A carefree tale that’s often enjoyable despite occasional clichés.
An English gentleman finds his inheritance threatened as he’s accused of murder in this mannered comedic mystery.
It’s 1920, and Maj. Heathcliff Lennox, a veteran of the First World War, receives distressing news from his butler, Greggs: There’s a dead man lying on his doorstep—truly an uncommon circumstance in sleepy rural England—which kicks off Menuhin’s often humorous story. Lennox has no idea who the man might be nor how he ended up delivered, like a parcel, to his property, but then he finds a sheet of paper hidden in the corpse’s coat with a stranger’s name written on it: Countess Sophia Androvich Zerevki Polyakov. To confound matters further, he later finds out that his uncle, Lord Melrose, has recently asked the very same Sophia to marry him. She turns out to be a supporter of czarist rule who recently escaped the carnage of the Bolshevik Revolution in 1917. Sophia proves herself to be something of an imperious sort, herself; she’s taken over the quarters that had long been reserved for Lennox himself, and she dismissively expels Cooper, the aging butler of the manor, from the premises. She even kicks out Lennox’s dog—before bluntly announcing that Melrose has amended his will to leave her the whole of his considerable fortune. Lennox suspects that something is awry with this whole arrangement—particularly after he overhears Peregrine Kingsley, a longtime lawyer and counselor to Lord Melrose, engaged in intimate and conspiratorial conversation with Natasha Czerina Orlakov-Palen, who’s Sophia’s niece and the fiancee of his own cousin, Edgar. Then Lennox discovers Sophia’s bloodied body, shot dead with his own gun. He’s the principal suspect, and now he’s compelled to devote his Christmas to clearing his own name.
Menuhin conveys the entire story in lighthearted quips and genteel witticisms, hewing to the tradition of classic, madcap British comedy. For instance, it’s revealed that Lennox’s family has been historically plagued by the aforementioned Kingsley, who’s as boundlessly unscrupulous as he is incompetent; it’s never clear why he’s never been dismissed, but his presence is a constant source of delight to readers whenever he appears. The relentlessness of Menuhin’s comedic style can grow exhausting, though, as it sometimes has the feel of a literary stand-up routine. Some of the jokes barely elicit a polite chuckle, as when Lennox chats with Greggs: “Greggs was right; the man looked very dead. ‘Did you check?’ I asked. ‘No, sir—back’s been playing up.’…‘Your paunch is more of an impediment than your spine, Greggs.’ ‘As you say, sir.’ ” For the most part, the characters tend to be stock caricatures rather than nuanced and complex people. For example, Sophia is, at best, a vaudevillian sendup of the stereotypical Russian aristocrat; even her accent is gratingly ridiculous. However, the murder mystery itself is a fine diversion, and readers who may be looking for some very silly entertainment—which is neither too serious nor too literary and which makes minimal demands—will find this a companionable read.
A carefree tale that’s often enjoyable despite occasional clichés.Pub Date: Dec. 6, 2018
ISBN: 978-1-916294-70-7
Page Count: 262
Publisher: Self
Review Posted Online: June 16, 2020
Kirkus Reviews Issue: Aug. 1, 2020
Review Program: Kirkus Indie
Yes, it has its playfully witty moments, but it’s a distinctly minor work in the author’s brainteasing canon.
Murder disrupts the filming of—what else?—The Word Is Murder, based on the first novel starring author Horowitz and his sometime partner, ex-copper Daniel Hawthorne.
With commendably dramatic timing, gofer Izzy Mays bursts into the middle of a pivotal shot on location at The Stade in Hastings to announce that Hawthorne’s been murdered. Of course, what she means (though Horowitz takes his time clarifying this ambiguity) is that David Caine, the rising star playing Hawthorne, has been fatally stabbed in the neck. Suspicion falls on James Aubrey, the agent Caine had just fired; Izzy, because Caine had caused her to be fired, too, though he ended up making his exit first; Ralph Seymour, the washed-up actor who’d returned from New Zealand to play Horowitz opposite Caine, his mortal enemy; and producer Teresa de León, who’s abruptly lost an important source of funding for the project; director Cy Truman; and screenwriter Shanika Harris, because why not? After Hawthorne builds meticulous hypothetical cases against several of these suspects, provoking Teresa’s apt rejoinder, “All those questions in the script and now you’re asking them for real,” he responds to Horowitz’s theory that he may have been the intended target after all by sharing a story from his early days as a private investigator in what ends up looking like the most elaborately extended red herring in the history of detective fiction. The two plots, past and present—or, to be more precise, past and present-day-adaptation-of-a-story-from-the-less-distant-past, are eventually woven together in ways only Horowitz’s most devoted fans will celebrate.
Yes, it has its playfully witty moments, but it’s a distinctly minor work in the author’s brainteasing canon.Pub Date: April 28, 2026
ISBN: 9780063305748
Page Count: 608
Publisher: Harper/HarperCollins
Review Posted Online: Jan. 19, 2026
Kirkus Reviews Issue: Feb. 15, 2026
BOOK REVIEW
BOOK REVIEW
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.
Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.
A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.Pub Date: March 17, 2020
ISBN: 978-1-9821-3888-2
Page Count: 352
Publisher: Scribner
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
