The Tiger’s Head by Paul Halter, Translated by John Pugmire

The Tiger’s Head
Paul Halter
Originally Published 1991
Dr Twist #5
Preceded by The Madman’s Room
Followed by The Seventh Hypothesis

It has been a surprising amount of time since I last read and wrote about a Paul Halter novel though I have had several up near the top of my TBR list. The Tiger’s Head was my selection mostly because I was tantalized by its premise of a murder committed in a locked room by a genie. As it happens though this is just one of three mysteries within the novel.

Each of those three mysteries is presented as a separate case and yet have considerable overlap as they involve the same community and cast of characters. The first is the murder and dismemberment of several young women, the second is the murder of a retired major in a locked room and the final one is the ongoing series of thefts of seemingly random items of limited value around the small village of Leadenham.

Let’s start with the least of these – the thefts. Though it is introduced almost as a background storyline, Halter does not treat it as such. While it may not be the case that brings Dr. Twist to Leadenham, it has plenty of points of interest (not least that everyone in the village has an alibi for one or more of the crimes) and could easily have made for an entertaining short story in its own right. I certainly enjoyed the resolution and discovering how it played into the other story threads.

The second story thread, the murder of the Major, is the one that the novel is named for and it presents us with our most traditional locked room elements. There is, ostensibly, a supernatural element at play: the Major had told a story about how he had won the Tiger’s Head cane from a fakir while in India and that it contains a genie that can kill. The Major had challenged a friend to stay with him in a room where every door and window is locked from the inside and wait for the genie to appear. When their friends get worried they break into the room to find the Major dead and the doubter lying unconscious from head injuries, claiming that he saw and was attacked by the genie.

Now, I will say that I do not love the conceit of a room with the locked doors under observation by individuals – it is too obvious how this sort of a puzzle can be broken. Happily Halter gets on with it, almost immediately acknowledging that not everyone’s story can be true and getting on with trying to unpick people’s alibis.

This puzzle is, in my opinion, the cleverest of the three mechanically (while it plays fair, I would be astounded if anyone was able to deduce exactly how it was achieved) and if the book has a fault it may be that it chooses to present the solution to this three-quarters of the way through rather than at the close. Structurally there are some good reasons for this because of the ways the three stories connect but it does mean that the most intriguing and complex aspects of the narrative are already done as the book enters its endgame.

Twist and Hurst’s original reason for being in Leadenham is to hunt the ‘Suitcase Killer’, who has dismembered young women and put their limbs into suitcases which have been left at train stations. The premise is usually gruesome for Halter but I think he sets up the situation quite brilliantly, reminding me in some aspects of one of my favorite Golden Age mysteries. Unfortunately it is one of those cases where I can’t really reveal which story it is without giving away some of the parallel plot points. I can say though that there are some really satisfying moments, not least one that comes at the end of one of the early chapters that actually had me gasping in surprise.

Readers may feel that this story thread does slide into the background a little too easily at points in the narrative given that we are talking about the actions of a serial killer who we should expect would strike again. I think though that Halter does present a credible reason why Twist and Hurst get distracted from this case and focus in on the other mysterious events taking place in Leadenham.

The explanation given for what happened and why is clever, particularly in how it relates to the other storylines. There is some very clever plotting and narrative sleight of hand at play here and while I think it plays its strongest surprise a little too early (and is mechanically fairly straightforward), I found the solution to be significantly more satisfying than I expected though I share Brad’s dissatisfaction with an aspect of the ending that does leave a bit of a bad taste in the mouth.

In spite of this however I have little difficulty in pronouncing this a triumph and one of the most satisfying experiences I have had with Halter to date. The quality of the run of books Halter produced between The Madman’s Room and The Demon of Dartmoor is truly impressive and while I think The Seventh Hypothesis is a more satisfying read overall, I think this is a close runner up winning points for its creativity and imagination.

Further Reading

JJ @ The Invisible Event has not written a review of this on his blog but he did discuss it on an episode of The Men Who Explain Miracles podcast. He also includes it on his Five to Try: Starting Paul Halter post. Finally, it places highly on his Top 15 LRI publications list.

