Tuesday, March 20, 2018

Freeman Wills Crofts' The Hog’s Back Mystery

Freeman Wills Crofts is a detective fiction writer people either love or hate. Crofts, at least in the early part of his career, was uncompromising in his devotion to the puzzle plot. His fans find his books enthralling and deeply satisfying while his critics find them dull and uninteresting. If you’re looking for complex characterisation or sparkling wit you’d best look elsewhere. If you’re looking for superb exercises in intricate plotting then you’ve struck gold with Crofts. The Hog’s Back Mystery appeared in 1933 and it’s typical of the Crofts approach to mystery writing.

Julia Earle lives in a isolated house in Surrey with her husband, a doctor now mostly retired from practice. Julia, her sister Marjorie and Ursula Stone had been great friends at school (quite some time ago as the three women are now in early middle age) and Marjorie and Ursula have arrived for what should be a very pleasant visit. It immediately becomes apparent to Marjorie and Ursula that Julia’s marriage is on somewhat shaky ground.

Then Dr Earle suddenly disappears. Very suddenly indeed, and in slightly puzzling circumstances. Puzzling enough to persuade the Surrey police to ask Scotland Yard for help. The help arrives in the form of Inspector Joseph French.

When a man vanishes and there’s no actual evidence of foul play it generally means he wanted to vanish. It also means, more often than not, that a woman is involved (a woman who is not his wife). To Inspector French it seems clear that this is just such a case. This seems to be confirmed when it is revealed that a woman vanished at almost precisely the same time as the doctor, a woman who appears very likely to have been the other Woman in the case. Nonetheless the circumstances were still rather puzzling and both the local superintendent and French agree that the matter needs to be looked into.

French conducts his investigation with his usual thoroughness and he is perfectly satisfied that Dr Earle and Nurse Nankivel ran off together. At least he is perfectly satisfied until there is another disappearance at which point it becomes obvious that French is going to have to start all over again from square one.

What makes the case exasperating is that it is still not clear that murder has been committed.There may have been a murder. It may have been a double murder. It may even have been a triple murder. On the other hand there might have been no murder at all.

There are plenty of clues but there is as yet absolutely no hard evidence whatsoever.

This is the sort of case that illustrates French’s methods particularly well. When you spend an inordinate amount of time following up an extremely promising lead only to find that it leads nowhere and you were on entirely the wrong track there is a temptation to give in to despair. French simply starts all over again from the beginning. It is frustrating but that’s what being a detective is all about. You don’t solve crimes with brilliant leaps of intuition. You solve crimes through doggedness and thoroughness. When you run out of promising leads you start following up the unpromising leads.

French believes very strongly that there is no such thing as a murder that cannot be solved. If there’s a murder there must be a murderer and therefore there must be a solution. You just keep searching for the evidence and you just keep looking for a way to bring the various pieces of evidence together in such a way that all loose ends are dealt with and you must eventually find the solution.

It’s not that French lacks imagination. He has a powerful imagination but it is rigidly disciplined. No matter how attractive a theory of the crime might be if it doesn’t hold together it has to be discarded.

In a Crofts detective novel you expect to find a nice juicy unbreakable alibi. The Hog’s Back Mystery has a whole series of unbreakable alibis. Every suspect (and there are quite a few of them) seems to have an alibi for each of the murders (assuming that they are murders and not voluntary disappearances) and all the alibis seem to be distressingly watertight. To solve the case Inspector French will have to break multiple unbreakable alibis.

This is not a perfect Crofts novel. The solution is fiendishly complex but there’s one absolutely crucial point that relies on a plot device that is always unsatisfactory and unconvincing and there’s another crucial element that makes part of the solution a little too obvious. It also makes use of a favourite Crofts device that he used much too often.

The Hog’s Back Mystery is a good, but not a great, Inspector French mystery. This one has been included in the British Library’s recent paperback reissue series but it’s an odd choice. If you want books that show Crofts at the top of his form check out The Sea Mystery, Inspector French and the Starvel Tragedy, The Loss of the Jane Vosper or Sir John Magill’s Last Journey instead.

Wednesday, March 14, 2018

Think Fast, Mr Moto

Think Fast, Mr Moto was the third of the Mr Moto spy thrillers written by American John P. Marquand (1893-1960). It appeared in 1937.

