to-date with the Genya series currently, I decided to fan out, and I figured, why not with his debut work? 

Ikan is a tale of horror told in a rather complex manner: besides the narrative of Mitsuda finding the titular house and slowly encountering more and more odd situations and people, there is also a narrative-within-a-narrative structure, as we also get to read all the installments of Mitsuda's serialized story as it is published each time: his story is based on his experiences in the house, and tells the story of a core family moving into a British-style house as seen from the POV of the younger son. The younger son soon finds hidden compartments in the house, and even a strangely built doll house that seems to be a copy of the very house they are living in. And oddly enough, Mitsuda too comes across the very things he writes about in his serialized story... 

The mystery of how all of this is connected and how both the narrative-within-a-narrative, and the "outside" world narrative will end is suspenseful, but also told in a manner that can at times make it difficult to keep track of everything. Many "puzzle pieces" are constantly being introduced, but often, they don't even feel like from the same set, and so you feel like there's too much chaos in the plot. While things do come together in the end, it is definitely not the "densily clewed mystery with lots of synergy" we've learned to expect from the Genya series. The Genya series features a lot of the horrendous and mysterious events that are eventually given a rational meaning via either the core mystery plot, or folklore analyses, but in this book, a lot of the core horror elements remain unexplained, and in that sense, I do feel the book is less satisfying. Especially the events in the narrative-within-a-narrative feature a lot of events that are not explained in detail, and while they may not be directly connected to the core mystery, it leaves you with so many questions that seemingly are only answered by "yes, the supernatural exists": I am not against the supernatural in mystery fiction, but without clear rules, you just have no idea what to expect and not, and here, the horror elements remain shrouded in the shadows. So Ikan is definitely leaning more into the horror than the Toujou Genya series and the conclusion is more like the twist ending (with foreshadowing) you'll expect from conventional horror mysteries, rather than a dense honkaku puzzle with a surprising, yet convincing twist.

I believe the epilogue is only available in the current version from 2008 (which I read), which tries to flesh out the background a bit more, but don't expect too much of it. 

Ikan - Horror Sakka no Sumu Ie can be read as an entertaining horror novel, with a mystery writer slowly being absorbed by his own fictional creation, but I wasn't really looking for that, so in that sense, it's a bit of a disappointment: it is certainly not in any way a proto-Toujou Genya novel in any way. While there are more books in this particular series, Mitsuda Shinzou has many other series available, so I will probably try those out first to see if he has other books that can give me Genya-esque experiences.

Original Japanese title(s): 三津田信三『忌館　ホラー作家の棲む家』

Triple Death

"Our three weapons are fear, and surprise, and ruthless efficiency... and an almost fanatical devotion to the Pope... Our four... no... Amongst our weapons... Amongst our weaponry... are such elements as fear, surprise... "

"Monty Python's Flying Circus"

The Honkaku Suiri ("Orthodox Deductive Fiction") and Shin Honkaku Suiri ("New Orthodox Deductive Fiction") anthologies were published between 1993 and 2009 by Kobunsha and were conceptualized as a place where amateur writers could send in their short stories to: publisher Tokyo Sogensha currently has the Sogen Mystery Short Story Award (formerly known as the Mysteries! Newcomer Award) as a counterpart to the Ayukawa Tetsuya Award, which focuses on novel, but that didn't exist yet back in 1993. The original series was edited by Ayukawa Tetsuya, and the Shin series by Nikaidou Reito and supervised by Ayukawa Tetsuya (until he passed away in 2002) and in the fifteen or so years the anthology existed, a lot of people were selected who'd later on become well-known mystery writers, like Mitsuda Shinzou, Ooyama Seiichirou, Ookura Takahiro, Kirisha Takumi, Kuroda Kenji, Tsukatou Hajime and more. Interestingly, I don't think most of them consider having their stories published in these anthologies as "their debut moment", even though it'd be their first "formal" publication. In a very far-away past, I read the last Shin Honkaku Suiri anthology, which was actually one of the earliest books I read in Japanese.

Shin Honkaku Suiri 3 ("New Orthodox Deductive Fiction 3") was published in 2003 and features the subtitle The Heirs to Villa Lilac, a reference to one of Ayukawa's novels. This third entry in the Shin series would also be the final volume supervised by Ayukawa, as he passed away a few months before this book was published (I assume his work had already been finished by then). While I usually review all, or at least most, stories in an anthology, I'll only discuss three of the eight stories (+ essays) included in this book this time: not because the others are bad, but because I was borrowing this book and only had time to read three of them before returning it! So I might return to this other stories in this book in the future, but that's no promise, though going by the quality of the stories I did read, I probably really should read them.

This book features the first time Onuki Kazaki was ever selected for the anthology, but interestingly enough, they got selected three times: three of the eight stories in this book are penned by them. The book also opens with one of them: Tomurai Tetsudou ("The Mourning Railway"), a title reminiscent of Oosaka Keikichi's Tomurai Kikansha ("The Mourning Locomotive"). The story opens with Kasuga Karin sitting all alone on a bench at the station of Inone, a small village. Earlier that day, she attended the funeral of an uncle and was now on her way back home, when she fell asleep in the train. When she woke up, she thought she was at the station Noboribou, where she needed to transfer, so she jumped out. Unfortunately, she got out one station too early. Because it was the late afternoon, she figured more trains would follow... only they didn't, and the busses to Noboribou had also stopped. By the time she figured that out, it was already night and rain had started to fall, making it dangerous for her to walk the way to Noboribou and because the village of Inone is so small and surrounded by the forest, no cars pass by to pick her up. A young man approaches her suddenly and quickly guesses why she's sitting with such a hopeless expression on her face at the station. He offers to pay for her stay at the inn where he'll also be staying. She's a bit suspicious of him, but ultimately accepts his offer. She learns he's interested in a terrorist who's been bombing train lines lately that are financially unviable. Rumors have it they might strike on the train line connecting Inone and Noboribou. That evening, Karin notices the young man went out in the night, and returned... with a bomb. What is he exactly and what is his true motive for helping Karin?

Like I mentioned, the title invokes the famous Oosaka story, and in a way, it has a similar set-up in the way there's no clear mystery in this story. The young man acts suspiciously, but Karin can't figure out whether he's the bomber or not, but the story doesn't focus on Karin trying to investigate that: the story continues the next day, when everyone has to take public transport to Noboribou, and it's then the story reveals its true nature. It's a very clever plot, that might remind people of Father Brown stories, A Aiichirou stories or The Nine Mile Walk, where you don't really know what's going on mystery-wise, until it's suddenly revealed something sinister was going on, based on clues that seem very vague at first. The revelation in Tomurai Tetsudou is brilliant, and really dark, and I can definitely see why it was selected for publication. Cleverly plotted, and theme-wise very, very memorable.

Sonoda Shuuichirou is an author who is featured in several of the (Shin) Honkaku Suiri volumes, but he never made a major debut as a professional writer, nor have his stories been collected in a single collection. I suspect he was a Kyoto University Mystery Club member, but am not 100% sure. I loved the story I read by him in the last Shin Honkaku Suiri anthology, so I was very curious to see what the story in this volume would be about. Dokusha Yo Azamukarurunakare ("Reader, Don't Be Fooled") starts with a segment where the narrator Sonoda discusses Chesterton's The Invisible Man with his friend Kurashina, a huge mystery buff who thinks very little of the trick of that story. When challenging Kurashina to come up with something better himself, Kurashina admits he already has a similar, but better idea in his mind, and soon after, Kurashina presents Sonoda with a whodunnit script with a Challenge to the Reader, explaining his story tackles the same themes of The Invisible Man, and challenging Sonoda to find the culprit.

The story-within-a-story is set at the building of the Engineering faculty of a university. It's the last day of the academic year, so the building is nearly empty, as classes have already ended about a month earlier and there are only a few professors here and students working on projects with those professors. That is why one of the two guards of the building finds it weird when a humanities student enters the building. Shibata Hirotaka has a student ID, so he can walk in freely of course, but he can't shake the feeling something's off, which seems confirmed when his co-worker mentions he didn't see Shibata when making his rounds, even though they have no record of him leaving the building. The guard makes another round, making sure to check who is in what room. He's at the third of the fourth storey, when he hears the alarm that goes off when a window is opened. He realizes it comes from above, but the next moment, he hears a loud crash, and he already knows what's happened: when he arrives at the open window on the fourth floor, he looks down and sees Shibata lying on the ground below. The police come questioning everyone in the building, and three of the students turn out to know Shibata from their theater group, but it appears they have a perfect alibi, so then who is the killer?