The Puzzle Doctor @ In Search of the Classic Mystery Novel also recommended the book, albeit with some reservations. These include feeling that one of the locked room resolutions is ‘utter rubbish’ and thinking a motive is over the top. I do agree with his general sentiment that Halter’s problem is often that he throws too many elements in, not giving them the room to be properly developed.

Brad @ AhSweetMysteryBlog is not always Halter’s biggest fan but he says that he was pleasantly surprised for the first three quarters of the novel and loved one of the explanations for a locked room. Unfortunately his experience was spoiled by a final scene reveal and by Halter not really trying to hide whodunnit.

Ben @ The Green Capsule was responsible for pushing this book higher up my TBR when he reviewed it toward the end of last year. He comments on how no individual solution is brilliant but the way they are brought together is ‘misdirection at its finest’.

The Invisible Circle by Paul Halter, translated by John Pugmire

Circle
The Invisible Circle
Paul Halter
Originally Published 1996

Several months ago in the comments section of my review of The Seventh Hypothesis I came to a realization about Paul Halter’s novels. I have sometimes struggled with the theatrical, gothic elements in his novels because they seem contrived for the reader’s entertainment rather than because they make the killer’s plans better.

The Invisible Circle, like The Seventh Hypothesis, is a consciously theatrical mystery. What I mean by this is that the theatrical elements of the scenario Halter creates are intentionally created by a character within the story to appear theatrical rather than to try to convince us that supernatural events are actually occurring.

There are multiple theatrical aspects to Halter’s scenario which are introduced early in the story, each evoking Arthurian legends. Before the characters even arrive on the island off the coast of Cornwall they are aware that the area is reputed to be the real location of King Arthur’s castle. Later the eventual victim gives each of the characters an Arthurian name, tells them that he will be murdered within an hour, identifies a killer and proceeds to lock himself within a room telling everyone that he must not be disturbed within that time. When he is discovered, he is found stabbed to death with a sword that they had previously seen firmly lodged in a stone.

Though I had been worried that those theatrical elements would be an afterthought or used as little more than color for this mystery I was very pleased when I realized that they had significance to piecing together what was happening and why it was happening. By the end of the novel we understand why the killer decides to create an apparently impossible crime and even if we think their actions are improbable, they are at least logical.

The puzzle of the murder itself is rather brilliant, benefiting in part by the other characters being able to clearly establish the geography of the room and its contents prior to it being sealed with the victim inside. This is a side effect of the theatricality or artificiality of the premise of the murder – because it is announced by the victim the characters are able to state definitively what they witnessed within the room and that no one interfered with the door during the hour in which the murder took place. The reader has to not only work out how the killer gained access to the room but also how they extracted the sword from the stone during that hour.

My usual stumbling block with these sorts of impossible crimes, particularly from Halter, is in understanding the killer’s thinking. My expectation is not that the crime is likely to have been committed in the way described but that the characters’ actions make sense given their motive and the resources at their disposal. I think Halter does a very good job of creating a solid explanation for why the killer decides to carry out a murder in this fashion and that he plays absolutely fair with the reader in laying the clues for us to deduce what is going on. I may not consider such a murder likely but I could understand how it might make sense to the killer to commit their crime that way.

Mechanically I think there are some aspects of the crime that work extremely well. Certainly I think the mystery of how the sword in the stone could have been used is cleverly explained. Also I was in no doubt of the killer’s movements and that they had the opportunity to carry out the murder which helped make the solution even more credible.

Now that is not to say that isn’t at least some coincidence and luck involved in the killer’s plans coming together. Their plan ultimately has some flaws, one of which is that once you attack the situation logically the killer’s identity becomes clear even if their motivation is not immediately so. Still, while I correctly guessed at the killer’s identity very early in the story it took me a while to feel like I could prove it.

The bigger issue is that there is a key aspect of the plot that relies on some astonishingly poor observational skills on the part of the cast of characters. Reviews by Puzzle Doctor and Ben both identify this as something that would be hard to believe could work as effectively as it does here and they are each right to do so. It didn’t bother me given that Halter signposts the theatricality of this scenario and that once you understand what has happened it can be used as evidence to solve the bigger mystery but I would agree that the killer gets extremely, almost unbelievably, lucky in that moment.

