Anthony Horowitz, The
Word Is Murder
Arrow Books, 2018
(Originally published by Penguin Random House, 2017)
© Anthony Horowitz 2017
ISBN 978-1-78-475723-6
Arrow Books, 2018
(Originally published by Penguin Random House, 2017)
© Anthony Horowitz 2017
ISBN 978-1-78-475723-6
Anthony Horowitz is a prolific author of mystery and
suspense tales, in book form and as television scripts (e.g., Foyle’s War; Midsomer Murders); what I
have previously read of his work (House
of Silk; Moriarty) has been a pleasure to read.[1] The
Word Is Murder is not a pastiche, nor set in the somewhat distant past; it
is contemporary, and set in 21st century England, and particularly
the higher-end parts of London.
I enjoyed the book a lot, but there is one (to me) dominant
aspect of It I had a great deal of trouble with, so let me get that out of the
way first. The author is, obviously,
Anthony Horowitz, a prominent and prolific English author. Not a problem. But the narrator, and a prominent character
in the unfolding of the story, is also a prominent and prolific English author,
named “Anthony Horowitz.” And
his—“Horowitz’s” –list of publications is, in fact, the same as that of the
author. Yet the book is plainly a work
of fiction (despite the appearance of characters like the movie producers and
directors, Peter Jackson and Stephen Spielberg). I found this somewhat difficult. How are we to treat this approach? Do we have a figurative set of characters on
parole from the real world? Are we
supposed to infer that this is, in some way not a work of fiction? Perhaps this troubled me more than it should
have, but it made getting into the book harder for me than it perhaps needed to
be.
The story, briefly, is this.
A 60-ish, upper-middle-to-upper class English woman, Diana Cowper,
resigns from the Board of a theater company and, on her way home, stops at a
funeral hope to make arrangements, is great detail, including a very minimalist
type of casket, the music to be played, a psalm and a poem to be read. She appears to be in good health, her son
(Damian) has a thriving career as an actor, but, as the funeral director,
Robert Cornwallis, assures her, many people make such plans. She then goes home.
And is murdered, strangled.
Her body is not found until 2 days leader, when her cleaning
lady/housekeeper comes to work. The
police arrive and do their standard normal job of investigating the crime
scene. The next day (as clearly as I can
tell, writer “Anthony Horowitz” receives a phone call from an ex-Detective
Inspector, Daniel Hawthorne; Hawthorne, who quit the force largely because his
approach clashed with the institutional approach and who now works as a
consultant on especially difficult cases, wants to speak with him. Nor specifically about the case in hand, but
because he wants “Horowitz” to write a book about Hawthorne’s just-beginning
investigation of Cowper’s murder, with the proceeds to be shared equally.
After some discussion/argument, “Horowitz” agrees to tackle
it, and he becomes Hawthorne’s shadow as the investigation proceeds. One of the first revelations is that Cowper
has had a (10-year-old) encounter with the British justice system. She was charged with what in the US would be
called reckless vehicular homicide in the death of an 8 year-old boy, and the
grievous bodily harm done to his twin brother.
So the first, and obvious approach, is to see whether that has played a
role in Cowper’s death/
As the investigation continues, there’s a great deal of
tension between Hawthorne and “Horowitz,” based in part on Hawthorne’s desire
to reveal nothing of himself and to explain as little as possible how he is
structuring the investigation, and “Horowitz’s” desire to understand both the
forces that drive Hawthorne and the logic behind his investigation.
Cowper’s son (Damian) returns from LA for the funeral—at which
there is an extraordinary interruption to the service, leading him to leave the
cemetery. This, and a related event,
cause Hawthorne to explore his background as a student at the Royal Academy of
Dramatic Arts and as an actor, to see whether anything there is relevant to his
mother’s death.
As is perhaps typical in an actual investigation, Hawthorne
discovers things in the lives of a lot of people, (including the parents of the
two boys who were victims in the auto accident—and the nanny who was caring for
the boys; the judge who decided that Cowpers’ actions in the accident did not
warrant jail time; the actress whose career has been interrupted by having
borne Damian’s son; the other students at RADA) which may or may not be
relevant. And, as this is a work of
fiction, both Hawthorne and “Horowitz” find their ways to the solution.
We can, apparently, expect additional books in the
series. Notwithstanding the problem I
pointed out (and a problem that might be of concern only to me), I’m looking
forward to seeing how this develops.
[1] My reviews of those two books may be found here:
https://wordsmusic-doc.blogspot.com/2018/01/anthony-horowitz-house-of-silk.html
https://wordsmusic-doc.blogspot.com/2018/01/anthony-horowitz-moriarty.html
https://wordsmusic-doc.blogspot.com/2018/01/anthony-horowitz-house-of-silk.html
https://wordsmusic-doc.blogspot.com/2018/01/anthony-horowitz-moriarty.html
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