Crucifixion of a Dead Man

“When a crime is committed by a non-habitual criminal, that is the time for the policeman to watch out. None of the rules he has learned will apply, and the information he has amassed through years of studying the underworld becomes so much dead wood.”

"The Egyptian Cross Mystery"

Usually posts on consecutive days mean I wrote a lot of reviews the first day and post them one a day, but I've actually been writing every day now... Not sure whether I can make it at this tempo all the way to the end though.

Reviews of Ellery Queen's 'nationality' novels:
The Roman Hat Mystery
The French Powder Mystery
The Dutch Shoe Mystery
The Greek Coffin Mystery
The Egyptian Cross Mystery
The American Gun Mystery
The Siamese Twin Mystery
The Chinese Orange Mystery
The Spanish Cape Mystery

The Egyptian Cross Mystery (Dutch title: Het Egyptische Teken / The Egyptian Sign) starts with Ellery visiting the little village of Arroyo, where the decapitated and crucified body of school master Andrew Van was discovered on Christmas. In need of material for a new book, Ellery looks around a bit and attends the Coroner's inquest, but not much can be made out of the case, except for the fact that the letter T seems to be a repeated motif in the murder: the headless body was crucified on a T-shaped signpost on a T-shaped crossroad and a bloody T had been left on the door of the victim's house. The police do find a clue about a person who might have murdered Van, but can't seem to trace him. Fast forward six months, when Ellery receives a letter from his old professor Yardley, who wants his pupil's help with a case: wealthy rug importer Tom Brad was found decapitated and crucified to a T-shaped totem-pole.

Quite different from the previous four books: whereas Ellery was mostly operating in relatively small and closed environments within New York, The Egyptian Cross Mystery has Ellery traveling outside New York, meaning he has to perform his deduction magic without the protecting powers of his pater. Add in the fact that the murders happen in quite different areas, and we have a moving Ellery, an active Ellery, which is almost shocking. The direct build-up to the climax in particular is almost the anti-thesis to the cramped movements of Ellery in his earlier adventures. I said in the review of The Greek Coffin Mystery that it seemed like Ellery was confined to smaller and smaller spaces with every novel, well, The Egyptian Cross Mystery is the complete opposite.

The more open feeling is not only present in the geographical movements of Ellery, the case structure is also much more open. This time we have several murders spread over the Eastern part of the States: gone is the certainty that the case was an inside job and all done by the same person, as the possibilities seem endless. With the previous novels, it was always quite clear that someone inside the main location must have commited the murder, but this time we aren't really dealing with such a closed environment; heck, in spirit the hunt for the mysterious man feels a bit like Queen's own Cat of Many Tails, which also featured a similar open case structure. This is a very different Queen.

Which is also apparent in the modus operandi of the criminal. Decapitated and crucified victims? The previous four novels had fairly clean deaths: strangulations and poison and such, so the jump to decapitations is quite big. Visually, as far as you can call a novel that, this is a very dark, if not darkest Queen. But there is of course a reason for the decapitations, which does form one of the weaker points of the novel. It might have been more surprising and shocking back in the time (or not, I don't know for sure), but even the most unexperienced reader of detective fiction would know what the crucial question is when dealing with the major trope of this novel. And Ellery... doesn't ask the question. Writer Queen evades the question, tries to cloud the reader's thoughts with hardly convincing theories and metaphores about Egyptian crosses and sungods and so, but the reader will think about the question, which will bring him very far in the solution to the problem.

The novel does greatly improve on the usually weak middle part of the Queen stories. Like The Greek Coffin Mystery, Egyptian Cross's structure with several distinct parts and climaxes is much more entertaining to read than the relatively slow and boring investigation parts of The Roman Hat Mystery, The French Powder Mystery and The Dutch Shoe Mystery. It is not as deduction-heavy as Greek Coffin though, with only one really important deduction chain around the middle of the novel that drives the plot forwards.

It's maybe because I am a fan of Yokomizo Seishi and Kindaichi Shounen no Jikenbo, but The Egyptian Cross Mystery has always felt most close to my own image of the Japanese detective novel (even though the genre is very varied there, and it is not really possible to pose the Japanese detective novel). From bloody murder to the so-called mitate murders (a trope close to, but wider than the nursery rhyme murder trope), the novel seems to have featured some tropes that seem quite popular in Japan (disclaimer: at a certain time, among certain readers of the genre).

Were I to rank the book, I think The Egyptian Cross Mystery would end up somewhere around the middle point. It's a bit different from the other early Queen novels, which turns out mostly good, but the lesser emphasis on absolute reasoning knocks it down my list.