Having voiced my appreciation for Halter’s plotting and use of the Arthurian legends, I must say that the novel is less impressive in terms of its cast of characters. With the exception of Madge, the host’s niece, they feel functional rather than three-dimensional. I think this is appropriate for the type of plot Halter creates here but I mention it because this approach to characterization is not to everyone’s tastes.

So, where does that leave me overall? The Invisible Circle is not my favorite Halter novel but I think it is one of the most enjoyable. The pacing is brisk and each chapter seems to end with a fresh revelation that spins the case off in a new direction or makes the scenario seem even more dramatic.

Though I think the killer’s plan was enormously risky, I think Halter does explain the reasoning behind it and I appreciated that it plays fair, providing a solution that the reader can work out by a process of logical deduction. For those reasons I could overlook the killer taking what seems like several enormous risks and appreciate what they brought to this otherwise very cleverly constructed story.

The Man Who Loved Clouds by Paul Halter, translated by John Pugmire

Clouds
The Man Who Loved Clouds
Paul Halter
Originally Published 1999
Dr. Twist #14
Preceded by Meurtre dans un manoir anglais
Followed by L’allumette sanglante

I recently had an excellent time with The Seventh Hypothesis, naming it my Book of the Month for July, so I was excited to learn that Locked Room International would be releasing a translation of another Twist and Hurst mystery.

The novel concerns events in the coastal village of Pickering and the mystery surrounding a young woman who lives there.

The book begins with Twist relating a story he has been told by a young journalist who had visited the village on a whim, following a group of clouds. During that visit he had a brief encounter with that young woman in which she made a big impression on him, leading him to make enquiries about her with some of the locals.

Her name is Stella Deverell and she is reputed to have fairy-like powers including the ability to predict the future and to disappear into thin air. On a number of occasions she had been observed walking into a small wooded area only to disappear and though several people have attempted to catch her and find her secret, including the local police force, none had managed it.

She claims to have been clairvoyant since she was a young child and locals can point to several predictions she made that had come true as proof of her abilities. One of those predictions concerned the death of her father, made several days before he was discovered dead at the foot of a cliff having apparently committed suicide. Shortly after the journalist arrives she makes further predictions of deaths and in each case they come true, the victims appearing to be hurled to their deaths by strong gusts of wind.

Unlike the other Halter novels I have read and reviewed, it is noticeable that this is not structured around an obvious case of murder. We are aware of several strange deaths from the beginning of the book but at the point the investigation begins it is from the perspective of trying to understand a seemingly inexplicable set of events and to prevent further deaths rather than to solve an event already established to be a crime.

Stella is an intriguing character and wisely Halter avoids giving us too much time with her, having her discussed more than she is shown. We hear several accounts of incidents involving her and her powers, each making her powers seem simultaneously more convincing and puzzling. We may think of individual explanations for each of the incidents but it is harder to understand the bigger picture of how and why she is accomplishing these feats.

Some of the explanations can feel a little anticlimactic if viewed in isolation and only in terms of the mechanics of the puzzle but I was impressed by the way they tie together. In the past I have sometimes questioned the psychological consistency of Halter’s stories but here I think each small puzzle contributes to our understanding of the wider dynamics within the village and helps us get closer to identifying a killer and their motive.

While I would always caution readers not to expect too much in terms of the characterizations in a Halter novel, I do think this is one of his richer and more rewarding works in that respect. Certainly there are a number of characters who exist to impart information or to flesh out the population of the village but the characters at the heart of the narrative are given back stories, clear motivations and time is spent establishing their relationships.

In addition to resolving the puzzle elements of the plot, the ending also manages to include a whopping great revelation that I think is executed superbly. There is no trickery involved, nor does it feel like an afterthought but rather that element of the story was clearly planned from the beginning and hinted at throughout the novel. It ties in strongly with the themes Halter develops throughout the book and I think it makes for a surprisingly powerful conclusion.