The resemblances between the Mr Moto novels and the Mr Moto movies are rather tenuous (although it must be said that both the novels and the moves are terrific in the own ways). In the movies Mr Moto is a policeman, working for Interpol (which existed in the 1930s although it was not yet known by its familiar modern name). He chases criminals and spies.

In the novels Moto is an agent (and a senior one) of the Japanese intelligence service. He is unequivocally a spy. But that doesn’t mean he’s the bad guy. Not at all. At the time Marquand wrote the early Moto books the United States and Japan were at peace. Moto’s attempts to advance the interests of the Japanese Empire are not portrayed as being morally any different from the attempts of other characters to advance their own national interests (whether they be American, Chinese, British, or what have you). Moto can be ruthless but he’s a secret agent, not a Boy Scout. Like any good spy he practises deception when it is professionally necessary to do so but on a personal level he is honest, honourable and even kindly. There is no trace of cruelty in Mr Moto. Necessary ruthlessness yes, but never cruelty.

Mr Moto is not the actual protagonist in most of the novels. He does however still manage to be the dominant character. He’s the one who sets things in motion, and he’s the one who continues to pull the strings. And of course he’s  by far the most interesting character in the books.

In this case the protagonist is Wilson Hitchings, a pleasant young American. He is in Shanghai where he is being groomed to take his place in the family business. The family business is Hitchings Brothers, a venerable, highly respected, very wealthy trading and banking firm with interests throughout the Far East. Wilson’s Uncle Will currently holds the reins of power. Uncle Will has received some disturbing news from the company’s Honolulu office. A distant relative, a young woman, is running a very successful gambling club there. That would be no problem except that the club is named the Hitchings Plantation. Hitching Brothers most certainly does not want its name to be associated with a gambling club but the difficulty is that the young woman concerned is most definitely a Hitchings (her name in fact is Eva Hitchings) and sees no reason to change the name. Wilson is despatched to Honolulu to buy her off, in as subtle a manner as possible.

In Honolulu Wilson Hitchings is surprised to run into Mr Moto, a Japanese gentleman he had met briefly in Shanghai (his uncle had told him a rather unlikely story that this inoffensive little man was actually a Japanese government agent). Wilson also discovers that things are not quite right in Honolulu. The story he had been told about Eva Hitchings and her gambling club doesn’t quite ring true. Something odd is going on. His feeling of disquiet is confirmed when a gunman opens fire at him. Or was the gunman aiming at Eva Hitchings? Or possibly Mr Moto? And why on earth would anyone want to kill any of them? For that matter, why is Eva’s club apparently run by gangsters and why is the roulette wheel crooked? It’s also puzzling that a Japanese government agent should just happen to be on the scene, and apparently taking a keen interest in the Hitchings Plantation.

Wilson Hitchings is an interesting protagonist. He has something in common with Eric Ambler’s heroes - ordinary men who are reluctantly drawn into the world of espionage. The main difference is that Wilson, once he decides that the reputation of Hitchings Brothers is at stake, isn’t entirely reluctant. He’s also rather competent. He is an intelligent and resourceful young man. His main disadvantage is that he has brought up in a world sheltered from sordid realities like crime and espionage and faced with such things he is an innocent. He is also inclined, as Mr Moto points out, to assume that a beautiful woman must also be a good woman. Mr Moto has no such illusions about the female of the species.

Marquand mercifully does not succumb to the temptation to deliver political lectures. Mr Moto is doing his job and serving his country and given that Japan and the United States were at peace at the time there is no reason why a young American should not co-operate with him. Moto wants to serve Japan’s interests. Hitchings wants to protect the good name of his family and of the family business.

This is a very unconventional spy thriller. It has character development! In the course of this adventure Wilson Hitchings learns a good deal about life and about himself, and about the moral complexities of duty and honour and loyalty in an imperfect world. He grows up.

There is some action although the emphasis is on suspense and atmosphere as both Wilson Hitchings and Mr Moto, in pursuance of quite different agendas, slowly unravel a complex conspiracy. Marquand certainly has to be considered to be at the more literary end of the spy fiction genre.

Think Fast, Mr Moto is unusual but fascinating. Highly recommended. The two earlier books in the series, Your Turn, Mr Moto and Thank You, Mr Moto are also excellent.