Well, I sure give it to Sonoda: this was an interesting take on The Invisible Man, a killer who is visible in the story, but also not. It only works if you make a very rigid assumption regarding how people talk, but I think it works here and it is absolutely fair. If you assume this story is 100% fair to the reader, then the method with which the killer is hidden works absolutely, but if you have even the slightest doubt about that, this story might feel unconvincing. As a whodunnit with a Challenge to the Reader though, it works, and that means I will have to read those other Sonoda stories that were included in these anthologies too, because that's two good stories out of two read now...

The final story I'll discuss this time is by Ooyama Seiichirou, and this is kinda technically his debut work, I guess, as this was the first story by him that got published in a 'proper' publication. His "author introduction" literally just says this is the first time he got selected. Saint Dionysus no Puzzle ("The Puzzle of Saint Dionysus") introduces us to the narrator (a detective writer), who is the Watson to Sakaki Kousuke, a private detective. Sakaki is asked by Kobayakawa Masatsugu to bring his sister back home: she is a member of a cult run by Kurusu Tokuzou, who thinks he's the reincarnation of Saint Dionysus (Saint Denis of Paris). The sister is actually one of his grand disciples and Kobayakawa tells Sakaki Kurusu and his grand disciples are currenlty staying on an island, marking the perfect opportunity to get to her, as she's usually in one of the well-guarded facilities of the cult. He suggest they use an inflatable raft to make their way there and rescue his sister. Sakaki and the narrator do as suggested and make their way to the island, but are immediately found by guards. The sister hysterically cries she has enough of her brother, and that she's here by her own free will. Sakaki and the narrator are thrown in a cell for the night, but the following morning, the grand disciples bring shocking news: Kurusu has been murdered! The head of the cult was found in the Meditation Chamber, with his head cut off and placed in his arms, just like Saint Denis of Paris. The grand disciples ask Sakaki to figure out who the murderer is: it has to be one of the grand disciples, as the lower-rank members all sleep together, there were guards making sure nobody would enter the island, and Sakaki and the narrator were locked up. Meanwhile, the remains of Kurusu are placed in the Heavenly Chamber, a private room for meditation for the head of the cult, set up at the highest point of each of the cult's bases. Sakaki and the narrator interrogate the grand disciples, of which none seem to have a good alibi for the night. The following morning, shocking news arrives again: the body of Kurusu was found in the Meditation Chamber again, holding his own head in his hands. Did he walk out of the Heavenly Chamber after being decapitated, just like Saint Denis of Paris? If not, why was his body moved?

A story with a very cool set-up with the cult and the ties to the story of Saint Denis of Paris, and while it might sound obvious now, but as this was Ooyama's first published story, I guess readers back then couldn't have known Queenian problems would be one of Ooyama's trademarks. And yep, we have that here too. While a tale about a corpse that leaves a room and walks in the night could easily have focused more on the horror or seemingly impossible aspects of the problem, Ooyama here focuses on the conundrum as a logical issue: why was the body and the head moved? The solution is of course brought by a logical process that focuses on the actions the murderer took and the motives behind it, and while the basic idea is pretty simple, it is a deliciously Queenian approach to the set-up, and I like the story a lot. I have a feeling Ooyama "now" would have planted more physical clues to facilitate the trail to the solution, but it's still very solvable while also making clever use of the story behind Saint Denis.

Anyway, these were only three of the eight stories in Shin Honkaku Suiri 3, but I enjoyed all three of them a lot, so I'll try and get around to discussing the remaining five stories in the future. I probably should try read more of the (Shin) Honkaku Suiri anthologies anyway: I have only read about 1.5 volume, but the quality of the plots is generally really high, and if all 20+ volumes of this series retain that level...

Original Japanese title(s): 鮎川哲也（監修）二階堂黎人（編）新・本格推理 03 りら荘の相続人』: 小貫風樹「とむらい鉄道」/ 園田修一郎「作者よ欺かるるなかれ」/大山誠一郎「聖ディオニシウスのパズル」

Remember to Ring Twice

"I'm going slap happy"

"South Park"

I always think of white and blue when I think of the covers for the Koigakubo Academy books, even those are not even the primary colors for every cover...

Disclosure: I translated Higashigawa Tokuya's Lending the Key to the Locked Room. If you haven't read it yet... read it! 

Higashigawa Tokuya first introduced his readers to the fictional school of Koigakubo Academy, located in Kokubunji, Tokyo, in 2002 with Manabanai Tantei-tachi no Gakuen. In that book, we followed the members of the Koigakubo Academy Detective Club as they tackled a murder case that happened at school. After the first book about the Detective Club, we have seen other books featuring the Detective Club too, but interestingly enough, Higashigawa also started to feature the high school in other books that weren't about the Detective Club exclusively. First we had the Kirigamine Ryou series, which featured the vice-president of the Detective Club who for some reason very seldomly met the characters of the main series, but still often came across mysteries herself. Four years ago, Higashigawa wrote Kimi ni Yomasetai Mystery ga Arunda, a wonderful short story collection about the Second Literature Club of Koigakubo Academy. And 2024, the twentieth anniversary since the first book with the Koigakubo Academy, brought us another new series about the school where so many odd happenings happen, both criminal and not. The binding element between all these series is the school itself, with some characters like the teachers or a delinquent student appearing in several series, while usually the main characters of each series remains in their own 'part' of the world.

Asahina-san to Himitsu no Aibou ("Miss Asahina and the Secret Buddy", 2024) is a short story collection which presents us with another detective character in the school: Asahina Reika is the daughter of the school's chairman, which basically gives her a lot of informal authority. That is why some students sometimes go directly to her to ask for help when nobody else can help them: Asahina is actually quite involved with the school's reputation and how it's run, and basically acts as a 'shadow chairman' under the auspices of her father. That is why Ishibashi Mamoru comes to her when he's accused of theft by his fellow Mystery Club members: one morning, Ishibashi was the first to retrieve the padlock key from the teacher to open the club room. When he noticed one locker door was open and approached it, the harm had been done: the user of that locker saw Mamoru standing in front of it, and it turned out a manuscript for a detective story he was writing, had disappeared from the locker. He had put it in the locker the day before, and other members were present when they all left the club room together, put the padlock on the door and returned the key to the teacher. This means nobody could've gained entry into the club room and stolen the manuscript from the locker, until Ishibashi asked for the club room key this morning. Mamoru swears he's innocent, and wants Asahina's help, who's secretly more than thrilled, because she's a huge mystery buff and realizes she might be dealing with a genuine locked room mystery. Her guesses however are shot down very swiftly, and it seems Mamoru won't be able to escape the shadow of suspicion, until Asahina accidentally slaps Mamoru in the face, and he.... turns into his deceased brother Wataru!  For some reason, Wataru's personality takes over each time Mamoru's slapped in the face. Wataru's a lot sharper than Mamoru and Asahina, and he quickly solves the case of the theft, even though Mamoru seems not to be aware of Wataru taking over his body and has no recollection of solving the case (he thinks Asahina did it). Asahina and Mamoru/Wataru's paths cross more often, and their encounters only make Asahina more interested in Mamoru and Wataru's odd relationship.

The first tale, Meitantei, Misshitsu ni Arawaru  ("The Great Detective Appears in the Locked Room"), introduces us to the main characters of Asahina, Mamory and Wataru, and also shows a bit of Koigakubo Academy's Mystery Club, which we have seen previously in the second Kirigamine Ryou short story collection. The problem involves a theft from a club room: the club members all saw how the manuscript was left in a locker in the room and they left the room together, saw how the padlock was put on the door and one of them returned the key to the teacher in charge. The key is specially made and can't be copied, and the teachers keep club room keys in a room with camera surveillance, so it appears only Mamoru, who took the key the following day, could've stolen the manuscript in the morning. Asahina presents a few fairly simple theories which are discarded fairly easily, which is perhaps also why the actual solution to the conundrum is also fairly simply: this solution is basically of the same level Asahina could and should have presented herself, and should've been shot down too. So to have the mysterious Wataru appear only to point out a simple solution.... 

Satsujin ga Misui Datta Hanashi ("A Story About an Attempt at Murder") starts with Asahina hearing the shocking news a student of Koigakubo Academy had been assaulted the previous night. The girl had been to a concert of Tamaranzaka 24 and had been on her way home, crossing a grove near the station, when she was attacked and stabbed in her stomach. She was found by a classmate who quickly called the emergency line. Because the girl's a classmate of Mamoru, Asahina decides to use him as her Watson to learn more about the case. They visit the mother of the victim, and learn the daughter didn't quite get along with the mother's boyfriend, but he has an alibi for when the girl was assaulted. While the actual truth behind why the girl was attacked is not very surprising or original on its own, I love the deduction chain Higashigawa laid out for the reader. The clue that leads to the revelation of how it was done is really good, and expertly hidden, and easily one of my favorite clues of the whole book. 

