John Dickson Carr

“Mr. Carr can lead us away from the small, artificial world of the ordinary detective plot into the menace of outer darkness. He can create atmosphere with an adjective, and make a picture from a wet iron railing, a dusty table, a gas-lamp blurred by the fog. He can alarm with an illusion or delight with a rollicking absurdity. In short he can write. Every sentence gives a thrill of positive pleasure.”—Dorothy L. Sayers


And So to Murder Death Rides the Tube…
  The speaking-tube whistled. Monica flew at it. “Who are you? What do you want?”
  She bent her cheek to the mouth of the tube to listen for an answer. Something was happening inside the tube. She jumped back. Something which looked like water, but was not water, spurted in a jet from the mouth of the tube. It splashed across the linoleum.
  There was a hissing, sizzling noise as half a pint of vitriol began to eat into the surface of the floor. The footsteps in the room above began to run...

  Monica Stanton has written a saucy best-seller that has landed her her dream job, scriptwriting for a movie studio. Things turn sour quickly as she's saddled with a mentor she despises After someone makes a gruesome attempt on her life, however, her feelings begin to change about him as they are forced together during the investigation. Theories of Nazi “heiling enthusiasts” and espionage soon take form, leading to the entrance of Sir Henry Merrivale, who now works for Britain's Military Intelligence division. Only Sir Henry can wade through the “fat-heads” and schemers to get to the bottom of this amusing and clever mystery.


The Judas Window One of the five best locked room mysteries, as selected by 14 established mystery authors and critics (All But Impossible!, 1981. ed. E. Hoch).

The Case: Avory Hume is found dead with an arrow through his heart—in a study with bolted steel shutters and a heavy door locked from the inside. In the same room James Caplon Answell lies unconscious, his clothes disordered as though from a struggle.
  The Attorney for the Defense: That gruff and grumbling old sleuth, Sir Henry Merrivale, who proves himself superb in court—even though his gown does tear with a rending noise as he rises majestically to open the case.
  The Action: Before H.M. can begin his defense, Answell, his client, rises and cries out that he is guilty. Sir Henry doesn't believe it. But proof, circumstantial evidence, and the man's own confession point to his guilt. So the great, explosive detective gets down to serious sleuthing and at last startles the crowd in the Old Bailey with a reconstruction of the crime along logical, convincing lines.


Fatal Descent as Cecil Street, with John Dickson Carr
Carr and Street “are such expert mystery-mongers that their collaboration could scarcely fail to produce something extra special in the bafflement line. Fatal Descent is all of that.”—The New York Times
  A seemingly impossible murder in a private elevator draws two sleuths to the case. Inspector Hornbeam and Dr. Horatio Glass are at odds from the beginning, each dismissive of the other’s theories, thus creating an atmosphere as much of competition as cooperation.


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