Source: publisher via Edelweiss
Formats available: hardcover, paperback, large print, ebook, audiobook
Series: Hawthorne #1
Published by Harper on June 5, 2018
Purchasing Info: Author's Website, Publisher's Website, Amazon, Barnes & Noble, Kobo, Book Depository
She planned her own funeral--but did she arrange her murder?
A wealthy woman strangled six hours after she’s arranged her own funeral.A very private detective uncovering secrets but hiding his own.A reluctant author drawn into a story he can’t control.
What do they have in common?
Unexpected death, an unsolved mystery and a trail of bloody clues lie at the heart of Anthony Horowitz's page-turning new thriller.
This is a weird book. That’s not to say that it wasn’t good and that I didn’t enjoy it – because it is and I did. But it was not what I expected.
Not exactly what I expected, anyway. I was, after all, expecting a murder mystery. What I was not expecting was for the book the break the fourth wall as much as it does, or for the author to be a fictional character in his own book.
I’ll confess that I began looking up some of the people in the story, to see if they really were real. The degree to which the author inserts himself and his own history makes everyone in the story seem like they must be equally real.
Or if not real, then at least recognizable stand-ins for some true-life counterpart. But they are not. At least I don’t think they are. Or if they were I couldn’t figure out who they were standing in for.
What adds to the verisimilitude is the way that author Anthony Horowitz seems to include so many easily verifiable details of his own work, if not his own life. He is the creator of two of my favorite TV series, Foyle’s War and Midsomer Murders. He is also the author of two excellent Sherlock Holmes pastiches, The House of Silk and Moriarty.
But in The Word is Murder he seems to find himself playing Watson, both as a sidekick and as a recorder of events, to an even more misanthropic Holmes than the original.
Daniel Hawthorne is not a likeable protagonist. As a detective he is every bit as brilliant as the ‘Great Detective’ he is so obviously modeled after, while at the same time so focused on whatever case he is following that he does not care who he pisses off or how much he ignores all of the social niceties that keep the wheels of society grinding.
He’s a man with zero friends, lots of enemies, and a nose for figuring out “whodunit”.
And even though Horowitz-the-author seems to draw the man in all of his misanthropic ‘glory’, we are drawn into the cases every bit as much as the author seems to be, and we understand why he follows along – because we are every bit as compelled as he is.
Escape Rating A-: I picked this up because I loved both The House of Silk and Magpie Murders, although I admit that I enjoyed the historical portions of Magpie Murders more than the contemporary framing story.
I didn’t know what to expect with The Word is Murder, just that I was interested enough to give it a try. I had not read any of the reviews beforehand, so I was at a bit of a loss when the author himself appeared as a character in the book.
I knew the book was supposed to be fiction, but so many well-known details of the author’s career were introduced into the narrative that I’ll admit I started to wonder.
While the way that this book is written is meta (actually very, very meta), the story itself is a classic. A woman goes to a funeral home to plan her entire funeral. When she is murdered a few short hours later, it seems obvious that the long arm of coincidence just doesn’t stretch that long.
The police want the murder to be a burglary gone wrong. That’s a simple crime with a simple solution. But ex-cop Daniel Hawthorne is certain that it’s not that easy. He knows that when the Met calls him in as a consultant, it’s because someone at the top is certain it isn’t that easy – even if they can’t articulate exactly why.
Figuring it out is Hawthorne’s job. Annoying all of the investigating officers involved in the case seems to be part of the fun of it – at least for him. Dragging his narrator out of an important meeting with OMG Steven Spielberg and Peter Jackson shows just how little Hawthorne can be bothered with anything outside his laser focus on the case.
In the end, the case is both simple and complex. The reasons for the murder are classic. The misdirection is epic. And even though I figured out who didn’t do it before the narrator, the reveal of just who did was as much of a surprise to me as it was to him. Just like the narrator, I was too caught up in the story to follow the clues to their final destination.
There’s going to be a sequel. I’m more than curious enough to see what Daniel Hawthorne investigates next – as long as Anthony Horowitz is at his side.