Wednesday, March 7, 2018

Ellery Queen's The American Gun Mystery

The American Gun Mystery appeared in 1933 and was the sixth of the Ellery Queen mysteries. And it’s a rather controversial one among fans of golden age detective fiction.

This is a story about cowboys and cowgirls and six-shooters and horses and roping steers and all that sort of stuff, but it’s set in New York City. Wild Bill Grant’s rodeo and wild west show has come to town. The venue is the Colosseum, a gigantic sports arena operated by promotor Tony Mars. As a special extra added attraction the show will feature former cowboy movie star Buck Horne doing an exhibition of trick riding and sharpshooting.

On the opening night Inspector Richard Queen of the NYPD and his son Ellery just happen to be in the audience. The show takes an unexpected turn. Murder was not part of the program but murder does take place, in full view of 20,000 witnesses. And in spite of all those witnesses, and in spite of Inspector Queen’s decision to seal off the Colosseum so that not a single soul is able to leave until the mystery is cleared up, the mystery is not cleared up. The identity of the killer remains unknown, the details of the murder remain obscure and most exasperatingly the murder weapon cannot be found.

The victim was shot. Lots and lots of guns are found. But not one of these guns is the murder weapon. The various participants in the show were all carrying guns and during the course of the show they all fired their guns but since this is a Wild West Show their guns are all large-calibre revolvers. The fatal shot came from a .25 automatic.

This is not quite an impossible crime story but it does have tendencies in that direction.

The controversial element I alluded to earlier is the puzzle of the missing gun. When Ellery finally reveals the solution to that part of the puzzle many readers find themselves disappointed or even enraged. The objections to the solution are that it’s silly, it’s implausible or that it’s a cheat. It is certainly silly. It does stretch plausibility to the limit. As to its being a cheat, that’s a matter of opinion. There is a very definite clue that points to the solution but the solution itself is so outrageous that very few readers are going to grasp the significance of the clue. I’m personally inclined to feel that the solution to the missing gun puzzle is not very satisfying and is even just a tad irritating.

It must however be pointed out that the missing gun puzzle is only one minor part of the story. In fact it’s not important at all as far as the solution of the murder mystery is concerned. The finding of the gun only matters insofar as it will be difficult to get a conviction in a murder case without a murder weapon.

Another possible weakness is the motive which is not revealed until the final page, although admittedly there are clues that make the motive (mostly) plausible.

Then there’s Ellery himself. Many readers seem to dislike him intensely. He does have certain affectations, he does love showing off his erudition, he can be high-handed and he does have the habit of not letting people know how much of the puzzle he has already figured out. He’s like a younger and more callow version of Philo Vance. On the other hand he is a young man and it’s hard to dislike a young man for having the faults of youth. I like him but your mileage may vary.

So this book does have its flaws. It also has considerable strengths. Circuses and theatres provide wonderful settings for murder mysteries and a Wild West show works every bit as well. These are strange self-contained worlds filled with colourful eccentrics who have their own distinctive codes of behaviour and even honour. In this case the authors have enormous fun with the whole Wild West thing and they throw in elements of other equally bizarre sub-cultures. Among the assorted possible suspects are gambling joint owner Julian Hunter, prize-fighter Tommy Black and movie star Mara Gay while both Buck Horne and his daughter Kit are or were stars of Hollywood cowboy movies. There’s also a glimpse into the fascinating world of newsreels (which provides a valuable clue). And the fact that the Wild West world has been transported to the middle of New York City adds to the fun.

The plotting is typical early Queen, extremely complex but with plentiful clues and apart from the disappearing gun it holds together well enough. This is a flawed Ellery Queen but while the flaws in The Spanish Cape Mystery proved fatal The American Gun Mystery is mostly successful if you overlook that pesky and annoying little .25 automatic. Generally enjoyable, although not as good as The French Powder MysteryThe Siamese Twin Mystery or The Greek Coffin Mystery. Recommended.

Wednesday, February 28, 2018

John Rhode's Death at Breakfast

Death at Breakfast is 1936 Dr Priestley mystery written by Cecil John Street under his John Rhode pseudonym.

Victor Harleston is a clerk working for an accounting firm. He lives with his half-sister Janet who keeps house for him. On one particular fateful day she brings him his morning up of tea as usual. Half an hour later he sits down to breakfast but seems somewhat unwell. He gets up from the table, stumbles, then collapses. Janet hurries to the nearby surgery of Dr Oldland. By the time the doctor arrives it is clear with Victor is beyond human aid. He dies shortly afterwards. It is also clear to Dr Oldland that Victor has died due to the effects of poison.