Elleryana

"No man however modest -and Ellery Queen, I think he will be the first to agree, is far from that - cares to flaunt his failures to the world"

"The Greek Coffin Mystery"

For those wondering why I seem to be posting in a fairly regular schedule lately: I am actually a relatively fast reader and writer. It's just that I can't read Japanese as fast as Dutch or English, meaning I just can't post in this tempo when I read Japanese novels. Which is most of the time. And if one considers I also discuss games here (which usually take about 10~20 hours, compared to the couple of hours for a novel), well, that explains the regular schedule and the schedule of the last few days. I wish I were eloquent enough to explain this more concise . Like "I'm a locksmith and I'm a locksmith".

Reviews of Ellery Queen's 'nationality' novels:
The Roman Hat Mystery
The French Powder Mystery
The Dutch Shoe Mystery
The Greek Coffin Mystery
The Egyptian Cross Mystery
The American Gun Mystery
The Siamese Twin Mystery
The Chinese Orange Mystery
The Spanish Cape Mystery

The Roman Theater wasn't really Roman, the French department store not really French and the Dutch shoe wasn't really Dutch, but the body of famous art dealer Georg Khalkis was definitely Greek. His (non-criminal) death and the funeral were just little interesting blips on the news radar, but it's what happened after the funeral that caught the attention of the police and Ellery and what started The Greek Coffin Mystery. For right after the funeral, it's discovered that Khalkis' will has disappeared from the house safe. A search through the house, adjoining courtyard and graveyard is succesful, from a certain point of view. The will is still gone, but instead, the police do find an extra dead body of a person who was definitely not going to meet his Maker on voluntary terms.

Have I already mentioned that I consider this the best Queen novel? If not, I've done it now and if I had, well, it can't be said enough! I have no idea how the Queen cousins looked at their own work in their time, but it is like the two suddenly realized that the tropes utilized in their previous novels, like the grand search and fixation on objects, worked so well of their deductions, the long chains of cause and effect, the practical use of that adage 'when you have eliminated the impossible, whatever remains, however improbable, must be the truth?'. Reading Queen is almost an exact science, but even someone weak in the exact sciences (like yours truly), can appreciate and admire the sheer ingenuity of the deductions Queen can produce just by the look of a set of tea cups.

Deductions are what drive this novel, which give The Greek Coffin Mystery a very different dynamic compared to the previous three novels. There we had a murder, long investigations and a climax. The middle parts were the most calm ones. Here however, the middle part is almost the most dynamic part of the story, and that is because Ellery's deductions are in the spotlight now, and even the murderer is aware of that. The structure of The Greek Coffin Mystery is quite well known, so I don't consider it a real spoiler if I mention that yes, there are false solutions planted by the real murderer, but this is something that only works because Queen was quite aware of the weaknesses of Ellery's method. He can deduce the world from one single item, but that doesn't mean he should. A crafty murderer can plant false clues to manupulate Ellery, as he will infer a complete (and totally false) world for you given the right stimuli. And that is what happens here. The murderer tries to trap Ellery with his false solutions: this is very different from the previous novels, where yes, murderers (naturally) did try to hide their guilt, but never did so by actually coming up with a complete false solution for the detective. Also, in The Greek Coffin Mystery, this battle for the truth between Ellery and the murderer is repeated several times, giving the novel a kind of adventure / interrelated short stories feeling, as it is like they have several skirmishes, continuously trying to adapt each other's strategies. In my mind, The Greek Coffin Mystery therefore feels quite close to Maurice LeBlanc's 813, even though they're actually very different novels.

These false solutions are of course a central problem to Queen's novels, in Japan usually called the Later Period Queen problems (even though it was first posed in Norizuki Rintarou's essay titled Early Period Queen Problems).  If you accept the probability of a false solution, that is, the possibility that the real murderer can plant false clues that lead to the wrong person, then you're dealing with an unsolvable problem. Suppose Solution 1 (featuring murderer 1) is false, because clue A was planted, by murderer 2 (thus, solution 2, substantiated by clue B). What guarantee can you have that clue B, and therefore solution 2, isn't a plant by murderer 3? And in turn a murderer 4? This is a meta problem, and the writer can 'forcefully' end this by just ending his novel, but 'in-universe', the detective can never be absolutely sure his final solution is actually the correct one. False solutions and manupulating murderers are a common sight in Queen novels, but it does pose fundamental problems for the genre and Ellery's method, especially as The Greek Coffin Mystery shows that it can be fairly easy to create a false solution.

It is of course both a strong and weak point of the story. I remember having seen several comments on how the story developments (=new deductions) seemed to have been driven by people who suddenly remembered new things, ergo the introduction of new elements to add in the equation, altering the outcome of the deductions. It shows at the same time how drastically deductions can change because of a new element, even if it requires exceptional reasoning power, but also how arbitrarily it can be: the only way to escape from a false solution is by having the writer intervene in one way or another and even that is not really convincing.