I was less impressed with the mechanical explanations of how the wind had killed several villagers though I think it would be hard to imagine any explanation that could live up to the strangeness of that idea. I was a little more confused about why Twist does not seem to more actively attempt to disprove that could be the case and I do agree with Nick Fuller that it does seem odd that the sleuths spend more time reacting to events than actively pursuing leads or trying to disprove what a supernatural explanation for those deaths.

Neither of those issues substantially affected my enjoyment of the book and while I need a little time to reflect, I certainly think it is in the conversation to be one of my favorite Halter stories (The Seventh Hypothesis probably still has the edge but it is close). It is intricately plotted and I became even more impressed once I could see how each of the elements fitted together so neatly in the conclusion. Very highly recommended.

The Seventh Hypothesis by Paul Halter, translated by John Pugmire

SeventhHypo
The Seventh Hypothesis
Paul Halter
Originally Published 1991
Dr Twist #6
Preceded by The Tiger’s Head
Followed by The Demon of Dartmoor

In preparing this review I took a moment to go back and read what I had written about previous Halter novels and was shocked by what I found. Folks – it’s been nearly FOUR MONTHS since I last read a Paul Halter.

That was The Phantom Passage, a novel I found to be a little disappointing in the way it was resolved. In the comments JJ suggested that I may want to take a look at The Seventh Hypothesis and I decided, for once, to actually follow-up on a Halter suggestion. I am glad I did because this novel is, to date, my favorite of his works I have read.

The plot is, as can be quite typical of his work, overstuffed with elements which can make it a challenge to summarize. The best I can offer is that Halter presents us with two crimes that, because of some coincidences, appear to be linked.

The novel opens with a policeman having a strange encounter with a man dressed as a medieval plague doctor. Soon afterwards he encounters a man dressed in the manner of a very old-fashioned doctor who addresses him as a confederate worried about where they have hidden a body. The policeman investigates, searching the three bins in turn without finding anything. The doctor pronounces himself a doctor of crime and, upon leaving, directs the policeman to look in a bin again where he finds a corpse.

Later the private secretary of a playwright comes to see Dr. Alan Twist and Archibald Hurst to tell them about his concerns regarding a conversation he overheard between his employer and a visitor. He tells them that the pair have made a murder pact in which one will commit a crime and try to blame it on the other. If that wasn’t confusing enough, at a key moment in their conversation one of the pair picked up a doll that resembled a plague doctor, calling back the first case.

In the past I have complained about feeling Halter incorporates too many ideas into a single story, opting for style and theatrical moments rather than logical plot developments. For instance, I took issue with some of the deaths in The Demon of Dartmoor which I felt stretched credibility. The Seventh Hypothesis follows the same pattern of incorporating a lot of ideas and incident into a very short page count and yet here the mixture works with those elements seeming to support each other.

Part of the reason I think it works so well here is the central conceit of the challenge between the playwright and his rival, a renowned actor, into which all of the other elements are folded. Halter wastes no time trying to convince us that what we are seeing may be coincidences or misunderstandings but he establishes at least some points in the secretary’s story to be true. He does this both by having the investigators discover inconsistencies in stories but also by directly showing us conversations between the two suspects, making us aware of their responses to some developments.

JJ calls the interactions between those two characters as being ‘a sumptuous, insanely dizzying whirligig’ and I heartily concur. I found both the report of their conversation and the meetings between them to be thoroughly intriguing and while this apparent narrowing of our field of suspects should be limiting, the construction of the plot helps ensure that the reader can never entirely trust the evidence they have before them.

What creates that ‘whirligig’ feel he alludes to is Halter’s breathless plotting. It is rare for a chapter to pass without a small revelation or incident taking place which changes our understanding of what is happening or significantly moves the case forwards. For instance, there are several further murders that take place after the discovery of that first body, making an already complicated case even harder to unravel. Even the secretary’s report of the conversation he overhears contains two or three significant reversals and revelations.

Halter’s stylistic flourishes are also very well executed, creating an unsettling oddness that may initially seem a little forced and yet fit perfectly into this very theatrical plot Halter constructs. While I enjoyed those early passages in which the doctors in historical dress talk about plague in the city, I did wonder if these existed just to create a sense of atmosphere but I was pleasantly surprised by the way he incorporates those costumes into the plot and makes them feel necessary rather than an indulgence.