Asahina Reika is the honorary student council president, which means she supervises the board meetings once in a while (when she feels like it), and the other members just have to dance to her tune. the day after another meeting, Asahina visits the board office to use her locker there, when she notices a window was left open. She then realizes someone has moved some of her books in her locker, so she summons Mamoru (and Wataru) to help her find the insolent person who dares go through her stuff in Seitokaiyakuinshitsu no Koubou ("Offence and Defence in the Student Board Office"). After a good slap, we see Wataru's observations of a few clues that ultimately lead Asahina and Wataru to a rather surprising discovery, which shows there was something far more sinister going on in the student board office than just a theft. Not a huge fan of the story to be honest: the first half the mystery-solving is more focused on reverse-engineering Wataru's deductions about the intruder's actions, rather than doing that ourselves and in the second half, we investigate a mysterious message that... probably would have been more interesting in a visual medium, but not in a prose form.

Tenshi wa Poolside ni Ukabu ("Angels Floating at the Poolside") is set during a summer evening: students are still around at school because of two events: geography teacher Ikegami is supervising a group to watch the stars (she herself is actually a huge believer of UFOs), while another group of students are playing night baseball on the school grounds. A guard meanwhile is making his rounds, when he senses something's wrong with the school's pool. While the fence is properly locked and barbed wire ensures nobody can climb inside (or as some swimming club members say, it's to prevent members from fleeing training), the guard still can't shake the feeling someone is inside, so he unlocks the pool gate and has a look around. His attention is drawn to one of the diving boards, so he climbs the ladder. He's nearly at the top when he suddenly feels something hard hit his head, and he falls of the ladder, hits his head on the ground and is knocked out. But just before he passes out, he's sure he saw a winged angel flying in the sky above him... The guard is later found by students passing by. Asahina of course can't help herself and decides to investigate herself (with Mamoru/Wataru as her Watson). This is another story where I think it would've been better had it been created in a visual medium. While I think the solution on its own is okay, I think asking the reader to deduce it based on the hints is a bit too much, while it would've been much more natural if the story had been told in a visual format. The attack on the guard (which is kinda impossible because he was hit on the head while climbing up the ladder and he didn't see anyone on the diving board before he was knocked out) is connected well to the guard seeing floating angels, but it's still a story that has trouble feeling really satisfying. 

The final story, Chashitsu ni Kieta Shoujo ("The Girl Who Disappeared In the Tea-Ceremony Room"), has Asahina wondering whether he should tell Mamoru about Wataru taking his body over each time he's hit on the head, but before she can make a decision, she and Mamoru stumble upon a new case, and a very personal one too: Asahina sees a brown-haired girl rummaging through her desk in the classroom! Asahina and Mamoru give chase, and they eventually find the girl running into a remote part of the campus, which is walled off and ends in a cul-de-sac where the tea-ceremony room is, a small building used by the tea ceremony club. Mamoru is sent inside the room by Asahina, but it appears there's only a tea ceremony club member inside, who is far too tall to be the girl Asahina saw. A swift look across the room also shows there's no place for the brown-haired girl to hide inside. Asahina then decides to check behind the tea-ceremony room too (she makes sure Mamoru goes the other way around the building), but they only find a delinquent student trying to smoke in secret. But as this part of the campus is completely walled-off, how did the girl escape if she's not in the tea-ceremony room nor behind it? Impossible disappearances are pretty much a staple of the mysteries set at Koigakubo Academy, as other books also feature them (especially the Kirigamine Ryou series), and even with that in mind, I'd say this is a pretty good story. The solution is very simple, but also quite clever: it would have been pretty interesting on its own as it makes good use of the unusual setting, but Higashigawa manages to tie a very unique clue to it too, giving it another level of depth. Just don't come here expecting some real resolution regarding the Mamoru/Wataru plotline.

Overall though, I'll need to be honest and say that Asahina-san to Himitsu no Aibou is probably my least favorite short story collection set at Koigakubo Academy until now. I love the Kirigamine Ryou stories with the overly-enthusiastic Kirigamine and the weird disappearances and other impossible crimes(?) she encounters, and I was really surprised by how fantastically Kimi ni Yomasetai Mystery ga Arunda was set-up with multiple meta-level stories, but in comparison, the plots of Asahina-san to Himitsu no Aibou seemed a lot simpler, with less finesse going on in regards to how the mysteries were planned. And I guess I never got really invested in the Ranma 1/2 / Touch-esque subplot of Mamoru and Wataru (hmm, now I think about it, it does have a Shonen Sunday vibe to it), so that wasn't really something that kept me interested. I'm always in for more stories set at Koigakubo Academy, and it was fun seeing familiar faces pop up in the background, but I guess I did expect something more 'grand' for the twentieth anniversary of the setting. Let's hope the next one is more memorable.

Original Japanese title(s): 東川篤哉『朝比奈さんと秘密の相棒』：「名探偵、密室に現る」/「殺人が未遂だった話」/「生徒会役員室の攻防」/「天使はプールサイドに浮かぶ」/「茶室に消えた少女」

Fear of the Fire Beast!

胸を焦がす Fire...
恋人も 燃える

『逆転裁判4』

 

Fire... charring my heart

Burning even my love

"Apollo Justice: Ace Attorney"

Yes, the title of today's book makes it very, very hard to look up in its romanized form. At least in Japanese, it's a kanji you don't see that often so that makes things easier...

After the traumatic experience on Kazune Island, where a group of friends were murdered one after another, Uyuu has mostly recovered. At least, physically, that is. However, after being saved and recovering at the hospital, he slipped on a banana peel, and hit his head, which caused him to lose his memories of his time on Kazune Island, though he still remembers everything before it: Uyuu remembers he was working part-time for a local culture magazine, how he's friends with Touri, a high school student who often swings by the magazine's editorial department, how the two were sent to Kazune Island to do an article on a gathering there.... but he doesn't remember what happened on that island, he only knows of it from the news. Which is why he also has no recollection of Touri and him becoming a couple on the island, even though Touri insists that is what happened. Uyuu has been given a full-time contract now, which his co-workers suspect might be because he underwent such ordeals because he had been sent to the island for work, and now Uyuu finds himself working on several articles, like one on shrines in their town of Kyoto and a series on local modern artists. This brings him into contact with Mikogami, who creates litera-art (art using written words), and his assistant Wapiko. Uyuu becomes friends with Wapiko, occasionally meeting her outside of work, with her telling him about studying under Mikogami and her own litera-art. But one night, Uyuu suddenly wakes up and finds himself standing near a temple, holding a lighter and burnable materials. While he is conscious of what he is doing, he can't help himself setting the temple on fire and ends up fleeing on his bicycle. The following morning, he is shocked to learn this is not just a case of arson however: a murdered man was found lying inside the temple that was burned down. Uyuu has no recollection of committing such a murder, nor does he know the victim, but he can't believe it's just a coincidence the fire and the murder happened at the same place and time. He visits a club for mystery fiction afficionados to hear the member's thoughts about the arson case, and among the members are the famous detective Kisarazu and his Watson Kouzuki, who seem to have some rather sharp observations regarding the case. Uyuu also runs into the detective Mercator Ayu, whom he met earlier briefly in the aftermath of the Kazune Island incident: Mercator has taken an interest in Uyuu, and seems to want to nudge him into a career of detection. However, Uyuu has other things to worry about, as he finds himself committing arson more often, and each time, a dead body is found at the site. Can he evade both Mercator and Kisarazu as he tries to figure out what's wrong with him in Maya Yutaka's A ("Disease", 1995)?

Maya Yutaka's work is seldom straightforward, but that holds especially for this book: A is a direct sequel to 1993's Natsu to Fuyu no Sonata ("A Sonata for Summer and Winter", also known as Parzival), starring once again Uyuu as he deals with the trauma of the events of the previous book. And at the same time, this book is a crossover book, as Maya's series detectives Mercator Ayu and Kisarazu Yuuya make appearances too, each taking an interest in Uyuu in their own ways. And that is not all, for A is actually also a kind of prologue to Maya's debut work Tsubasa Aru Yami - Mercator Ayu no Saigo no Jiken ("Darkness with Wings - The Last Case of Mercator Ayu"). Oh, and let me warn you right now: A also contains spoilers for both of these books. Yes, you had perhaps expected spoilers for Natsu to Fuyu no Sonata, as A is a sequel to that book. For the most part, A functions as a prologue to Tsubasa Aru Yami, but one part is set after that book, and Maya decided to just spoil a major event happening in Tsubasa Aru Yami in A too, because...