But if you don't worry about that, then you're in for a heck of a ride. The way Queen managed to work with all these false solutions and make them a relevant part of the final solution is amazing and a showcase of how logical reasoning puzzlers should be constructed. I had already noted that the actual spatial range of the stories seemed to become smaller with every novel, this time the story being mostly set around the Khalkis residence, but the imaginary spatial range, that is, the depth and breadth of the deductions, is probably the widest of all Queen novels.

Oh, and I love the play with chapter titles! The first two novels had them to a lesser extent (French had some references to nursery rhymes), while those of The Dutch Shoe Mystery were all nouns ending with -ion, but having chapter titles whose initial letters spell 'The Greek Coffin Mystery by Ellery Queen' is just awesome!

And I still consider this the best Queen. I usually recommend this novel to newcomers, but now that I've read the books in order, I am inclined to change that opinion. The Greek Coffin Mystery was the first novel of the nationality cycle I had read, but this time I read it as an evolution of the previous three novels and the novel as a whole made more sense in that context.

Tale of Two Shoes

“There are only two detectives for whom 1 have felt, in my own capacity as hunter-of-men, any deeply underlying sympathy... transcending  racial idiosyncrasies and overleaping barriers of space and time... These two, strangely enough, present the weird contrast of unreality, of fantasm and fact. One has achieved luminous fame between the boards of books; the other as kin to a veritable policeman... I refer, of course, to those imperishables—Mr. Sherlock Holmes of Baker Street, London, and Mr. Ellery Queen of West 87th Street, New York City"

"The Dutch Shoe Mystery"

  
Not really sure what to think when reviews of English-language novels have about as much hits as reviews on Japanese novels. Anyway, this is the second post in this EQ series, but about the third Queen novel. Because I already did The French Powder Mystery.

Reviews of Ellery Queen's 'nationality' novels:
The Roman Hat Mystery
The French Powder Mystery
The Dutch Shoe Mystery
The Greek Coffin Mystery
The Egyptian Cross Mystery
The American Gun Mystery
The Siamese Twin Mystery
The Chinese Orange Mystery
The Spanish Cape Mystery

The Dutch Shoe Mystery (Dutch title: Patiënt overleden Operatie geslaagd / Patient dead, operation succes) brings us to the Dutch Memorial Hospital, built thanks to the financial support of one Abigail Doorn (Mrs.), who is about to have an operation. Her protege, Dr. Janney, is to perform the risky operation, but the doctor discovers there is no reason to operate on Mrs. Doorn after she's been wheeled into the surgical amphitheater: the reason the patient does not move, is not because she is comatose (as she should have been), but more because she is already quite dead. Who strangled the poor woman during her standby time in the room next door? Janney is suspect number one, because several people state they saw him entering the room before the operation, but Ellery, who happened to be on the scene, is not sure. Especially not after the discovery of a pair of shoes.

The third novel in the series and in a sense a logical evolution of the previous two novels. For example, the setting. Like the theater of The Roman Hat Mystery and the department store of The French Powder Mystery, most of the action of The Dutch Shoe Mystery is placed in a relatively wide, yet unmistakenly closed environment. Here the book seems to be different from the previous two novels though: the actual discovery of the body is made in the amphitheater and adjoining rooms, an closed environment, inside the larger closed environment of the hospital. It brings a sense of a smaller scale to the mystery, which is also apparent if one compares the theater and the department store to the Dutch Memorial Hospital. In the narrative, it might be refered to as a fairly well running hospital, but we only see the main actors running around in the hospital and it almost feels claustrophobic, if one is to compare it to what happened in the Roman Theater, with the large scale body searches and all.

The idea of the murder being discovered just as they want to start the operation is very memorable. Death during an operation, like in Green for Danger or Team Batista no Eikou, is a risk that is inherent to a heavy surgical operation. The death might be an accident, or murder, but it is a bit easier to accept such a death. Here the reader, together with everybody else, is confronted with death right before the effort to save someone's life starts! The blow feels bigger somehow and leaves a stronger impression.

What I like about these early Queen novels is also how quickly people tend to die. As an impatient person, I want my victims to get murdered fast, and that is something the Queen novels do well. It only takes a couple pages before the reader is taken on an investigation rollercoaster, which is exceptionally strong in the first half of The Dutch Shoe Mystery. Most of this is set in the hospital, but events and revelations follow each other in a great tempo, making this a joy to read. The middle part / second half of the novel is weaker in comparison, with fewer events that actually drive the plot forwards.

Once again, an object forms the focal point of Ellery's deductions and this time it's the state of the pair of shoes the murderer had worn. This fixation allows Ellery to make one of the greater deductions in his career, as it is almost unbelievable the writer manages to deduce just from a pair of shoes! Logicwise, this is definitely one of the high-points in the series, though it is hampered by the fact that an important event late in the novel makes it very easy to deduce who the murderer is, weakening the importance of the shoe-deduction chain. Oh, and I've heard people complain about how it is practically impossible to deduce the motive for the murders, which is absolutely true, but I have never seen it as a problem in the Queen novels. By the time Ellery has done building his logical prison around the suspect, we know that it was physically (and often also knowledge-wise) only possible for one person to have commited the murder. A motive is not even needed at this point (you can see that I am neither a policeman nor a laywer). A motive with these kind of stories, which rely on highly logical elimination deductive methods, is just an extra, in my opinion.