The solution to the story is cleverly constructed and quite audacious. Each of the explanations makes sense as logical and consistent with the evidence and I thought some of the ways clues were utilized were quite novel. Some may question whether Twist proves all of his case and I do take their point – the most questionable revelations occur in the epilogue and while I guessed at them I do not know that he could have proved them – but the logical process he describes in reducing his suspect pool in the run up to the accusation makes perfect sense to me and I do think he proves his case mechanically, if not convincingly when it comes to motivation.

Given my fairly glowing sentiments about this book I guess the question I am left with is why isn’t this picked as a highlight of Halter’s oeuvre? My feeling is that it probably comes down to how, unlike much of his translated work, the mystery is neither an impossible crime nor a locked room. Aspects of it are certainly incredible and audacious and may look impossible but it is fairly simple to work out how the disappearing and reappearing body may have taken place. The challenge is in knitting all of these elements together to understand why these things occurred.

I enjoyed that challenge a lot and found the book to be stimulating, imaginative and satisfying right up to the conclusion. After this experience I certainly don’t think it will take four months for me to pick up another Halter – the only challenge will be deciding which one. Fortunately I still have a fair amount of his back catalog to work through…

The Phantom Passage by Paul Halter, translated by John Pugmire

PhantomPassage
The Phantom Passage
Paul Halter
Originally Published 2005
Owen Burns #4
Preceded by Les douze crimes d’Hercule
Followed by La chambre d’Horus

What if there was an alleyway that could not be found on any recent maps, that appeared from nowhere and seemed to disappear the moment those who found it have left?

American diplomat Ralph Tierney turns up at Owen Burns’ room, seeking out his old friend with such a tale. He tells Owen and Achilles Stock that he had stumbled upon the passage and witnessed a strange vision in a room on the second floor of a house there. When he fled the passage and tried to find his way back it, and the landmarks that guided him to it, seemed to have vanished completely.

When Owen and Achilles start to look into this they discover previous accounts of similar experiences and that the visions experienced in that room have either happened in the past or will happen in the future. Could this passage really be showing people events from the past or future or is there some sinister design behind it?

The Phantom Passage is, for much of its duration, a truly inventive and bewildering read. Halter skillfully introduces and plays with the concept of a supernatural occurrence. The idea of this passageway into the past and future is so fantastical and its physical presence seems to be so clearly disproved that at times it seems the only possible explanation.

As Owen and Achilles investigate the stories of those who have encountered this passageway before we are introduced to a few striking characters and get to hear of further seemingly bizarre events. By the time we get to the point of revelation I was aching to know how Halter would explain away some of those strange little points of interest in the case and make sense of what seems a truly bizarre set of events.

Unfortunately when that time comes, Halter’s explanation struck me as unconvincing. I did not find it at all credible that anybody who had the motive given in this novel would devise this convoluted method to execute their plans. There seemed to be too much coincidence and too many moments in which those plans might go wrong to make any sense of those choices.

The problem, for me, is that even in that resolution there are individual elements that I think work really well. Ideas that, taken in isolation, make sense and which can be quite effective but that never stitch together to make a convincing whole psychologically, even if they mechanically make sense.

This is particularly frustrating because the book up until the final two chapters is highly enjoyable. While it is quite a short read in terms of its page count, I stretched it out taking regular breaks to consider just how the effects may have been achieved. For all that thought and concentration, I don’t think I ever achieved the full explanation.

I also have to say that I really like Owen Burns and Achilles Stock as a detective pairing and how distinct they feel from his other series pairing of Twist and Hurst. Both characters get some strong moments but I particularly appreciated a lengthy sequence featuring Stock towards the end of the novel and its repercussions. I certainly look forward to trying some other stories with this pairing.

I really enjoyed reading this book up until its final two chapters but because of my frustrations with its explanation I can’t recommend it and would likely place it lowest of the Halter novels that I have read so far. That is in spite of having enjoyed it more than Death Invites You and about as much as The Madman’s Room. I think the enjoyment of the ride probably makes up for its conclusion and so while I ultimately felt frustrated by the novel, I would suggest that you check out one of the more positive reviews out there such as JJ’s and check it out for yourself.

