Category Archives: short story

With Our Bellies Full and the Fire Dying

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I must have gained ten pounds reading this collection of short stories by Debra H. Goldstein. Though she was raised in New Jersey and Michigan (and is an alumna of my alma mater, the University of Michigan—Go Blue!), she spent much of her career in the South, which has definitely seeped into her story-telling. It’s a south of pie auctions, bar-b-cue, fatal seafood casseroles, and corn pudding recipes over which deadly fights can erupt. She corrals these culinary delights under the broad heading: “Tales of Sinning and Redemption,” and a particularly luscious cake is the recipe for redemption in one of them.

What’s most fun about reading this collection is how varied the stories are, even with the frequent appearance of something delicious. They’ve appeared in many collections, some not widely distributed, so it’s a new and invigorating experience to read them. One that’s particularly apt for Mardi Gras tomorrow is “Who Dat? Dat the Indian Chief?” about the Mardi Gras Indians and their elaborate and in this case, unexpectedly valuable, costumes.

A number of the stories feature children, precocious ones for the most part, like the son of the sheriff who not only discovers a body, but analyzes the crime scene based on his Magic of Forensic Science book. One I especially liked was “The Girls in Cabin Three,” made up solely of letters home from a teenage camper, whose reports must have horrified her parents!

Although the stories are short, Goldstein loads in some compelling surprises, as in her story about a homeless encampment, “So Beautiful or So What,” where characters aren’t necessarily what they seem. Do they all get redemption? The lucky ones do.

Overall, Goldstein’s writing is clear and entertaining, capturing her characters and their outlook on life—good, bad, self-centered, or magnanimous—most convincingly. Very possibly, her years as a judge trained her to see through people’s outer presentation to their core, which skill she now uses to great effect in these entertaining stories. Or perhaps that skill made her a good jurist—whichever, her readers are now the beneficiaries.

Order the collection here.

US Short Story Authors Star!

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Now in its 2024 edition, The Best American Mystery and Suspense, an annual compilation of notable mystery and suspense stories, has evolved quite a bit since Steph Cha took over from long-time series editor Otto Penzler. He now publishes a rival anthology, The Best Mystery Stories of the Year. The publisher (and readers like me, too) believed Penzler’s long-running series needed a refresher, to involve more diverse perspectives and sources, and to include stories addressing more contemporary themes. Truthfully, the number of magazines and anthologies devoted to crime fiction as well as the literary magazines and special collections that publish occasional stories in this genre, means that no matter what selection criteria editors adopt, they’ll likely have a wealth of excellent stories to choose from. Cosby, as guest editor, and Cha made some excellent picks for this volume.

In my not-disinterested opinion, the pre-Cha era sadly neglected the stories of female writers. Since her tenure, that issue has been well addressed, along with the work of more diverse authors and themes. In the 2024 edition, two-thirds of the stories are by women authors, compared to one-third in Penzler’s most recent collection (much better than he used to do, at least). Contemporary problems—toxic phone apps, violent street protests, incriminating blog posts—are here and have a “story behind the headlines” feel to them. Several have adopted innovative or atypical presentation styles.

I particularly liked “For I Hungered, and Ye Gave Me” by Barrett Bowlin, which consists of verbatim answers to unstated (but easily guessed—correctly?) questions about a possible crime, and Alyssa Cole’s “Just a Girl,” which shows, via TikTok and podcast excerpts, YouTube transcripts, and the like, the mushrooming of a vicious online attack on an essentially blameless co-ed. Stanton McCaffery’s moving “Will I See the Birds When I’m Gone” simply comprises an incarcerated man’s letters to his neglectful mother, written over a 23-year period.

Women writers may be more likely to talk about the extremes and entanglements of mother love and the long-term consequences of rape, as in the stories by Mary Thorson, Latoya Watkins, or Tananarive Due. They show that, regardless of circumstances, children still have that pull on their mothers, whether for good or ill.

The traditional “perfect murder” theme also appears, as in Abby Geni’s clever “The Body Farm,” which involves some grisly research, and Nils Gilbertson’s “Lovely and Useless Things,” which takes place in a speakeasy during Prohibition. Some perfect murders are successful, and others are not. Shannon Taft’s “Monster” is a satisfying example. I’m not sure whether Diana Gould intended “Possessory Credit,” her story about a scheming screenwriter and would-be perfect-murderer to be humorous, but I laughed out loud at the predicament he created. “Baby Trap” by Toni LP Kelner is delightfully clever and begins with a Reddit post. More 2024 vibes!

I’ve enjoyed Jordan Harper’s novels, so was poised to like his story, “My Savage Year,” and did. It was one of several involving adolescent confusions, secrets, and bad judgment, including Rebecca Turkewitz’s boarding school nightmare, “Sarah Lane’s School for Girls.” Early mistakes can have a long tail, as the protagonists in these stories learn, especially the suicide hotline counselor in Lisa Unger’s “Unknown Caller.”