The 'new' thing of The Dutch Shoe Mystery, compared to the previous two novels, is probably the detailed map of the Dutch Memorial Hospital and the focus on movement and time of the actors. The first part of the novel has long descriptions of Ellery's movements through the hospital, descriptions of where the rooms are located and exact times when certain events happened. The chart of the hospital is definitely a vital part of the novel and this strong visual aspect is something you don't even really see in later Queen novels (at least not at the same level). It does fit the closed environment setting of these novels and it adds to the whole neat and clean image of the hospital.

Definitely a fun Queen novel, but this third novel is admittedly not as strong in my opinion as the second (The French Powder Mystery) or the fourth in the series (The Greek Coffin Mystery). In fact, now I think about it, if I'd rank the first nine Queen novels, this would definitely rank in the lower half, but that is more because of the overall quality of those novels, than a critique on this novel.

In which the Queens go the theatre

"Ellery is merly indulging in his favorite game of ratiocination. He doesn't know where the papers are any more than you do. he's guessing.... in detective literature," he added with a sad smile, "they call it the 'art of deduction,'"

"The Roman Hat Mystery"

 
It's almost been two months and I'm still waiting for the boat to deliver the books I sent to myself from Japan, so to fill the time, I finally decided to reread Ellery Queen. Because it's been a while. I'm planning to do the first nine novels only, and seeing I already did The French Powder Mystery a year or two ago, I'll be skipping that one too, so eight to go. And yes, I know that there are two persons behind the EQ nome-de-plume and Barnaby Ross and all of that, but as I will be mostly writing about the novels based on their plot and structure, and not about the world outside that (writers and such), I'll be just talking about Queen, as 'one' writer for convenience's sake. And to make it clear from the start: I refer to the writer as Queen, and to the character as Ellery (which is also what I do for Norizuki Rintarou and Arisugawa Alice by the way).

Reviews of Ellery Queen's 'nationality' novels:
The Roman Hat Mystery
The French Powder Mystery
The Dutch Shoe Mystery
The Greek Coffin Mystery
The Egyptian Cross Mystery
The American Gun Mystery
The Siamese Twin Mystery
The Chinese Orange Mystery
The Spanish Cape Mystery

The Roman Hat Mystery is indeed about a hat, though there is nothing particular Roman to it. The titular hat belonged to a certain Monte Field, crooked laywer and his untimely demise is what forms the main mystery of this novel. His rather dead body was found in a seat of the Roman Theater, during a particularly popular play and two items that the police would have liked to have found near the body were sadly not present there. That is, Mr. Monte Field's top hat and of course his murderer (because that would make things a lot easier). Inspector Richard Queen of the New York police has little choice but to try to find hat and murderer somewhere in the theater. Which is rather full people who really want to go home, with the play cancelled and a dead body among their midst and all. But the inspector doesn't has to work alone! Besides a loyal and capable group of subordinates, he's also blessed with a son Ellery, who can be pretty darn smart when he isn't talking about first edition books and all.

The first Queen novel and has both elements the reader will find in following novels, as well as some 'strange' other artistic choices. The biggest surprise of The Roman Hat Mystery is perhaps the role of our master-detective Ellery Queen. Ellery Queen might be presented as the detective in this story, but this is actually more inspector Queen's story than his son's. The story mostly follows the inspector's efforts in locating the victim's murderer and his hat and the reader is introduced to a large group of policemen, the District Attorney and shown the ways the inspector interacts with everybody. His son, billed the protagonist, on the other hand stays largely in the background and in fact, does not even appear in person in the last section of the book, nor at the crucial moment of unmasking the murderer. Yes, it was Ellery who solves the case, but he has nothing to do with the practicals of bringing the case to an end. In fact, Ellery might as well have been a ghost or some figment of the inspector's imagination, assisting him at the crucial moment with brilliant deductions. In following novels, Ellery luckily gains more personality and already in the second Queen novel, The French Powder Mystery, we see a more active Ellery in the form of a detective, rather than an oracle figure misplaced in a police story.

But the problem of the missing top hat is something we'll see a lot in Queen novels. I can't remember where this was, but I once read a text that described Ellery Queen as having a fetish for objects; that is, a lot of (the deductions in) his stories are focused on objects, whether they are missing or present or in a certain state or condition, and these objects are almost even more central to the story than for example the victim himself. In The Roman Hat Mystery, the fact the victim's hat is missing is what sets the Queens on the right trail, but one can for example also think of the beginning part of The Greek Coffin Mystery, where drinkware becomes a central point, or the cards in The Siamese Twin Mystery.