I don't know why actually. I think A is simply not written for a general reading audience who want to pick a random mystery novel and enjoy it as is. A is clearly meant to be read as part of Maya's oeuvre, as part of the Uyuu/Mercator/Kisarazu series and I'd say that is also the only reason why I'd recommend this book to people, as on its own, standalone merits as a detective novel, A is really not one I'm very positive about. 

For those invested in seeing how Uyuu turned out after the events in Natsu to Fuyu no Sonata, sure, this is a pretty interesting book. The incident on Kazune Island ended in a catastrophic manner, offering an ending that not only seemed very suggestive towards future events, but also leaving a lot of questions unanswered. A does not contain the answers you'll be looking for, but it does, very subtly, build further on the suggestive implications of the ending. The book is very focused on Uyuu's mental struggles as he tries to move on with his life, but finds himself, without understanding why, committing arson and as the stories unfolds, he sees things around breaking down once again. Meanwhile, we see how both Kisarazu and Mercator show interest in Uyuu: Kisarazu is a member of a club for mystery fiction fans and they all have some discussions on not only the arson cases, but also about mystery fiction in general. Kisarazu also realizes Uyuu is indeed the survivor of the Kazune Island incident and hopes to learn more about it once Uyuu has recovered fully mentally. At the same time, Mercator is being his usual suggestive self, seemingly being of the opinion Uyuu is a rather sharp person and could be shaped in a detective himself and therefore (as always, somewhat forcefully) dragging Uyuu along while he's investigating another incident. For those interested in the Maya literary universe, seeing these characters all interact is quite interesting.

However, as a mystery, A doesn't fare as well. Some parts of the mystery, like the underlying reason why Uyuu is committing these arsons, are fairly relatable and I find perfectly fine, but the exact reasons why the murders were committed at the same temples Uyuu was setting on fire, and the mechanics behind it are far for satisfying: it is the kind of trick that is basically unfair, and while that can be kinda expected considering the things Maya pulled off in Natsu to Fuyu no Sonata, I still found that one more convincing that what's done in A. I do have to say Maya did attempt to hint at it properly, and it works better because of the focus on Uyuu, but still... There's also a whodunnit aspect to the book that is set-up better, with multiple hints and some well-executed misdirection, but it is a relatively minor part compared to the 'why is Uyuu committing arson and why are people being murdered at the same place' mystery. Some parts of the mystery might seem outdated though by today's standards, even if this is a book from 1995. 

I thought this book was long out of print by the way, and there's no digital version either, so when I saw a (rather large) bookshop had a new copy in stock, I was rather surprised. And then I was shocked it was actually a relatively new print run from 2019. Interesting how even in 2019, they did have a new paper run of the book, but still didn't release it digitally. I wonder if they lost the text data or something, because the printing quality is a bit weird (it looks faded), and it almost looks like they scanned the pages of the original pocket and printed that, suggesting the publisher doesn't have the actual text data anymore. Then again, if that was true, the faded ink would only hold for the original parts, but the updated parts (like the copyright/print run info page) also look faded...

If you liked both Natsu to Fuyu no Sonata and Tsubasa Aru Yami, I think A is a book worth reading, as it ties things together and considering what happened in Natsu to Fuyu no Sonata, I can imagine readers being curious as to how Uyuu coped with all of that, and in that sense, A does deliver, even if it's certainly not a really hopeful story. I however can't recommend this book seperate of that context: if you have not read the two books above, not only are you going to encounter some major spoilers, but A as "just" a mystery novel just feels unfair, and hardly satisfying. So it's really just a book for the Maya Yutaka fans. I am glad I read it because I did read the other two novels, but I wouldn't tell you to go out of your way or spend a lot of resources to track a copy of A.

Original Japanese title(s): 麻耶雄嵩『痾』

A History of Murder

Step by Step あせることなんてないのさ

「Step by Step」(Ziggy)

 

 Step by Step, no need to be impatient

"Step by Step" (Ziggy)

Personally, when it comes to titles of short story collections, I actually prefer those with an original title, rather than being named after a story featured in the collection.

Sashichi is an okappiki, a kind of private detective who is hired by a doushin, the official Edo-period police detective, to serve as the doushin's eyes and ears on the ground in the capital of Edo. The woman-loving Sashichi works in Kanda and is known all around as 'the doll Sashichi', as his handsome face resembles those of Kyoto dolls (kyouningyou). Married to an older woman, with whom he often bickers, Sashichi runs around town, solving mysterious crimes as they happen, usually assisted by his two footmen Tatsugorou and Mameroku. The crimes Sashichi encounters are set in the world of the lowest classes, from merchants, actors to simple restaurant owners, but that doesn't make his mysteries less appealing: from a serial killer who targets women who have lately become models for illustrations hagoita paddles, to a series of murders that appear to mimic a serialized story, there's more than enough to do for Sashichi in Yokomizo Seishi's short story collection Meigetsu Ichiya Kyougen - Ningyou Sashichi Torimono-chou Kessakusen ("Kyougen on A Full Moon's Night - The Doll Sashichi Torimono-chou Masterpiece Selection", 2023). 

While Yokomizo Seishi is now best known for his creation Kindaichi Kousuke, and the books starring him, Yokomizo had other long-running series before he created Kindaichi after World War II: one of them is Yuri Rintarou, but his greatest success, and the series people knew him best for, was the Sashichi series. This is a so-called torimono-chou series, a historical detective series starring a character in a role close to what a modern police detective is. Readers of Japanese fiction in translation might know Okamito Kidou's Hanshichi series, which was the pioneer in that genre. Mind you, when I say historical, I don't mean Yokomizo really minded historical accuracy very much. While the 17(!) stories found here are definitely set in the past, and often do interesting things because they're not taking place in the modern world, the language used is fairly modern, and these stories are really easy to read. 

The Sashichi stories are really short, meaning they were pretty easy to write, and Yokomizo wrote 180 of them between 1938 and 1968! For this volume, editor Suekane Yoshimi selected the 17 stories he deemed as the best ones mystery-wise, and he also penned a very informative afterword, where he goes over every single story and explains precisely why they were chosen for this book and the unique points of each of them. Usually, I discuss all stories in a short story collection in detail, but 17 are just too many, and while the selection itself is varied enough, the stories are usually very simple in set-up and besides a core plot, feature a lot of "series tropes" (Sashichi being a womanizer, him bickering with his wife etc), so it's pretty hard to say something substantial about them without basically telling the whole story.

But I think Suekuni's afterword does a fantastic job at pointing out the more interesting points of these stories. Most importantly, or at least, what I thought the most engaging, is the fact that you can recognize ideas in some of these stories that would later be developed further in some of the more famous Kindaichi Kousuke novels. Some of these tricks in the Sashichi series are a bit simple, and because of the very short length of the stories, often it feels like clues are introduced just moments before the denouement, but at the very least, they are plotted as proper mysteries and often feature just enough of unique historical elements, ranging from popular culture like kabuki to women's sumo wrestling, to keep the reader engaged. But it is really seeing how for example one of these stories utilized a trick that you'd later see developed in much more interesting form in the Kindaichi Kousuke novel Gokumontou. Mind you, I don't really mean you see "proto-versions" of the trick in these stories, like how Agatha Christie's The Second Gong became the longer Dead Man's Mirror, but it's more like you see Yokomizo tackling a trope from mystery fiction here, which you'd also would see in a Kindaichi novel later on in his career. You can thus see him grow as a mystery writer, trying ideas out here and returning to them a decade, or more, later. 

And Yokomizo does also come up with interesting situations with his historical settings. In a few cases for example, there's a killer who removes the arm or hand of a victim, but in a world where you don't have fingerprints or DNA testing, why would a killer remove such part? In a contemporary world murderers might do that to hide the identity of their victim, but why would someone do that in the Edo period? Some of the answers provides are memorable because they are based on historical facts, so that make these stories feel firmly set in this setting, while others feel like they could have been easily rewritten to have taken place in a contemporary setting. Among the 17 stories are for example the first Sashichi story Hakoita Musume ("The Girls on the Hakoita"), where three young women have been featured as models for the art on hakoita paddles die one after another, with their own paddle lying next to thier bodies. In Ikiteiru Jiraiya, a thief thought to have died returns, but this time, the "non-violent thief" has committed murders. Or did he? In the title story Kyougen on A Full Moon's Night, Sashichi visits a party, where he is asked by a mysterious woman to pass on a note to one of the other guests, but later this guest is found dead, and three different clues found on his body, point to three different suspects. Horimonoshi no Musume deals with someone trying to identify his granddaughter, whom he has not met but does know has a certain tattoo on her back, but then two women with that tattoo appear before him. As Suekuni also points however, sometimes the underlying trick/solution does feel familiar to some classical Western mystery fiction, with Yokomizo adapting similar concept to the Edo era.