Amongst all these tales are several solid traditional mysteries, such as “Scarlet Ribbons” by Megan Abbott about a haunting (or is it?), Frankie Y. Bailey’s “Matter of Trust,” along with Gar Anthony Haywood’s “With the Right Bait” (marital relationships, loosely), Nick Kolakowski’s “Scorpions” (lure of the dark side), Karen Harrington’s “The Mysterious Disappearance of Jason Whetstone” (sibling rivalry—again involving a disgruntled author, humph!), and Bobby Mathews’s “The Funeral Suit” (Western gunslingers).

There’s a lot more to each of these stories, of course, than a capsule summary can convey. As SA Cosby says in his introduction, it’s “magic that happens for a brief moment, like a shooting star streaking across the sky, when you read a story that grabs you by the hand and says, ‘Come with me, see what I have to show you.’” A word about the story sources. Seventeen different publications are represented by these 20 stories, none of them the traditional short mystery story magazines. In the list of 30 additional distinguished stories from 2023 are 21 more publications, including the well-known Ellery Queen Mystery Magazine, Alfred Hitchcock Mystery Magazine, and Mystery Tribune. Along with new outlets are new writers—a crime and mystery lover’s dream.

Short Story Prowess: EQMM Sept-Oct 2024

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Last week’s post about what to look for in a short story received a lot of likes, and reading the current issue of Ellery Queen Mystery Magazine offers the opportunity to put those insights to the test. And, the competition was fierce. Here’s what the panel of experts said they (and editors) look for in a good short story.

  1. It needs a point – Andrew Walsh-Huggins’s story, “Through Thick and Thin” is a testament to the wisdom in the old saying, “let the dead past bury its dead.” It’s also a reminder of a point you can’t help but notice nearly every time you watch a television mystery show: If people didn’t keep secrets, they’d have a lot fewer problems!
  2. A strong ending – Kai Lovelace’s tale, “Head Start,” in the Department of First Stories, had a powerhouse ending because it was so unexpected. Based on the fourth-grade memories of the narrator, it focuses on his delight in Halloween, and, true to his age-appropriate sensibilities, the gorier the better. It’s one of several spooky stories in this volume, a bow to the season.
  3. Believability –Extra credit to Kate Hold for the mid-century Los Angeles she created in her delightful story “Rosabelle.” You don’t actually have to believe in ghosts to believe in her narrator and the venality of her landlady, a fortune-teller named Madame Zelda.
  4. Strong characters, right from the get-go. EQMM offers numerous candidates, but I’d choose the boy who narrates “The Phantom of the Concourse Plaza” by Jerome Charyn, whose story starts, “I was nine years old, and I lived at the Concourse Plaza with Nick Etten and eleven other New York Yankees, most of them scrubs like Hersh Martin and Don Savage, who would disappear from baseball once the war was over.” A good example of how specific detail adds to believability. You can’t fault the crime fiction awardee giving her acceptance speech in “[The Applause Dies]” by Lori Rader-Day, either.
  5. Fact based? The facts have to be right. This is one of those good-writing principles that you don’t notice until it’s violated, or some stray fact dings believability, and I have to say, from that perspective, all the stories I read were believable, or mostly so (allowances for the Halloween influence). Quite a lot of facts, fitted together so nicely that I believed them all, were in Pat Black’s “Cadere ex Stellae.” (“Fall from the Stars”—I looked it up).
Milky Way, night sky
The Milky Way (photo: Forest Wander, Creative Commons license)

Short Story Essentials

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reading, apple

Almost a year ago—how time flies!—the Central Virginia Chapter of Sisters in Crime organized a Zoom workshop on the ingredients of a great short story. They assembled a fine panel of presenters, too—Michael Bracken (well over a thousand short stories under his belt), Barb Goffman (recent winner of the Lifetime Achievement award from the Short Mystery Fiction Society), K.L. Murphy (Virginia native, novelist, and short story author) and Josh Pachter (not only a prolific writer—first published in Ellery Queen’s Mystery Magazine at age 16—and anthology editor, but also an expert translator of others’ fiction).

In the piles of notes from the various seminars I Zoom in on are many intriguing insights. They often help me crystallize my own thoughts on a topic and, eventually, maybe, lead to a blog post for you. Here’s what I took away from this estimable group.