And if we're dealing with specifically a missing object, like in this novel, you can bet on a Grand Search. The Queens, they love searching for objects. And the people in the world of the Queens, they love hiding things. In all kind of places. If it's not in here, then it's beneath that or behind this or on top of that. These searches have a tendency to be set in a large area, forcing the Queens (+ accompanying police) to work very thoroughly, making it all the more surprising when we discover where the desired object was all the time.

The Queens also love rather strange crime scenes. A murder inside a packed theater? What about a body on display in a department store?  One might call it objectification of the dead body, together with the crime scene, as the murder itself is not half as interesting as the picture of how the dead body is found. In general, the bodies aren't in places that are strange per se. It's just a small adjustment to the scene that makes you feel uneasy. A man neatly dressed in a theater? Normal, except for the fact he's dead and not wearing a hat. Somebody lying in a showcase bed of a department store? Normal, except for the fact she's dead (and was locked inside the wall). These are the 'normal' examples, but there are some stranger ones in the following novels.

The other major Queenian trope, the Challenge to the Reader is also present and this is something I still enjoy thoroughly. I am not very familiar with contemporary English(-language) detective novels, so I am not sure how often this is used, but I still come across challenges in Japanese mystery novels and approach these novels with a slightly different mindset than 'normal' detective novels. Sure, I try to solve detective novels myself anyway, but give a challenge, and I am at least sure the writer tried to make it fair for me too.

I am not too familiar with the activities of other mystery clubs in Japan, but at least Kyoto University Mystery Club has a long tradition of Guess the Criminal stories, which are short stories, with a challenge to the reader (whether explicitly written or not): members have to read the first part of the story, up until the challenge and try to solve the case themselves, after which they are handed out the solution. This might explain why the trope is still relatively popular in Japan, as writers who originate from clubs with such a tradition are probably more trained in this device, and maybe also more willing to use it.

But how is The Roman Hat Mystery as a novel? At one hand, we have the logical deductions based on the elimination method that make the Queen novels such a joy to read and elements like an exciting search for a top hat and such. On the other hand, most of the characters besides the inspector are a bit bland and the deductions and hints that ultimately lead to the identity of the murderer are not as refined as in later novels: yes, the elimination method of deduction does point to the murderer (that is, we know the murderer has characteristics X, Y and Z, and only person A has all three characteristics, ergo he is the murderer), but not all hints are not laid down as visible to the reader as they should have been, making it feel less satisfying. Compare with the direct sequel The French Powder Mystery, where the murderer may seem to come out of nowhere, but the logic and the underlying hints in the text are fundamentally much stronger (and thus more convincing to the reader).

I would definitely read The Roman Hat Mystery though. Despite some minor points, it's still a fine mystery novel and has enough of the elements that grow out to be typical Queen tropes. Maybe not the best Queen novel, and maybe a bit 'different' from the other early Queen novels because of its focus on the formal police investigation, but enough of a royal entry.

The Moving Finger

「では、本題に入る前に予備知識として、推理小説における首切り殺人の歴史についてー」

「それは省略だ」警視が意義を唱えた。「後でおまえが本を書く時に、適当に挿入しろ。俺はそんなものに興味はない。すぐ本題に入るんだ」

『誰彼』

"Well, before we move on to the main topic, let's review the history of decapitation murders in detective novels..."

"Let's skip that," the commisioner said. "Just insert one when you write a novel about this case, 'cause I'm not interested. Let's start"

"Twilight"

So there's a new detective drama running in Japan, Otenki Oneesan ("Weather Girl"). The series itself seems to be a scientific detective series in the spirit of Higashino Keigo's Galileo (of which the second season also started recently!), but I was initially drawn to the somewhat vague marketing copy "I've seen through your weather trick" What is a weather trick? My first thought: "And then you lured the victim into a grassy field full flowers and trees, knowing it would become dry and sunny in the afternoon, which would effectively kill the victim because of his hay fever!" (this would definitely work with me as a victim).

It's been just over two years since my review of Yokomizo Seishi's Kindaichi Kousuke no Shinbouken, an underwhelming collection of stories which were all expanded upon / rewritten to novelletes / novels later. At the end of the review I also mentioned I already had the sequel, Kindaichi Kousuke no Kikan ("The Return of Kindaichi Kousuke"), in my possession. So a very late review (and to be honest: I only reached out to the book because I have nothing else to read at the moment). The set-up is the same: all stories feature the famous private detective Kindaichi Kousuke, with his trademark messy hair and knack for never really preventing people from dying around him (something he shares with his grandson). Different from Yokomizo's more famous works however, almost all of these stories are set in the city, rather than in secluded communities (there are also no legends / curses / etc.). Also, all stories in this volume have been rewritten at one stage or another in Yokomizo's career, either using exactly the same title, or a slightly revised title.