Personally, I thought having 17 of these stories in one volume was a bit overkill, but overall, Meigetsu Ichiya Kyougen - Ningyou Sashichi Torimono-chou Kessakusen is a fun, and especially very readable short story collection, that gives you a good idea of the torimono-chou subgenre and whereas Okamoto Kidou's Hanshichi series felt rather Holmesian, I would say Yokomizo's plotting in this selection of stories, is definitely closer to the puzzle-type plotting like Christie. Personally I found this book especially interesting having read a lot of Kindaichi novels, because you could really tell how Yokomizo first experimented with some ideas he'd later revisit, but even without that knowledge, the stories here are entertaining, even if quite simple. On the other hand, if these are really the best of the best in terms of mystery plotting of Sashichi, I can't say I am very interested in reading the other 150+ stories.

Original Japanese title(s): 横溝正史『名月一夜狂言  人形佐七捕物帳ミステリ傑作選』:「羽子板娘」/「名月一夜狂言」/「戯作地獄」/「生きている自来也」/「出世競べ三人旅」/「鶴の千番 」/「春色眉かくし」/「彫物師の娘」/「春宵とんとんとん」/「狐の裁判」/「当り矢」/ 「風流女相撲」/ 「たぬき汁」/ 「遠眼鏡の殿様」/「呪いの畳針」/「ろくろ首の女」/「初春笑い薬」

The Poet and the Lunatics

"One must never place a loaded rifle on the stage if it isn't going to go off."

"Letter from Chekhov to Aleksandr Semenovich Lazarev"

I like this cute cover!

Publisher Tokyo Sogensha has been offering a fantastic platform for mystery writers who haven't been published yet for decades now with the prestigious Ayukawa Tetsuya Award: the award includes a publishing contract for the winning manuscript, and writers like Ashibe Taku, Asukabe Katsunori, Aizawa Sako, Aosaki Yuugo, Amon Junichi, Ichikawa Tetsuya, Ichikawa Yuuto, Imamura Masahiro, Houjou Kie and many more have all made their professional debuts by winning this award aimed at novel-length works. In the meantime, Tokyo Sogensha has also provided a platform for short stories, which would also be rewarded with publication in their literary magazine. 2022 was the last time this award was called the Mysteries! Newcomer Award, as it is now called the Sogen Mystery Short Story Award. The last winner of the Mysteries! Newcomer Award was Mamon Kouhei, with the short story Lunatic Retriever. This short story is included in Mamon's 2024 short story collection Bokura wa Kaishuu Shinai ("No Pay-Off for Us", 2024), which provides a nice showcase of his mystery plotting skills, as well as his talent for writing characters.

The book opens with Gaitou Interview ("Street Interview"), which offers a seemingly harmless mystery: Kirito is approached by classmate Fujiwara, who needs some help, and Kirito is known for having a very keen eye for details. Fujiwara's sister was recently interviewed on the street about a few topics, like the trend of younger people not reading newspapers anymore. Her sister thought the interview went well, but after it was broadcast, people on the internet started bashing her sister for giving stupid answers, and some even just bad-mouthed her appearance. Fujiwara doesn't know what Kirito can do, but hopes he can somehow make it stop. After a careful examination of the street interview video, Kirito is however indeed able to miraculously stop the bashing. This is a unique kind of mystery, as it doesn't involve any real crime, but it is set-up in a convincing manner, even if some of the clues are introduced too close to Kirito's proposed solution to resolving this matter. It's a mystery you could imagine happen in real-life, and I really like how the story eventually wraps back to Kirito's own backstory of how he became known at school as a kind of detective.

Kaeru-Goroshi ("The Murder of a Frog") is about the comedy duo Frogs in the Well, consisting of Shougo and Mitsunori.  Shougo is introduced to Miki, a great fan of the duo, via a mutual friend, and the two start seeing each other more often, eventually leading to them dating officially. While the two comedians have been working hard on their act, they never had their big break, until they finally manage to win first place in a prestigious comedy contest, which results in them getting more offers for appearances on television. The two are not used to their new succes, getting drained by the constant stream of gigs and to make things worse, Shougo is suddenly rejected by Miki, who, despite still being fond of him, somehow can't stand being with him anymore. It's during this period a comedian from the same agency, who has been in the trade for a very long time without any succes, finally wins his first contest. Masuoka Hideki never had much success, but he was always super nice to his juniors at the agency, so everyone is beyond happy for him, and they all gather at the offices of the agency to celebrate his long-awaited award. They all have something to drink and after a while, people walk in and out the room to make phone calls and smoke, but when Mitsunori goes out on the balcony on the third floor, he spots a dead Masuoka on the street below, and lying next to him, is a squished frog. Considering Masuoka just won an award and had his big break that very night, it doesn't seem likely this is a suicide, and suspicion falls on all who were in the building at the moment, but because it is not clear at first when Masuoka left the room and died, it is difficult to establish who was where when, and therefore who has an alibi or not. After reading the first story, I had mistakenly assumed this book would not feature murders at all, so this was a pleasant (?) surprise. Mamon spins a very Queen-esque whodunnit tale, where you use the various physical clues sprinkled across the tale to cross out suspects off the list, and there are some clever twists hidden in this process too, but what is the most memorable about this story, is definitely the motive for the murder. While a motive is a very subjective thing (one can find a motive satisfying, while someone else not at all), I find Mamon's efforts in presenting this aspect too as a fair-play mystery, and the way he set-up the motive with foreshadowing quite memorable. Considering how the whodunnit-part clewing went and the way the motive was so thoroughly foreshadowed, I can easily imagine this same short (very short!) story be fleshed out into a full novel, and it would've worked as well.

Tsuisou no Ie ("The House of Memories") is a very short story, where a father and his two adult children visit the home of the grandfather, who recently passed away. While going through his stuff, the narrator realizes something odd's going on: he has vivid memories of visiting his grandpa's study, which had bookcases filled completely with books. He hadn't visited his grandfather at home for many years, especially not because they had a fight a few years ago, but he knows his grandfather kept on buying books and that he never ever sold his books... But where have all the books his grandfather had bought after he last visited him, have gone to, as the bookcases in the study were already completely full back then? Cute little mystery that may have a very simple solution, but it just works very well with the theme of childhood memories.

Hayami Shirou wo Oikakete ("Chasing after Hayami Shirou") is a two-party mystery, where the narrator first tells how his classmate Hayami Shirou once saved him from a false accussation at school: trash had been thrown around the pool, and because the narrator had a fight with the teacher of the swimming club at the time, he was accused of the vandal act. Hayami however very ingeniously, and swiftly proves who the real culprit was. The narrator and Hayami now go to the same high school, and Hayami's talents are once again needed, when the football (soccer) club find their storeroom ransacked, with balls and other equipment stolen. The stolen items however are found the following day, having been left somewhere on the school grounds. The way Hayami deduces who the culprit is, and why, is clever and I do like the clues are based on physical senses that usually aren't featured as strongly in written fiction, though at the same time, that is also why the story kinda falls flat for me, as we read a lot about these senses, but while your mileage may vary, I did find it hard to believe how "exactly" for example a character could recognize a lingering smell. I do like the little twist at the end of the deduction process that allowed Hayami to point at the one and only culprit, and the motive works well in this school setting too.