Victor was not the most pleasant of men. In fact he was exceedingly unpleasant and remarkably mean about money. Janet is obviously not overly distressed by his death. Janet was the only other person in the house and it soon transpires that she had a very strong motive for murder. To Superintendent Hanslet it seems like a very clear-cut case indeed.

The postmortem however creates difficulties. It’s not consistent with the evidence found at the crime scene.

It’s also odd that Hanslet’s old friend Dr Priestley seems to be interested in the case - usually Hanslet has a great deal of trouble persuading Priestley to become involved.

In the course of their investigation Superintendent Hanslet and Inspector Waghorn of the Yard uncover evidence of a second murder. There is obviously absolutely no connection between the two crimes. Well, there is one odd link but Hanslet and Waghorn aren’t too concerned. It’s clearly just a coincidence. Dr Priestley however takes a very dim view of coincidences.

As usual Dr Priestley does not find it necessary to leave his comfortable home in Westbourne Terrace in order to visit crime scenes and crawl about on hands and knees looking for cigar ash. He sits in his armchair and gives the case his full intellectual attention. He offers suggestions, which are invariably unexpected but invariably useful. His main contributions however are his penetrating criticisms of the theories that Hanslet and Waghorn construct in order to explain the link between the two crimes. The problem is that these theories do not explain the link at alland and rely on motives which are entirely fanciful, although Hanslet is not always pleased to have these things pointed out to him.

Superintendent Hanslet does not exactly cover himself with glory in this case. His theorising is enthusiastic and imaginative but based on little more than guesswork and wishful thinking. Priestley is as always dispassionate and coolly logical and prefers to wait for actual evidence to accumulate before committing himself to an attempted solution.

On the other hand it has to be admitted that both Hanslet and Waghorn are dogged and thorough and once pointed in the right direction they can be relied upon to find any evidence that is capable of being found.

Rhode is sometimes regarded as a writer more concerned about the how than the who when it comes to mysteries. For those who enjoy that approach this book features an extremely clever and original murder method. But those more interested in whodunits should not be disappointed.

Those with a passion for the history of forensic science will be interested in the material about blood and bloodstains, subjects that were only just beginning to be understood in 1936.

This is golden age detective fiction at its purest. No romance sub-plots, no time wasted on characterisation, just an intricate plot that works like clockwork and a remorselessly logical detective (although despite his devotion to logic I personally find Priestley to be quite entertaining as a character). Death at Breakfast achieves exactly what it sets out to achieve. Highly recommended.

Thursday, February 22, 2018

Pellucidar by Edgar Rice Burroughs

Edgar Rice Burroughs created a number of extraordinarily well thought out imaginary worlds, of which Pellucidar was one of the most interesting. The Pellucidar cycle began with At the Earth’s Core in 1914. The first of the sequels, Pellucidar, followed in 1915. It was published as a four-part serial in All-Story Weekly. It appeared in book form in 1923.

The adventures of David Innes beneath the surface of the Earth seemed to have come to an end at the conclusion of At the Earth’s Core but Innes still has a lot of unfinished business in Pellucidar. Most of all he has to find Dian the Beautiful again.

Pellucidar is not just a world beneath the Earth. It’s an inside out world. The surface of Pellucidar is the inner surface of the hollow Earth. It has its own sun, right at the centre of the Earth. There is of course no horizon since this world’s surface curves upwards.

And, curiously enough, there is no time in Pellucidar. Which is to say that while time obviously passes there as it does elsewhere there is no means of measuring the passage of time. There is no night, just endless eternal day.

Pellucidar is a Stone Age world. There are several intelligent species. The most advanced are the Mahar, winged reptiles who communicate entirely by telepathy, and even they are fairly primitive technologically. The humans of Pellucidar are firmly mired in the Stone Age. There are also several species of both ape-like men and man-like apes.

In At the Earth’s Core David Innes had managed to unite a number of human tribes to establish the Empire of Pellucidar, with himself as emperor. On his return he finds that his empire has collapsed. And his empress, Dian the Beautiful, has disappeared. He does manage to find his old friend Abner Perry and with his help he intends to regain his empress and rebuild his empire.