A letter delivered at the wrong address is the cue for Kindaichi Kousuke to step in on a poison pen letter case in Doku no Ya ("The Poison Arrow"). The letters, signed by someone called the Golden Arrow, aren't just slander though; whether true or not (mostly not), the Golden Arrow wants money for his silence. One of the victims is Matoba Natsuko, who came back from the United States with her disabled daughter recently. But the investigation of Kindaichi couldn't prevent from Natsuko being murdered, being stabbed in her back, right through the tattoo of playing cards she had on her back. Is it related to the poison pen letter case? Of course, because this is a short story and we can't have too much subplots here. A rather hasty story, and its greatest weakness is that it a) 'borrows' a famous trick from a Christie novel, b) without hiding that properly, so anyone familiar with that particular Christie novel (and there is a big chance you'll have read it), will know what happened.

The main problem of Trumpdaijou no Kubi ("The Head on the Card Table") is deftly described in its title at. A cut off head. On a table. Oh, and the body is gone. The victim is a stripper called Akemi, who had been playing bridge the previous night and the guests all swear she still had her head on her body when they left her in her room. As a problem, it is interesting what Yokomizo tries here, as we all know what to expect when we find a body without a head, but we don't encounter heads without a body that often, but the short story format binds Yokomizo to a more compact, focused set-up of his tale (which doesn't work out for him well usually, in my opinion), the reader won't have that much trouble figuring out what happened, though I have to admit that this was an okay story, definitely among the better of this collection.

Kashi Boat 13 Gou ("Rental Boat 13") has the titular boat floating, with two dead bodies in it. For some reason, a woman has first been strangled, then stabbed in her heart, after which her head was cut off mostly from her neck. Next to her, a man has been stabbed in his heart, then strangled and his head cutt off slightly from her neck. It doesn't take long to identify the victims, but why did the murderer act in such a strange way? What starts out as a problem which seems fit for an excellent Queenian deduction chain, is solved rather easily because one of the victims overheard something which explains everything in an instant. And I don't mean that it was something vague that suddenly set off the thinking machine in Kindaichi's head, what was overheard explained the murders, practically as is. Which is a shame, because the premise is fun and while actually most of  the mystery inYokomizo's short stories can be explained by reexamining the human relations / the relations between characters, this has been one where the trope worked really well.

If Doku no Ya breathed Christie, then Shina Ougi no Onna ("The Woman with the Chinese Fan") can only be described as Carr. The titular 'woman with a Chinese fan' refers to a painting of a woman who famously poisoned her husband in the Meiji period. Fastforward many years ahead, where Minako, a relative of the infamous poisoner, wakes up from sleepwalking, only to find her mother-in-law and maid in a quite dead and murdered situation. Believing she has the same evil blood in her veins as her famous aunt and killed them during her sleep, she tries to commit suicide, but is luckily saved by the police. Kindaichi suspects there is more to it though, and while the solution works, it's very simple (but does require knowledge of a certain historical event).

By now it shouldn't be a surprise, but Tsubo no Naka no Onna ("The Woman in the Urn") indeed features a woman in an urn. When a collector of urns is murdered, his assistent witness the murderer, a woman, trying to escape by getting inside an urn. Noticing the assistent outside the window, the murderer decides to flee on foot, but what kind of murderer was she? This is definitely my favorite story in the collection, as it features a great hidden hint and the use of very commonly used trope in detective fiction, but one which I hadn't foreseen at all, so executed very well. It does ask for a bit of suspension of disbelief though.

More poison pen letters in Uzu no Naka no Onna ("The Woman In the Whirlpool") and once again it led to the murder of a woman. Because in Yokomizo Seishi's stories, women are always beautiful, but they also have a tendency to get murdered. The story feels like a mish-mash of all kind of tropes we have seen in the previous stories in this collection already, which makes it hard to judge. Heck, even names are reused in this story (for different people), making it a very confusing story to read, because memories get mixed. A whirlpool, indeed.

Tobira no Naka no Onna ("The Woman in the Door") is just... underwhelming. With cut-off heads, nearly cut-off heads, women in urns and women with tattoos, a story with a dead body discovered by a girl who happened to have reason to kill the victim and a note with a mysterious message is just not that impressive. Yokomizo's trick once again lies in his less-than-pretty human relations and resulting actions, but it's just too little, too late in this collection.

Meirosou no Kaijin ("The Monster of the Maze Mansion") is the most famous of this collection, as this short story was rewritten as a proper novel under the name Meirosou no Sangeki ("The Tragedy of the Maze Mansion"). Which was probably better, because Yokomizo comes with a great history for the titular mansion, which was built with countless of hidden passageways and trap doors, but practically nobody knows where they are anymore. A murder happens in the mansion, but the hidden passageways and such are... almost of no consequence to the actual mystery. Which is a missed opportunity, because this was the one story in the collection where the creepy atmosphere of Yokomizo really started to come alive, only for it to retreat almos immediately. It's a decent mystery, but the disappointment is larger than the satisfaction you'll derive from reading it.