Lunatic Retriever is set at a college mixed dormitory, which has one 'famous' inhabitant: Yoshida Haruka won a literary award at age 20 and has been publishing books these last two years. She's also quite arrogant and doesn't mingle much with the other students living in the dorm. However, that doesn't mean her death isn't a shock. On the day a solar eclipse happens, she is found dead in a storeroom inside the dorm. The storeroom was originally a smoking area inside the common room, with two doors (one opening in, the other door opening out). Before the eclipse, people tried going to the storeroom to get something, but found both doors locked for some reason. After the eclipse, the students find it odd the doors are still closed, so they force the doors open. They not only learn the doors were "locked" because they had been taped tight with duct tape, they also find a dead Haruka lying on the floor, as well as a burning stove. The room being taped shut and the burning stove suggests Haruka committed suicide by carbon monoxide poisoning, but on the other hand, they also are of the opinion Haruka would be the last person to commit suicide. But if it was murder, how did the murderer escape the taped storeroom? This is a very dense story, with a lot to offer: a taped locked room, Ellery Queen style deductions to determine who the murderer is, and we even have a solar eclipse... Because of the clue density, we even have room for multiple people presenting their theories, and interestingly, I think that in terms of the locked room mystery, the final solution isn't even as impressive as the earlier ones. What is really memorable about this story however, is the ending, when we are confronted with what is thematically an absurdly shocking revelation. It is a funny, meta-level observation that in a different work could have catastrophic implications, but it works in this short story setting and gives you some food for thought regarding the mystery genre, while also still functioning as a mystery story itself. The theme, in hindsight, can be found in other stories in the volume too, which wraps things up nicely.

This is the first time I read anything by Mamon Kouhei, and while I am generally more a fan of short stories, and I did enjoy the short stories found here, I have to admit they left me wanting for more, for stories that show the same type of plotting, clewing and ways in identifying whodunnit, but with more room for depth and that is also the case for the motives, there are some really originaly character motivations at display here that result in interesting mystery settings, and I'd love to see Mamon for example trying to do a longer detective novel with such themes. So I'll keep an eye out for Mamon's future output!

Original Japanese title(s): 真門浩平『ぼくらは回収しない』 「街頭インタビュー」/「カエル殺し」/「追想の家」/「速水士郎を追いかけて」/「ルナティック・レトリーバー」

The Mystery of the Yellow Room

もしも 生まれ変わっても また私に生まれたい 

この体と この色で 生き抜いてきたんだから 

「Yellow Yellow Happy」（ポケットビスケッツ）

 

If I would be born again, I want to be born as myself again

Because I have survived in this body and this color until now

"Yellow Yellow Happy" (Pocket Bisquits)

No, this book is not set in a place where rocks levitate...

It has been three years since the traumatic events at Katsuragi Teruyoshi's family home, and now the great detective and his best friends Tadokoro Shinya and Mitani Rokurou are all studying at different universities, all having an idea of their future. They still see each other often, but they have not travelled together in ages, however, exceptions are made for special occassions: Katsuragi and Tadokoro have received a letter from Asukai Hikaru, the former high school student detective whom Tadokoro looked up to when he was young. A few years ago, Katsuragi and Tadokoro met her, now in her late twenties and working as an insurance agent, at the house of  mystery author Takarada Yuuzan, where they were confronted with a horrible murder. Katsuragi and Hikaru had clashed about their views about what a detective is, so Katsuragi and Tadakoro are surprised to learn she had written them a letter. She informs them she's going to be married to Dotou Kouki, the son of Dotou Raizou, the world famous multi-disciplinary artist, especially known for his paintings, sculptures and architecture. While Kouki is "a normal guy", his sisters have inherited their father's artistic talent, with Yukie being an accomplished illustrator, Tsukiyo a sculpter and Kanon a singer. Because of Kouki and Hikaru's engagement, they're going to have a rare gathering on the last day of the year at Raizou's home the Wasteland Manor: a house with four towers Raizou himself designed, located in what is basically a small, square valley, with the house surrounded completely by four rock walls. 

Raizou turns out to be a friend of Takarada Yuuzan, who has passed away since. It was Raizou who designed the house of Yuuzan, and in exchange, Yuuzan had written a mystery novel set in Raizou's home. It is this unpublished manuscript that worries Hikaru, prompting her to contact Katsuragi and Tadokoro. It appears Hikaru's presence at Yuuzan's manor three years ago had not been a coincidence, but set-up by Yuuzan, and she fears she's being manipulated again by this unpublished manuscript of Yuuzan. She hopes Katsuragi and Tadokoro will come to the house, as her "relatives" and see if they can get their hands on the manuscript and see what is hidden within the pages. Katsuragi has no intention of meeting Asukai again, but he agrees to at least join Tadokoro and Mitani on their way to the house. The three young men meet with Hikaru and Kouki outside the house to discuss what they'll do, but then they are surprised by a heavy earthquake. While they are all unharmed, the road has collapsed and trees have fallen on the road, blocking it completely. Very conveniently, Katsuragi alone finds himself on the outside world side of the road, while the rest are now trapped on the house-side of the road. Katsuragi says he'll go to the nearby town and stay there, while Tadokoro and Mitani will go with Hikaru and Kouki as planned. 

Things soon take a turn for the worse however. Tadokoro and Mitani are introduced to the rest of the family (as well as two other guests), though none of the Dotous seem very interested in them. Everyone is shocked to learn they have been cut off from the outside world, but they have enough supplies to last for about four days. And while there are occasional aftershocks, the house itself is sturdy enough to withstand the violent movements. However, the following day, patriarch Raizou is found dead in the courtyard of the house: the elderly man has been shish-kebab'd on a statue of a knight holding a sword up high and what's more: the murderer has left no footprints in the wet garden. When they go looking for Yuuzan's unpublished manuscript in Raizou's room, they find someone has taken it: is it a coincidence a manuscript about a murder case happening in this house is now missing? Meanwhile, Katsuragi has barely managed to find a room in the only inn in town, which is swarming due to the sudden earthquake and trains not running anymore. His attention is soon drawn to his roommate Ogasawara Tsuneharu, who is acting rather suspicious. Of course, Katsuragi has no way to know that Ogasawara is planning to kill the proprietor of the inn: not because he has a motive to kill her, but some hours ago, Ogasawara had agreed to do a murder exchange: when he was not able to go to Raizou's home due to the road collapse and fallen trees, a woman called out to him from the other side of the blocked road, who offered to kill Raizou for him, if he instead kills the inn proprietor for her. Can Katsuragi and Hikaru solve all the crimes happening in and outside the house in Atsukawa Tatsumi's Koudokan no Satsujin ("The Murder in the Earthy Yellow Manor" 2023)?

This is the third book in the series which now bears the name Manor Quartet, which obviously suggest this series will be four parts in total. The first book had fire and the summer as its theme, the second water and autumn and this third book revolves around earth and winter. So yes, that suggest the final book's theme will be wind (air) in the spring. A murder in a house during a typhoon? Anyway, I enjoyed the previous two books about Katsuragi, the young detective who has the ability to sense people lying to him, and while I had not read the premise of the book before, I was pleasantly surprised to learn that Asukai Hikaru from the first book returned too in a prominent role, so once I got started with this book, I had gone through it really fast.

The book takes on a rather interesting structure: the first third of the book is actually an inverted mystery: we follow Ogasawara Tsuneharu as he makes his way to the Wasteland Manor to kill Raizou, whom he hates for a very personal reason, only to find the road collapsed and blocked by fallen trees. When he grumbles out loud he now can't kill Raizou now, a woman calls out to him from the other side of the road. While they can't see each other, she offers to kill Raizou instead of him, if he then kills the propriator of the local inn. The woman suggest she'll kill Raizou first and use a flare signal so Ogasawara will know she has succeeded in her task, after which he'll kill the proprietor. Ogasawara accepts the offer for a murder exchange, and arrives at the inn, but can only stay he shares a room with Katsuragi. And so Ogasawara slowly starts to plan his murder (luckily, he was already planning to kill Raizou so he has things like poison with him). But as this is an inverted detective, we of course see how Katsuragi slowly starts to suspect his roommate isn't just some innocent guest. But how did he figure it out? This part is fairly short, but I do like the clewing Atsukawa employed to allow Katsuragi to get on the trail of Ogasawara. We know Katsuragi starts to have his suspicions very early on, but the clues that allowed him to zero on his roommate are fairly clever hidden. In the aftermath, Katsuragi learns about the murder exchange, finally realizing his friends Tadokoro and Mitani may be in danger, as there's a murderer in Wasteland House. 

At this point, the book jumps back to the last day of the year, and we now follow Tadokoro, who together with Mitani visit the Wasteland House. Kouki's sisters Yukie, Tsukiyo and Kanon seem not interested in the two men, nor are the two other guests (an art broker and Kanon's manager), but Raizou himself seems interested in Tadokoro, as Raizou is aware Tadokoro and Katsuragi where involved in the incident in the house of his friend Yuuzan, and Raizou also seems more interested in Hikaru's past as a high school student detective, rather than as his future daughter-in-law. The following day however, the man is found dangling from the sword of the knight statue in the courtyard, but how could anyone have lifted the victim and stabbed him on a five-metre high sculpture? As there's no landline phone and for some reasons, their mobiles don't have any reception, all they can do is wait until the road's been restored or outside help comes via some other way, but they don't have much time, as more mysterious happenings occur, from sightings of a masked butler who can escape from a tower room with only entrance even though they were being chased by Tadokoro and someone being shot inside another tower room, even though it was locked from inside and the only window in the room looks out... on a rock wall. With Katsuragi not present, and Asukai Hikaru having sworn off ever playing detective ever again, Watson Tadokoro finds himself forced to be the Holmes himself this time...