Among the most important things that a short story needs:

  • It needs a point. That’s what convinces readers the story was worth it; short stories that aspire to being literary often miss this, obscuring their vague purpose in high-flying prose. If you read the masters, like Chekhov and Gogol, the point is not only present, it’s significant. Yet it needn’t hit you over the head. It’s intrinsic. As George Saunders says, “I want my stories to move and change someone as much as these Russian stories have moved and changed me.” Dry, meandering modern stories will never achieve either impact or staying power.
  • It needs a strong ending, Goffman emphasized, which is what makes the point clear—again, even if not stated in so many words (actually, preferably if not spelled out). Trust your reader.
  • It needs believability. Even if it’s fantasy or about alien worlds, there must be a core of truth that the reader can invest in.
  • It needs strong characters, “right from the beginning,” said Murphy. She wants them to draw her in. Here’s an example: “‘Tell me the truth,’ Ruthie Ford said. ‘Why exactly did you come here?’” from John Floyd’s terrific story “Moonshine and Roses” in the Jul/Aug 2024 issue of Alfred Hitchcock’s Mystery Magazine. You know something—something interesting—about both these characters in just those first lines.

When selected stories for an anthology, Pachter looks for reliable writers, ones who’ve withstood, as he said, “the test of time,” which I’m guessing in part reflects writers who follow guidelines, who can meet a deadline, who won’t send in a too-early draft that will require a lot of editing. Such problems can hold up an entire project. An anthology is a collaboration among points of view, but the editor has the Master POV, the overall conception of the project, so Pachter also looks for authors who are willing to be edited, or, as Goffman put it, who will “work with me.”

If there’s fact-based information, Pachter added, the author needs to get it right. I’ve read a two stories very recently (novels, actually), where the author didn’t seem to have a good handle on the world. I referred to one of them in a post yesterday about the top temperature humans can survive at. In another, a character was bragging about her 14-carat diamond engagement ring. Whoa. That would be heavy! Not something you would/could wear every day.

Asked to suggest a memorable short story, Murphy mentioned Goffman’s “Dear Emily Etiquette,” which is one of my favorites too. It appeared in the Sep/Oct 2020 issue of Ellery Queen’s Mystery Magazine, winning the Agatha Award as well as the magazine’s annual Reader Award. Pachter is a fan of Stanley Ellin’s “The Specialty of the House,” which appeared in EQMM in 1948; you may remember the Alfred Hitchcock Presents television version from 1959. Bracken recommends John M. Floyd’s well-plotted stories: “twist, twist, twist,” he said. And Goffman is a fan of John Connolly’s “The Caxton Private Lending Library and Book Depository” (2013), which won both Edgar and Anthony Awards.

For more, see the authors’ websites:
Michael Bracken
Barb Goffman
K.L. Murphy
Josh Pachter

Heads Up! New Books

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Pull out your credit card. The UK’s The Guardian recently published not one, but two, lists of recommended crime thrillers—the best recent ones, and new ones for the month.

Among the “best” is Lucy Foley’s The Midnight Feast about local traditionalists and unwelcome visitors preparing to celebrate the summer solstice on England’s Dorset Coast. Complete with fire and the dead. More than a little reminiscent of The Serpent Dance, the new book by Sofia Slater about an off-the-rails celebration of the solstice in Cornwall. Fire and the dead. Hmmm. That celestial event was a couple of weeks back, so we’re safe now.

The editors also recommend the small book, French Windows, by Antoine Laurain, translated by Louise Rogers Lalaurie—and it’s one I’ve actually read. It’s about the interplay between a psychoanalyst and his patient, a young women photographer who’s stopped taking pictures after seeing a murder. He focuses on what she does see, and her subject is the fascinating people she observes through the windows opposite. Are her stories real? Or revelatory? The Guardian calls it “a sheer delight,” and I agree!

New ones the editors especially liked include the aforementioned Foley, as well as Stephen King’s collection of short stories, You Like It Darker, ranging from the deliciously creepy to mini-novels. Supernatural elements in some, and “all are worth a read.”

They also like Will Dean’s, The Chamber, set in the claustrophobic environment of a deep-sea-diving chamber. When the crew starts to die, you’ll be hard-pressed not to think of 2001: A Space Odyssey. It might be hard to step into the close confines of an elevator again after reading this one.

Alfred Hitchcock’s Mystery Magazine – July/Aug 2024

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Sister publication to the Ellery Queen Mystery Magazine, AHMM also has a reputation for bringing fine short mystery and crime stories to its avid readers. This particular issue is full of notable ones and leads off with one of my own. Here are my favorites.

This issue includes the winner of the 17th Annual Black Orchid Novella Award, and this year’s winner is Libby Cudmore’s story, “Alibi on Ice.” Girl-of-all-work Valerie holds down the desk at a low-budget private detective’s office. While running an errand, Valerie discovers a semi-conscious young woman, half-buried in snow. Valerie digs her out and calls the authorities, who whisk her away in an ambulance. Her boss Martin is out sick, and when Valerie tells him about her discovery, she also relays her conviction that the woman was purposefully left there. Abandoned. Thus her first investigation begins, and, between her own doggedness, some clever analysis, and encouragement from Martin’s sick-bed, Valerie solves a challenging case. He’s proud of her. You will be too. Nice one!

