DEATH AND THE CONJUROR

Mead’s debut novel is a valentine to the locked-room puzzles of John Dickson Carr, to whom it is dedicated.

London, 1936. Shortly after a mysterious and unexpected late-night visitor leaves the home of Dr. Anselm Rees in Dollis Hill, the uneasy members of his household contrive to enter his locked study and find the Viennese-born psychologist with his throat cut. Suspicion immediately falls on his daughter, psychologist Dr. Lidia Rees, and her all-but-fiance, playboy financier Marcus Bowman, but it isn’t long before Inspector George Flint, still baffled by the killer’s ability to escape a room locked from the inside, turns instead to the three patients the dead man had taken on since arriving in London. Floyd Stenhouse, Patient A, is a Philharmonic violinist tormented by dreams of snakes. Della Cookson, Patient B, is a kleptomaniac actress currently starring in Miss Death, which has just opened at the Pomegranate Theatre. Claude Weaver, Patient C, is a suspense novelist subject to blackouts. The waters are further muddied by the equally miraculous theft of a valuable painting from the home of theatrical impresario Benjamin Teasel and a murder at Dufresne Court, where Stenhouse lives. Luckily, Flint’s friend Joseph Spector is a professional magician whose eyes are alert to every deception and whose experience with illusions of every kind allows him to pierce the veil at Dollis Hill with a panache that would make Carr proud.

Mead faithfully replicates all the loving artifice and teasing engagement of golden-age puzzlers in this superior pastiche.