In Gurenkan no Satsujin and Aomikan no Satsujin, the respective themes of a mountain fire, and a flooded river added a note of excitement to the mystery: like Ellery in The Siamese Twin Mystery, it wasn't just that Katsuragi and Tadokoro found them having to deal with a musterious murder committed in a house, they also had to deal with an unstoppable force of nature, a force that also had its influence on the murders. In Koudokan no Satsujin, we have one major earthquake at the very start of the book, followed by unpredictable aftershocks, but I have to admit I found the theme not as strong here as in the previous books. The initial earthquake creates the closed circle setting, and also sets up the murder exchange, but from that point on, we just have aftershocks happening now and then. They don't really serve as a constant threat, as they come and go swiftly, and it's not like you can predict them. The earthquakes are not a theme that permeate throughout the novel, only popping up now and then, so that kinda weakens the "earth" theme, even if the couple of themes they do feature in the mysteries, they are integrated cleverly.

 What you can't accuse Atsukawa of, is him skimping on the mysteries though. We have Raizou skewered on a sword in the courtyard, even though there are no footprints left in the courtyard, even though rain had softened the ground last night. We have masked butlers being chased into rooms with only one entrance and disappearing from those rooms. We have a body which appears in a room, even though everyone has an alibi for the time between the discovery of the body, and the last time people visited the room, and many more. What I do like is that a lot of these mysteries do share a common thread, used in a few ways. I have to admit I have read so many of these books by now, I found the big trick a bit easy to guess because I have seen similar ideas quite often, but the execution is well-clewed and because Atsukawa utilized the idea in various ways, it feels fairly substantial, rather than a one-trick pony. The earthquakes in return are featured now and then in the mystery, for example forcing the murderer to do something in a certain manner, or the earthquake creating an unforeseen situation for everyone. As mentioned before, the synergy between this 'force of nature' theme and the mystery isn't as prominent as I had hoped, but when it's done, it definitely presents interesting parts of the mystery.

That said, I do find the whodunnit rather disappointing. The first part is an inverted mystery, so of course who the culprit is, but Ogasawara himself never learns who his partner in crime is, so we don't know who the murderer inside the house is. However, the way Atsukawa planted the clues to point to the murderer are a bit too obvious. While from an in-universe point of view, it makes sense it takes some time for the detectives on both sides to catch up as you need information obtained from both in and outside the house to solve everything, it doesn't mean the reader isn't already in possession of that knowledge, and it makes the attempts to present false solutions feel a bit weak, as you know the big elephant in the room hasn't been addressed yet. 

Overall though, I do like how this book is set three years after the previous books, with a more mature Katsuragi Teruyoshi who has learned to deal with his trauma gained in the previous two books, and we see how that also helps Asukai Hikaru, who has her own trauma. I'm not really that interested in character development, but for those looking for that in a detective character, you can definitely find it in this series, and what I do like is how Katsuragi's character does influence his detecting style a lot: it's his experiences that leads him to act like he does now as a detective, so in that sense, I do like seeing the change in him, as it's directly reflected in the way the mystery is plotted and how Atsukawa decides to have the story solved.

Koudokan no Satsujin is overall a solid third entry. While the earth theme isn't as strongly present here as the force of nature themes in the previous two books and it is overall a bit simpler, I do like the twists Atsukawa presents here, like having an inverted mystery section, and focusing on basically three detective figures in Katsuragi, Hikaru and Tadokoro. Can't wait to see how the last volume will wrap things up!

Original Japanese title(s):阿津川辰海『黄土館の殺人』

Regarding the English translation of The Labyrinth House Murders

My translation of The Labyrinth House Murders (Yukito AYATSUJI) was released three weeks ago in the UK by Pushkin Press. I hope the people who have read it enjoyed it, and that those who still have to read it, will find it as entertaining as I did when I first read the work. As much as I love the original work however, there was one point in the original work that wasn't likely to work "as is" in an English translation, and after deliberation with the editor and Ayatsuji himself, it was decided I'd change part of the mystery slightly, in order to keep the fair play spirit of the original work intact for the English-language reader. However, I still want people to know what the real idea was Ayatsuji had planted in his book, so I decided to write a piece explaining about what was changed and why, and go over a few other translation-related points while I am at it.

As you probably can guess, I'll be discussing major spoilers for The Labyrinth House Murders in that piece, so you should only read it after reading the book.

You can find the page here, and I will be re-posting this announcement when the US version of the book will be released coming Spring.

The Time Thief

We could steal time just for one day

We can be heroes for ever and ever 

"Heroes" (David Bowie)

Gorgeous cover!

Earlier this year, I discussed Yuuki Haruo's Salome no Guillotine, a very memorable mystery set in the Taishou era, revolving around a series of murders among artists. It was only after reading the book I learned it was actually the latest entry in a series. In fact, I only realized that after I first opened the book of today's review, and saw the names of the protagonists of Salome's Guillotine on the first page... Yuuki Haruo's Tokeidorobou to Akunin ("Clock Thieves & Crooks" 2023) is the second book featuring the adventures of painter Iguchi Sakuta and his friend and former burglar Hasuno in the late Taishou era, with the handsome Hasuno with his criminal experience of course being the detective, while Iguchi functions as our Watson. Iguchi and his wife are good friends with the loner Hasuno, who after a short career in relieving people of their possessions has now become mostly an upstanding citizen, though the adventures of the two occasionally force Hasuno to make use of his unique talents again. And yes, this is the second book in the series apparently, so I'm reading these out of order and I have no idea how much about their initial meeting is explained in the first book, but in Tokeidorobou to Akunin, they form a great team. The book is technically a short story collection, but the stories do flow from one into the next, even if there's no tight overarching storyline. 

The book opens with Kaemon-shi no Bijutsukan ("The Art Museum of Mr Kaemon"), where Iguchi has a major problem. Long ago, his father had bought an antique Dutch clock which once belonged to the Dutch royal family. When he purchased the clock, he also received a very well-made imitation of the clock, as the previous owner had been scared of theft. When Iguchi's father sold the clock to the collector Kaemon, he gave the imitation to Kaemon. The latter never noticed it, and Iguchi suspects his late father did it on purpose. The elderly Kaemon has not long to live anymore, and has recently had his country house renovated to include an art museum to display the art collection he gathered throughout the years. This would include the Dutch table clock, and Iguchi is afraid fellow art connoisseurs who will visit the museum will realize it's a fake, and that it will become public his father sold Kaemon imitation art. Iguchi and Hasuno visit Kaemon at his house, to see if they could just apologize and give him the real clock, but the attitude of the grumpy old man makes it clear there is only one solution: Iguchi and Hasuno have to break in the museum and swap the fake clock for the real one themselves. What follows is a fun adventure of Iguchi and Hasuno trying to sneak inside the museum, but while they are there, they notice something is off about the museum, but what? This is one of those mysteries where you don't really know what the mystery is until the conclusion, so I can't say too much about the mystery. But I'd definitely say it's a memorable one! The ingenious twist is definitely set-up very well with both physical and psychological clues, and I love the themes (motive) behind this story. Great opening of the book, especially with the banter between Iguchi and Hasuno.

Akunin Ikka no Misshitsu ("The Locked Room of the Family of Crooks") follows Atsuko, the maid of the Minoda family, who live in a large manor in Yokohama. Patriarch Akiyoshi lives in England with his wife, while his four children live in their parental home in Japan. None of the children, all of different mothers, really like their father, nor each other, but money is a great binding tissue, so they all live together. Oldest son Yukimasa one day receives a letter from his father telling him he is returning from England and he has also sent boxes full of furniture back to Japan. It appears his wife died, and now he's coming back, but his father wants his home in England replicated perfectly in the annex of their Japanese home, hence Akiyoshi not only sending back sofas and chairs, but even the doors. Yukimusa arranges for builders to come and construction starts based on the photographs his father sent him. One night however, as the maid Atsuko returns, she notices a figure floating in the rooms under construction, and when she peeks through the window, she sees Yukimasa's body hanging from a rope, with his legs resting on the bolted door latch (which was also imported from England). She calls the other siblings, but they can only enter the room by breaking the door down: meaning this was a locked room. At first sight, this therefore looks like a suicide, but when Iguchi and Hasuno visit the place (Iguchi's patron had sent Iguchi and Hasuno to sort out something with Yukimasa), they soon uncover not only that all of Yukimasa's siblings had a motive to kill him,, but they also find clues that indicate this was indeed a murder. But how could the murderer have left the locked room? On a purely technical level, the locked room mystery is not very original perhaps, but the way it ties to the motive is really great! It provides a fantastic reason why such a rudimentary trick was used, and the small unique elements of this locked room, like balancing the victim's feet on the latch, do transform it enough to create a good story. But it's definitely the motive, and the final implication regarding the victim, that makes this another good entry.