This book is certainly not lacking in action. There are the narrow escapes from certain death that you expect in any adventure tale but there are also full-scale sea battles. Innes encounters some old enemies and acquires some surprising new allies.

Innes is a pretty standard adventure hero. He’s brave and resourceful and determined and extremely noble. Abner Perry is more interesting. He’s basically a coward but he’s still an extremely useful sidekick and in his own way he’s stubborn and determined.

The various intelligent species of Pellucidar are all quite distinctive with the Mahar being particularly interesting. They’re an odd mixture of cruelty and honour.

This is pure pulp fiction in style but it’s definitely exciting.

Burroughs had a particular gift for world-building. And over the course of his career he created a whole series of fascinatingly different imaginary worlds.

Pellucidar is in some ways very much like prehistoric version of Earth, complete with species extinct on the surface of the Earth for millions of years. In other ways it’s a seriously strange and alien world and Burroughs makes good use of some of its subtly strange qualities. In a world in which there are no stars and the sun is always directly overhead finding your way about can be challenging. If you sail out of sight of land you have no means of navigation whatsoever. You are simply lost, as happens to our hero at one point. The impossibility of measuring time also plays its part in the plot.

Burroughs was one of the masters of pulp adventure fiction and Pellucidar is fine entertainment. Highly recommended.

Saturday, February 17, 2018

Francis Duncan's Behold a Fair Woman

William Underhill (1918-1988) was an Englishman who wrote quite a bit of detective fiction, including the five Mordecai Tremaine mysteries published between 1947 and 1954 under the pseudonym Francis Duncan. These five books have been reissued in handsome paperback editions by Vintage Books. The last of them was Behold a Fair Woman.

Behold a Fair Woman takes place in the Channel Islands. Amateur detective Mordecai Tremaine is staying with some friends on one of the islands and he’s hoping that his restful holiday is not going to be interrupted by any murders (like most amateur detectives he finds that murder has a way of following him around). Initially it all seems rather idyllic. He meets some interesting acquaintances. For quite a while nothing much happens, except that there are a few small things that make Mordecai Tremaine slightly uneasy. Odd quirks of behaviour on the part of a number of people, and the relationships between various people also seem slightly wrong.

Finally murder is committed. The murderer could have been one of the half a dozen people staying at the Rohane Hotel, or one of several others associated with those people.

The Chief Officer of the island (more or less equivalent to a Chief Constable) is happy to have the assistance of the famous Mordecai Tremaine. There’s an obvious suspect, but maybe just a bit too obvious. There are plenty of other suspects and it’s fairly clear that none of them are being particularly truthful. All of them seem frightened, or anxious. It builds to a violent climax with unexpected results.

There’s plenty here to like. The setting is good although I couldn’t help thinking that the author didn’t really take full advantage of it. Mordecai Tremaine is a likeable detective. He’s a man of somewhat advanced years and apart from criminology he has another unusual hobby - he is passionately fond of romance stories. He’s a nice old fellow who likes nothing better than to see young people find true love.

Perhaps not surprisingly given Tremaine’s interest in human relationships, it’s the relationships between the characters that are the key to the mystery and those relationships are complex and are handled reasonably well.

There are however some weaknesses to this novel. Some of the clues are too obvious. They don’t necessarily reveal too much about the identity of the murderer but they do reveal too much too soon about the background to the murder. More serious is the fact that the detective overlooks some blindingly obvious clues. Apart from being unconvincing this also shook my faith in Mordecai Tremaine a little. I also got the feeling that this wasn’t a matter of deliberately making the detective prone to human weakness but simply a structural fault in the plot. A more skilled writer might have avoided such plotting weaknesses.

There’s also the fact that the crucial discovery in the case is made by accident but it feels contrived. It relies on a character just happening to do something unexpected because the plot requires him to do so.

Mordecai Tremaine doesn’t really do all that much in the way of detecting. Mostly he just stumbles upon things. There’s way too much reliance on overheard conversations, with Tremaine just happening to be in the right spot at the right time so he can overhear things without being seen.

If you’re drawn to golden age detective fiction because you love impossible crimes, locked-room mysteries or unbreakable alibis you might be a bit disappointed by this one. The plot is quite good but what it lacks is the remorseless unravelling of the puzzle by an astute detective with a genius for spotting the significance of vital clues. Tremaine is a rather passive detective who goes for lots of walks whilst waiting for the murderer to make a mistake - he’s not a detective who makes things happen.

