MARBLE HALL MURDERS

Sharpen your mental pencils. Editor Susan Ryeland is taking on her most baffling mystery-within-a-mystery.

Now that Susan’s back from Crete and her latest romance, her boss at Causton Books, Michael Flynn, wants her to work with Eliot Crace, a failed mystery author who’s writing a sequel to the late Alan Conway’s tales of detective Atticus Pünd, which she knows far too much about already. As she reads Eliot’s first installment, Susan gradually becomes aware of something seasoned fans will have assumed all along—that the central mystery and the leading suspects in Pünd’s Last Case are all based on Eliot’s family, whose matriarch, world-famous children’s author Miriam Crace, died 20 years ago under circumstances that everyone involved insists weren’t at all suspicious. Teased by the first and simplest of three key anagrams Eliot has sneaked into his manuscript, Susan asks him about all those parallels, whose revelation would surely offend the rest of the family and very likely endanger the big-ticket deal that Eliot’s uncle, family estate manager Jonathan Crace, is negotiating over video rights to the Littles, Miriam’s adorable franchise characters. The mystery Eliot’s created around the fatal poisoning of Lady Margaret Chalfont broadly hints that Miriam was murdered as well. Susan’s attempt to sift through the parallels in the unfinished manuscript and figure out who killed Lady Margaret and what light that knowledge may shed on the death of Eliot’s grandmother is seriously upended when there’s a second murder and DI Ian Blakeney identifies Susan as his prime suspect. No wonder she vows at the fadeout to have nothing more to do with Atticus Pünd: “Never. Never again.” Uh-huh.

Susan’s third metafictional whodunit is Horowitz’s most extended and intricately plotted yet—at least until next year.