Yuukai to Ooyuki - Yuukai no Shou ("Abduction and Heavy Snow: Abduction") and Yuukai to Ooyuki - Ooyuki no Shou ("Abduction and Heavy Snow: Heavy Snow") is a two-part story, each focusing on a different mystery. In the first part, Hasuno asked to come disguised as a salesman to Iguchi's sister-in-law's place. When he arrives there, he learns Iguchi's niece Mineko has been abducted and a ransom note has been left in their letter-box. They ask Hasuno for advise, but the latter soon notices several odd points about the ransom note, leading to a surprising conclusion regarding why Mineko was abducted. The story then deals with the drop-off for the ransom, which is done by Iguchi's father-in-law, while Hasuno and Iguchi, in disguise, try to spot the abductors. Again, Hasuno quickly sees through the trickery of the abductors and soon the two are on their way to save Mineko. This chapter is the most adventurous of the whole book, I think, with a good deal of suspense as Hasuno slowly deduces the bigger story behind Mineko's abduction simply based on the instructions in the ransom note. The trick regarding the ransom money drop-off is fairly simple, but it's basically just a set-up to lead into the second part of the story. There we follow the story first from Mineko's point of view, as she finds herself abducted by a group of men. In the night, she's taken by one of the leaders to a hut outside and thrown on a hay bed: Mineko fears the worst and is knocked out by the man. When she wakes up however, she finds that man stabbed to death lying next to her. It is at that time her uncle arrives together with Hasuno, having found out where she was being held, but they have two problems: one is that their car broke down and even if they try to get away on foot now, they'll probably be caught by the rest of the gang in the house next door. The second problem is that the only footprints leading to the hut are those of the dead man, Mineko and Iguchi and Hasuno who arrived just now, meaning the only person who could've killed that man is Mineko. While Mineko has no recollection of killing the man, and Iguchi and Hasuno also don't believe that is the case, who then did kill the man, and how? While it might be hard to guess the details of how this was done, I think the general idea behind the locked room is probably fairly easy to guess, even if it can be a bit tricky figuring out the exact timing. The story then ends in a kind of reverse Home Alone, where Iguchi, Hasuno and Mineko try to round up the whole gang themselves, which results in some funny swashbuckling scenes.

Iguchi, like many of his fellow artists, has found a patron in the art-loving businessman Harumi. In Harumi-shi no Gaikoku Tegami ("Mr Harumi's Letter from Abroad"), Harumi asks Iguchi for some help, or to be exact, he needs the help of Iguchi's friend Hasuno. Not because Hasuno was a burglar, but because Hasuno also knows languages and Harumi needs a translator. His wife passed away some time ago, and he only now got around to sorting out her possessions, but he came across a strange letter from France, even though she did not have any friends there. Hasuno translates the letter, which is sent by the nephew of Marcel Champlain, stating he writes on behalf of his recently deceased uncle, who implored him to write a letter to Japan to express his thanks, and love to Ms Harumi. Harumi has no idea who this Marcel Champlain is, and asks Iguchi and Hasuno to figure out who he is and what his relationship was with his wife. The two dig into the history of Harumi's late wife, which is rather complex: Harumi's recently deceased wife was actually his second, and his first wife was actually her twin sister, who also passed away early, and there was another older sister too. The precise relationship between Harumi and his wife and sister-in-laws is rather complex and can make this story a bit confusing, and again, this is the type of mystery you don't really know was even present until it is explained to you, though I do like the truth Hasuno eventually uncovers, and it gives a very sad, but memorable meaning to the letter sent on Marcel's behalf.

In Mitsukawamaru no Ayashii Bansan ("The Alluring Dinner on the Mitsukawa-Maru"), Iguchi, Hasuno and fellow artist Ootsuki find themselves on the ship Mitsukawa-Maru, as representives of Harumi. The Mitsukawa-Maru recently returned from India, but ran into trouble just off the coast: while the ship itself is in no direct danger of sinking and the crew safely returned to the mainland, it will take a few days before the ship itself can be pulled free. However, the ship was carrying a unique cargo: two tigers.... which are going to be served at dinner. Hirokawa Koutarou, the owner of the ship, also runs a shady secret club where the members can enjoy strange things, which is why he had planned a dinner party with tiger meat. Due to the ship's troubles however, he has decided to hold the party on the ship itself now, with the invitees being brought especially on the Mitsukawa-Maru as it lays off the coast.  While one tiger has already been prepared, the other is bit more troublesome: the ship's troubles led to one tiger cage being broken, and now that tiger is running free in two connected rooms in the hold. Terue is Hirokawa's maid, and she's on the ship too to take care of her boss' guests, but she comes across the dead body of one of them! She reports to her boss, but when they return to the place, the body is gone, and her boss is not really believing her. Hasuno and Iguchi however have reason to believe Terue might be right, as the victim was a reporter on the trail of a serial killer, who might be one of the other guests, and they start poking around and looking for the body. This is by far the longest story of the bunch, offering a closed circle mystery with unique elements like a friggin' tiger in the hold, but I feel this story was way longer than it needed to be, and even felt a bit tiring after a while. Hasuno and Iguchi are already aware of much of the background story by the time the story starts, so the reader is always at a disadvantage, and unfortunately, this story has no floorplan even though the characters move around a lot on the ship. Eventually, Hasuno deduces who the murderer is based on the actions they took, but to be honest, the whodunnit wasn't nearly as impressive as the whydunnit. At least, the whydunnit regarding the direct motive for the second death and the implications of that death was absolutely great, and I would perhaps have preferred a story focusing solely on that.

Houseki Dorobou to Okidokei ("A Jewel Thief and the Table Clock") brings up back to the Dutch table clock from the first story. Iguchi receives a letter from the (son of the) previous owner of the clock, who hopes to buy back the clock. Iguchi has two major problems: due to the conclusion of the first story, Iguchi is still in possession of the clock, even though it belongs to Kaemon and two: the clock was stolen. He had kept it wrapped up in a cloth in the bedroom, but for some reason someone stole the clock, and just the clock, with nothing else in the bedroom being disturbed. This was also only one theft in a series of thefts among friends of his wife: several rubies have been stolen, but all under nearly impossible circumstances: for example, one friend had a bracelet with a ruby embedded in it, and hidden it within an orange cloth, put in a box with many other wrapped up cloths, but the thief managed to steal only the one with the bracelet in it, without opening the other cloths. In another theft, the thief stole a ruby which had been put on a dress, but there had been four identical dresses, with the other three having very well made imitations, so how could the thief so quickly found the real ruby, not even having to touch the other three dresses? While the tricks behind each of these cases is fairly simple, I do like how some of them are connected, leading to some nice synergy moments: the explanation for the ruby on the dress theft for example is pretty clever on its own, but it also gives a great explanation for how the thief managed to find the antique clock in Iguchi's home. While I don't really think this is a very memorable story (I think I had expected it to connect a bit more strongly to the previous stories), it's an okay one, and it also leads directly into the events of Salome's Guillotine.

Overall though, I did really enjoy Tokeidorobou to Akunin. I think Yuuki Haruo especially excels in coming up with cool motives that not only are memorable, but they also often naturally lead to the core mysteries of howdunnit or whodunnit. I already noticed that in Salome's Guillotine, but as a short story collection, you of course see more instances of that here. The banter between Hasuno and Iguchi is also fun, and while some of the stories can become a bit darker, there is usually a slight comedic tone to them (the two stories told from the maid's POV for example have some funny moments where they lament having to work for their employers). So another recommended read! I should probably read the first book too...

Original Japanese title(s): 夕木春央『時計泥棒と悪人』: 「加右衛門氏の美術館」/「悪人一家の密室」/「誘拐と大雪　誘拐の章」/「誘拐と大雪　大雪の章」/「晴海氏の外国手紙」/「光川丸の妖しい晩餐」/「宝石泥棒と置時計」