Overall not as disappointing as Kindaichi Kousuke no Shinbouken, but still not a collection I would recommend to the reader. I am not a big fan of Yokomizo's short stories anyway, but if you really want to read them, the rewritten versions are probably better than these original versions. But this volume is really something you should read if you have nothing else to read: it may be /the original version/, but that doesn't always means better.

Original Japanese title(s):  横溝正史 『金田一耕助の帰還』　「毒の矢」「トランプ台上の首」「貸しボート１３号」「支那扇の女」「壺の中の女」「渦の中の女」「扉の中の女」「迷路荘の怪人」

『死者からの伝言をどうぞ』

"Slechts even flitste het door hem heen, dat het geen wijkmoord leek te worden: en dan nog wel in de wijk, waar hij zoveel jaren van zijn jeugd had doorgebracht en na zijn trouwen opnieuw was gaan wonen: Overschie. Dat de moord op de rijksweg was gepleegd, scheen die mogelijkheid al uit te sluiten. Want de weg liep wel dwars door Overschie, maar bleef er tegelijkertijd... buiten. Wat op de weg gebeurde hoorde bij het doorgaande verkeer en maakte van het bestaan in de wijk geen deel uit" 

"Puur geheim op rijksweg 13"

"For a second, it flashed through his mind that this probably wouldn't become a neighbourhood murder. And this was the neighbourhood he had spent many years of youth in and had come to live in after his marriage: Overschie. The fact the murder had been commited on the highway seemed to eliminate that possibility. The road did run through Overschie, but was also... outside it. What happened on the road, was part of the ongoing traffic and not part of the neighbourhood"

"Pure Secret on Highway 13"

 
Still waiting for Japanese books. Still waiting.

Oh, and a happy Reichenbach Falls day! 

We were presented with a classic whodunnit and a locked room murder problem in Cor Docter's first two mystery novels and the final entry in his topographical mystery series, Rein geheim op rijksweg 13 ("Pure Secret on Highway 13"), brings us a dying message, written in red paint and written on the inside of a van parked on the emergency lane of highway 13. The accompanying dead body (that's what makes it a dying message) was found by two thieves who wanted to steal parts from the van, but that plan kinda blew up, with a murder and all. But there are plenty of clues to follow for the police, and with events like a woman falling from a building, a suspicious old man popping up here and there and the escape of a high-profile convict from prison seemingly related to the dead guy in the van, commisioner Vissering has lots to do, and he isn't even sure whether he'll be free for Christmas in a few days!

Rein geheim op rijksweg 13 has similar the same problems to Koude vrouw in Kralingen, but it's a bit more balanced, making it the better of the two. Both novels are a bit disorienting halfway through their stories, because Docter keeps on moving the plot, feeding the reader (and the police) more events and revelations that might or might not be related to the main murder. Sure, an occasional red herring is welcome, but with these two novels the development of the plots felt a bit too arbitrary. Like I said in the Koude vrouw review, at times it feels like Docter is just padding out the plot to fill pages. It's entertaining padding, that I will admit, but if you think about it too much, you'll see that sometimes the way one part of the story connects to another is a bit uneven.

Overall though, Rein geheim op rijksweg 13 is a very entertaining story. The opening pages are captivating, being a narration of how the two thieves stumble upon the body. Already in this part Vissering comes up with some great logical deductions that just ooze Queen-spirit (and the book is about a dying message!). The conclusion is no less impressive, as one might have expected considering the previous two novels.

One of my favourite parts of the series on a whole are the way commisioner Vissering and his subordinate Grijphand work: every now and then one tells the other his theory, with the other acting as the Devil's Advocate. Deductions thus develop through discussion, not unlike the way it's done in the Gyakuten game series or the Revoir series. I personally enjoy this a lot, as ever-changing deductions in the realm of the imagination are at least as fun to read as actual developments in real investigations, in the real world. I felt this element at his best in this last part of the series.

Cor Docter's little series on Rotterdam has been fun though and it's a pity the books aren't available in any other language. But then again, that can be said of most of the books I discuss here... Oh, and yes, this review is a bit shorter than usual, but that's because I mentioned the most interesting points about the series on a whole and such in the earlier reviewy already (leaving next to nothing for this review!).