By the standards of 1954 this is a fairly old-fashioned book (which to me is a good thing). It adheres to the conventions of the golden age murder mystery. It just doesn’t quite demonstrate the sheer joy in the solving of intricate puzzles that you get in the works of the great masters of the golden age. The puzzle is intricate enough but it’s largely allowed to just work itself out. Mordecai Tremaine’s contribution is mostly limited to explaining the puzzle at the end rather than actively solving it.

On the whole I’m afraid I was somewhat underwhelmed by this book.

Sunday, February 11, 2018

Gavin Lyall's Midnight Plus One

Midnight Plus One was the third of the successful thrillers written by Englishman Gavin Lyall (1932-2003). It was published in 1965.

Lyall’s first two thrillers had aviation backgrounds. Midnight Plus One stays firmly on the ground but there’s no shortage of action and excitement.

Lewis Cane (the narrator) had been a renowned secret agent for the British in the Second World War, working behind enemy lines in Occupied France. After that he was a spy with the British Secret Intelligence Service. Now he describes himself as a business agent. He solves ticklish business problems. His solutions are never illegal but they do require a certain ethical flexibility. He likes to think of himself as having moral standards. He doesn’t work for criminals and he’s not a hired killer but if someone shoots at him he’ll certainly shoot back.

An old acquaintance, a French lawyer named Merlin, has offered him a lucrative job. All he has to do is to drive a businessman named Maganhard from Brittany to Liechtenstein. It sounds simple but there are complications. It’s quite possible that business rivals may try to stop Maganhard from reaching Liechtenstein. They may try to stop him by killing him. And the police are after Maganhard as well (although Merlin assures him that Maganhard is entirely innocent). Cane can handle himself pretty well but for this job it seems advisable to have a professional gunman/bodyguard along as well. Cane would like to have Bernard or Alain, regarded as the two best gunmen in Europe.  They’re not available but Harvey Lovell is. Lovell is an American and he’s considered to be Europe’s third best gunman. He’s a former member of the US Secret Service so he certainly has had the right training to be a bodyguard and he seems like the ideal man.

Another complication is that Maganhard insists on bringing his secretary along. Helen Jarman is a young, pretty, very upper-class Englishwoman and she regards Cane and Harvey as being little more than glorified gangsters. This happy little party sets off in Maganhard’s Citroën DS. The first signs of trouble had already appeared when they picked up the car. The man from whom they picked it up died rather suddenly, possibly as a result of the three bullet-holes in his body.

It soon becomes apparent that somebody knows about their little excursion to Liechtenstein and that the somebody in question has employed quite a few very nasty and very well-armed thugs to stop them from reaching their destination.

It’s a thrilling chase across western Europe, a chase that leaves an impressive trail of mayhem and dead bodies behind it.

It doesn’t take long for Cane to discover that he has another problem. Harvey Lovell is very good at his job but he drinks a bit. In fact he’s a full-blown alcoholic. Harvey’s problem is that his job as a bodyguard requires him to be prepared to kill people if necessary, and to be prepared to get himself killed to protect his client. He’s OK with the risking his own life part of the deal. He definitely is not lacking in guts. But he’s not quite so OK with the killing people bit. If he drinks enough he can deal with it. When he’s sober he’s very very good at his job. The question is whether he can stay sober.

While this is very much an action thriller it’s also an interesting psychological study of men who live by violence. Harvey has his troubles but Lewis Cane has his own demons to wrestle with as well. The war never did really end for Cane. In the course of this adventure he will be brought face-to-face with unfinished business from the war and he will encounter old Resistance comrades for whom the war also never ended. Lyall combines the action and the psychology with consummate skill. There’s a psychological dimension but also a moral dimension as well. Cane and Harvey are not mere thugs or strong-arm men. Maybe life would be simpler for them if they were but they are what they are and they have to learn to deal with it.

There are some splendid and original action set-pieces, including trench warfare (in 1965) with a vintage Rolls-Royce. There are the expected double-crosses but Lyall throws in some pleasing surprises.

This is an intelligent complex thriller. Lyall was one of the best thriller writers of his generation and Midnight Plus One sees him at the top of his game. Highly recommended.

And definitely check out Lyall's aviation-themed thrillers, The Most Dangerous Game and Shooting Script.