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Death and the Conjuror: A Locked-Room Mystery

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Whilst there is a high body count, there’s no gratuitous gore or unnecessary violence so that the reader can relax into the why and how of the crimes rather than having the what of them forced upon them. Tom Mead knows exactly how to engage as he explores means, motive and considerable morality here. The denouement left me wondering just what I might have done with the information he uncovers so that the story resonated long after I’d finished reading it, adding to the enjoyment.

In some ways it’s more challenging because you have fewer words to play with, so it’s not as easy to plant clues and guide the reader up the garden path. But the process itself is actually pretty similar—in my case, I might begin a short story with a single puzzle, image, idea or character, whereas I will begin a novel with a few disparate elements that I gradually weave together. What can we find you doing when you aren’t writing and reading mysteries? What a muddled mish-mash this book is. I’m very surprised a publisher actually considered adding it to their list. From the outset the premise seems very odd. While one has seen detectives of every stamp, it is stretching credulity rather far to believe that a detective would consult an ex-magician on his cases. The rest of the story seems peppered with nonsense, all of which makes for a very unsatisfying read. While there is not much that can be said in its favour, there is much to criticise.

With time against him, and a host of hangers-on all having something to hide, can Spector uncover the guilty party, or will he and Inspector Flint of Scotland Yard conclude that Ibbs is the culprit after all? Scotland Yard Inspector George Flint is the official investigator in these books and while it can certainly be said that Joseph Spector out-investigates him, he isn’t your stereotypical blundering yet arrogant policeman, far from it. He’s well aware of his limitations when it comes to these impossible crimes and what’s more, he is really invested in solving the cases which means he not only embraces but also seeks Spector’s assistance. He makes for a refreshing move away from a somewhat tired stereotype in mystery fiction. She’s also my muse, and a budding author herself—by which I mean she tends to wander across the keyboard when I’m in the middle of typing a sentenfdg;jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj Tom Mead the characters' relationships also make no sense. Ex: the detective somehow lets a magician more or less steer the entire case. Ex: the detective and magician talk openly, in public, and even in front of witnesses/suspects, about all the details of the case, including deeply personal information they've uncovered. This somehow never has any bad repercussions. It’s going to take all the ingenuity of Joseph Spector, also fortunately attending Paolini’s performance, to sort out how these events are connected, who is responsible and to exonerate young Edmund.

At times it can be a challenge to figure out who is really taking the lead on this case, as Flint and Spector pursue various lines of inquiry. However, while Spector provides occasional interesting disquisitions about the creation of illusions, his potential doesn’t seem to be fully exploited in the novel. Stories about illusionists and real-life magicians usually include some spectacular demonstrations. In the end, inexorable logic wins out. If Golden Age mysteries are your wheelhouse, don't miss this unique series. It's the genuine article. If I didn't know better I'd promise this was written in the era. You would definitely need a sharper mind than mine if you hope to solve this mystery before the main characters do, but that didn’t stop me avidly devouring the book and wanting more of Joseph Spector and his impossible investigations.

I've previously Death and the Conjuror by Tom Mead, and quite enjoyed the read, There's something really nice about reading a book by someone who takes mysteries so so seriously. And what I can say is - if you enjoyed that story, you will enjoy this one too. That is to say, if the most important element of a mystery is the puzzle - and particularly the physical clues, the timeline, all the paraphernalia associated with putting together the solution - you will love this book. The characters are well depicted so that they instantly become people the reader is invested in, enhancing the total enjoyment in reading The Murder Wheel. I loved the way dialogue helped uncover who they are as people, and not having read the first Joseph Spector book, Death and the Conjurer, didn’t detract at all, but has made me determined to catch up with it because I enjoyed The Murder Wheel so much. I also fully appreciated the scope for reencountering some of the characters in future stories even though this narrative is brilliantly and satisfactorily concluded.

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