The Demon of Dartmoor by Paul Halter, translated by John Pugmire

Demon
The Demon of Dartmoor
Paul Halter
Originally Published 1993
Dr. Twist #7
Preceded by The Seventh Hypothesis
Followed by À 139 pas de la mort

Back when I posted my review of the first Halter I had read, Death Invites You, I received a number of excellent suggestions of what I should try next. I took them to heart, put them all on my wishlist, and promptly picked a book nobody had mentioned. Fortunately I loved it but for my third pick I went back to those suggestions and picked a book most people seemed to love – The Demon of Dartmoor.

Have you ever read a book where there’s a little detail that just seems to bother you based on some personal knowledge you have? Well, naming a house in Devon Trerice Manor is exactly that sort of thing. The word is a Cornish one meaning a farm or estate owned by Rhys. Every time I read it, the detail just seemed wrong to me and pulled me a little out of the book. It isn’t a big enough deal that I think it affects my overall reading of the novel but it’s there somewhere in the background.

The good news is that beyond that detail, I found a lot to like here. Halter crafts an interesting and engaging story that is rich on detail. This is a mystery that seems to be grounded in a sense of the community in which it takes place and I appreciated the idea of the Moor as an almost mythic location, reminding me of the role it has played in other adventures. Parts of this book even draw on real local myths such as the Headless Horseman so kudos to Halter for pulling those elements into his story.

As with The Madman’s Room, there are crimes here that occur in the present and in the past and they may, or may not, be linked in some way. Early in the novel we learn about the deaths of three young women on the moor over the space of a few years, each apparently thrown from the rock by some invisible force. These bodies were carried off downstream and were only discovered days later but the locals seem to believe that a demonic force was responsible and have connected these events to an even earlier death where a young woman is seen to have been thrown down the stairs of Trerice Manor (!) by an invisible person.

When a newly married actor and his wife visit the area, he is inspired to create a comedic play loosely based on the idea that a man can make himself invisible and, several years later, he has bought the Manor house and renovated it. He takes his wife to the house and his producer and his mistress, who co-stars with him in his play, to stay with for the weekend. Ill-feeling seems to grow among the small party over that weekend so when history repeats itself and the actor seems to be flung from the window to his death we might assume that one of his guests or a local was responsible. The problem for the Police is that the scene is viewed by multiple witnesses, each of whom say no one was near the actor when he fell.

I thought this was a truly excellent impossible crime and while I quickly developed a theory for what may have happened, it turned out to be completely incorrect. In fact none of my ideas came close to the actual explanation of the crime so I was delighted that the solution to this murder was relatively simple and, to my mind, fairly credible on a technical level.

I was a little less certain whether this was actually a clever method for the murderer to employ given the number of things that might have gone wrong. Twist, in his explanation, does pay lip service to the possibility that the murderer had considered what would happen if they were not entirely successful but I am not convinced this was the safest way for that person to achieve their goal.  I can’t say more without spoiling.

I was even more impressed with the explanation given for the oldest of the historical crimes. Twist’s reasoning is solid both psychologically and mechanically and I love that Halter is able to tuck a second, well-constructed crime around his main one and make it rich and satisfying in just a handful of pages.

The other three crimes? Well, here I think the novel is at its weakest as while these murders add plenty of atmosphere the methods utilized by the killer or killers are something of a stretch. I did appreciate the way they strengthened the main mystery however and built up that sense of a local myth that has built up around these tragic deaths.

In addition to its rich setting, I also feel that this book features much stronger character development than in either of the other two Halters I have read. John Pugmire’s translation is also particularly strong and helps build on that sense of atmosphere to make this a really engaging story.

While I think that the crime in The Madman’s Room is a more intricate and clever impossible crime, this is the most satisfying Halter I have read to date and I look forward to continuing to work through his sizeable back catalog this year.