Original Dutch title(s): Cor Docter, Rein geheim op Rijksweg 13

『赤い部屋』

"Ik geloof niet aan een inspiratie, die zomaar komt. Niet veel mensen hebben Edison goed begrepen, toen hij zei, dat uitvinden 99 procent transpiratie en een procent inspiratie was. Hij bedoelde er mee te zeggen dat je dat ene onmisbare procentje alleen maar kon krijgen, als je voortdurend met een zaak bezig was en je er in verdiepte. Nooit kwam dat ene procentje eerst. Maar de mensen willen graag aan dat soort dingen geloven. Daardoor kreeg je zo'n verhaal als van Archimedes, die in het bad zat, eureuka riep, en ineens alles wist. Of van Newton, die een appel op z'n hoofd kreeg en meteen de wetten van de zwaartekracht noteerde"

"Koude Vrouw in Kralingen"

"I don't believe in inspiration coming from nowhere. A lot of people misunderstood Edison when he said that inventions come from 99 percent of transpiration and 1 percent of inspiration. What he meant, was that you could only get hold of that necessary one percent if you had been working on the case all the time and had studied it deeply. That one percent won't just fall into your lap. But people just want to believe that. That's why you have that story of Archimedes in bath, shouting out Eureka and suddenly knowing everything. Or that one of Newton, who got an apple on his head and jotted down the laws of gravity instantly"

"A Cold Woman in Kralingen".

I don't mind reading Dutch novels (I really don't!), but I really hope my stacks of Japanese novels will arrive soon here. It's been over a month now, so they should arrive one of these weeks. Then it's back to reviews of mostly Japanese fiction and a translation of a short story once in a while!

Cor Docter's Koude vrouw in Kralingen ("A Cold Woman in Kralingen") is the sequel to Droeve Poedel in Delfshaven and is once again a 'topographical mystery', a detective novel set in a particular region, where the local characteristics, history and culture are to be an integral part of the plot. This time Docter brings the reader to Kralingen and we're not the only ones interested in this part of Rotterdam. The society Precious Kralingen is a club where members gather to talk about the past of Kralingen. At least, that is what they claim to do, because all the lectures they give are nothing but a smokescreen for their real objective, which is... precisely what? The reader doesn't know and the members of Precious Kralingen sure aren't going to tell him. So when a locked room murder happens after one of Precious Kralingen's fake lectures, the members are afraid the police will investigate the exact activities of the club. They decide to blame the victim's son for the murder, but the son makes a run for it and falls out of the window. Convinced they can now present a easy case, complete with victim and murderer, they inform the police, but commisioner Vissering isn't fooled that easy. Especially as this case appears to be connected to another case he has been investigating.

The first half of this novel is great. The members of Precious Kralingen fabricating their solution and trying to force it on the police is similar to the events of Natsuki Shizuko's W no Higeki, or an episode of Columbo. Indeed, the way Vissering in turns slowly manages to find out what really happened at the meeting, by pouncing on the weak points of the members' stories and the psychological weak links of the group, is exactly what our favourite lieutenant liked to do. Here, Koude vrouw in Kralingen is very exciting and the pages fly by as you see the fake solution slowly crumbling.

But the latter half of the novel is weird. And I don't mean the pleasant kind of weird. For example, one part of the puzzle is solved mainly because a guilty party presented himself/herself to the police for no real reason. Well, the book was probably nearing its page limit and Docter had to wrap that subplot up some way, so he summoned a Deux Ex Machina to solve that part of his novel. It really comes out of nowhere and sorta cheats the reader. I am not a big fan of the decalogue and the twenty rules, but heck, when I read an orthodox detective novel, I do want a resolution to the puzzle that is logical and rational. It has to be hinted at in a fair way. You can't have write 150 pages about a problem and basically have someone appear just before the ending saying 'it was me' and have it over with!

The same holds for the locked room mystery, but to a lesser extent. The problem of the locked room isn't even relevant to most part of the story, because the members of Precious Kralingen tried to hide that fact for the police. The solution to the problem is... not implemented well in this novel. I have to admit though, the solution isn't the most elegant one I've seen, and is one of those solutions Edogawa Rampo would have used as one of many, many tricks for his more pulpish novels which only work if you don't think too long about it, but it works and isn't unfair. But, on the other hand, while the solution is thus fair in the sense that it can be done, I am not sure about how fair the presentation was. Here we have a locked room problem which is only discussed briefly at the beginning and the ending of the story and the inspirational 'hint' that led Vissering to the solution works in hindsight, but I really don't think that that is enough to be really fair to the reader. This solution, in my mind, needs one extra hint, one extra stage in the deduction to be fair to the reader. Now we have a solution which is realistic and somewhat original, but presented in a way which won't leave the reader satisfied.

I didn't think Koude Vrouw in Kralingen was as enjoyable as Droeve Poedel in Delfshaven overall, but the great beginning  does make it a read worthwhile for those who can read Dutch. And a review of the final book in the series will be up soon. I already finished reading it, but as always, there's quite a lag between reading and writing.

Original Dutch title(s): Cor Docter, "Koude Vrouw in Kralingen"