The Madman’s Room by Paul Halter, translated by John Pugmire

Madmans
The Madman’s Room
Paul Halter
Originally Published 1990
Dr Twist #4
Preceded by Death Invites You
Followed by The Tiger’s Head

After trying and enjoying my first Paul Halter novel, Death Invites You, last year I received some wonderful suggestions for which book I should pick next. I honestly did make note of all of those suggestions and I intended to utilize them. I really did. But then I actually came across a copy of The Madman’s Room and all those plans went out the window… Whoops!

Halter seems to represent something of a literary fault line among the bloggers I read regularly. That was the reason I was initially so hesitant to try him. His plots are constructed with a lot of elements that often seem to be pulling in opposite directions. This not only seems messy, it may lead some readers to wonder if he’s just throwing these crazy, imaginative ideas out there and forcing them into the shape of a novel.

The Madman’s Room is a much more complex narrative than Death Invites You, incorporating significantly more elements and questions for the reader to consider and yet I felt that these hung together exceptionally well to create a much richer, more rewarding story. It still can feel a little messy and unwieldy and at times I wondered just how these elements could be brought together but, when the explanation is given, everything seemed to align perfectly.

A very basic outline of the core points of the story is that the wealthy businessman Harris Thorne moves his wife’s family to live with him in his ancestral home. They learn the story of his great-Uncle Hector who appeared to be able to see the future, predicting the deaths of family members in a fire years after he himself had died. His room was sealed upon his death but Harris decides that he will reopen that room against his brother’s objections to turn it into his study. He dies soon afterwards with some aspects of the case seeming to mirror the circumstances in which Hector had died.

For another writer that alone may be enough material for a novel but Halter weaves a number of smaller mysteries around the bigger question of who killed Harris Thorne. Did Harris really did commit suicide or if he was murdered? What is the significance of a patch of water that appeared in front of the fire both when Hector and Harris died? What do people see in a doorway that terrifies them? Is everyone that we believe to be dead actually dead? Can Harris’ brother Brian really see the future? And just what are the short lecture about possible outcomes of an exhumation (a la Dr. Fell) and the brief romantic scene at the beginning of the novel there for?

It’s a lot to unpack and to do so would violate my intentions to keep my reviews as spoiler free as possible. What I can say is that I think Halter’s explanations of the ways these elements interconnect is really quite masterful and I respected the simplicity and common sense of many of those solutions. Solutions to some puzzles are easier to predict than others but I found all to be quite satisfying and appreciated the variations Halter gives us. Even the issue that Sergio felt stretched credulity struck me as a discrete nod to a similarly stretched moment in a very early Poirot novel.

While the artificiality of a moment like that can be a negative for some readers, I personally find it quite charming. Certainly I think there are very few people who would talk or act like characters in a Paul Halter novel but I think that’s okay as he is clearly playing with classic mystery fiction types and placing all other elements of the novel as secondary to his chief concern of developing the puzzle. His prose is never pretty, nor is it particularly atmospheric yet it conveys precisely the amount of information the author intends to very well and, like JJ, I find it to be very effective.

And though Halter’s characters here may read a little stiffly, I found them to be a much more interesting group than in Death Invites You. This is partly because Halter’s story plays out over a much longer period, allowing those characters time to change in reaction to the events they are experiencing. I found some of those changes in character to be very effective and I appreciated the psychological angles to the solution to this story.

On the subject of the conclusion however, I must take note of Brad’s criticism that the novel is undermined by its confusing and unnecessary final page twist. While I enjoyed the novel enormously, I would agree that this moment detracts from the otherwise clean, refined nature of the ending. Sadly this concludes an otherwise stellar work on a slightly cheap note.

In spite of that misstep, I think The Madman’s Room is a really striking and effective work. At the midpoint of the novel I had no idea how Halter was going to pull all of these elements together so I was really impressed by just how clean and tidy the explanations were. Unlike many seemingly inexplicable crime stories, the explanations given for how and why the strange events occur are very persuasive because of their simplicity while I felt that the supernatural elements in the story were used very effectively not only to build atmosphere but contribute to the key themes and ideas of the novel.

In short, I loved this and am looking forward to reading more Halter. And next time I promise I will actually utilize some of your suggestions!