In “Time Lies” by Ken Linn, a seven-year-old girl, found asleep in a phone booth, says she’s a time-traveler from 1963. Who and why? It’s up to a part-time investigator and high school math teacher to help the sheriff discover the answers.

“Delivering the Egg MacGuffin” by Joslyn Chase is a masterful exercise in misdirection, appropriate to the plot device Alfred Hitchcock himself made famous. I laughed out loud!

“Home Game” by Craig Faustus Buck is another story moving along smoothly in one direction that takes a sudden tum and ends up somewhere else altogether. Very clever.

I really loved John M. Floyd’s romantic “Moonshine and Roses” about—well, about a lot of things. Lost fortunes, lost loves, and how they may be found again, along with justice for some notorious bad guys in the wilds of Kentucky.

“Among the Long Shadows” by Vicki Weisfeld (me!) is my fourth published story featuring young Sweetwater, Texas, reporter Brianna Yamato, fighting the good fight against crime in her community and the prejudices of the good ol’ boys. The story takes place at Avenger Field outside Sweetwater, the place where, during World War II, women pilots were trained to take on aircraft support missions, freeing up the men for combat. It’s now home to the Woman Airforce Service Pilots (WASP) World War II Museum. When I’m writing a story, I like to include an element that gives me the excuse to do some research, which always stimulates new ideas for plot and character—in this case, a murdered woman flying instructor and former stunt-pilot with the Aero-Belles. Read an excerpt here.

Ellery Queen, May/June 2024

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Another winner! So many good stories in this issue of “The World’s Leading Mystery Magazine.” You can subscribe or order individual issues online.

Here are a few of my favorites from the May/June issue of Ellery Queen Mystery Magazine, several of which had great can’t-stop-reading opening lines:

  • “What do you know about Kool-Aid?” Clayton Ellicott asked. First line from Gregory Fallis’s “Where’s Dookie?” An art world mystery, which, along with Michael Bracken’s humorous “Bermuda Triangle” about a missing musical instrument, prove that shenanigans in the creative fields are not limited to those perpetrated by us authors. Bracken’s long first line puts you right in the scene and in the mood: “Erica Witherspoon had asked to meet at Coda’s, an upscale drinking establishment two blocks from the concert hall she managed, and I was sitting in a back booth finishing a gin and tonic when she walked in.”
  • “Poor Betsy might so easily have perished, only she didn’t. Her misfortune wasn’t quite of that magnitude.” From R.T. Raichev’s “Blind Witness,” in which a crime writer is cleverly lured into involving herself in a real-life case, much against her better instincts.
  • “Stepping out of her car, Miuri feels a wave of despondency wash over her.” In “Seppuku” by Geneviève Blouin, in which you get not only the cultural milieu of French-speaking Montreal, but also the Japanese cultural background of the detective and the sad, escalating crime itself, as foreshadowed in that grim first line.
  • “First I saw that snake-green car, long and low and not quite Christian.” In “When Baptists Go Bad,” by H. Hodgkins, a story that proves there’s a solution for everything, at least in fiction.

Happy Reading!

Sherlock Holmes: Master of Disguise

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Contemporary writers of Sherlock Holmes pastiches take inspiration from real events and characters, as well as having occasional fun with familiar Holmes tropes. In the entertaining volume Sherlock Holmes: A Year of Mystery 1885, published late last year by Belanger Books, editor Richard Ryan included several stories in which Holmes capitalized on his considerable talent for disguise.

Here’s what some of the anthology’s authors say about that particular aspect of Holmes stories

“The ‘manic,’ childlike energy of Holmes’s disguises—particularly those in A Scandal in Bohemia or The Hound of the Baskervilles—is an oft-overlooked part of his character. Holmes is often seen as sober and serious, so I wanted to explore a different side of him,” says George Gardner.

Gustavo Bondoni said Holmes’s disguises let the detective mix and mingle with all classes of people, bringing him “out of the drawing room and into the world.” In my stories in which Holmes takes on a disguise, I deploy it for humor, as well as information-gathering. Poor Watson, poor Lestrade! They never recognize him. But the Irregulars? Not fooled for a minute. In another clever twist, in Katy Darby’s story, Watson, not Holmes, is the one getting to act for a change, when he impersonates the Lock Hospital Inspector Q. Forrest? Luckily the head surgeon who meets him is rather short-sighted … !

“A frail and twisted old man” with “rather strange personal grooming” appears in George Jacobs’s story, revealing himself to Watson in time to participate in a very interesting interview with a trio of Bengalis seeking justice. And in a Kevin Thornton story, an Irish navvy appears, “looking for all the world like he’d just finished a shift on the docks,” fooling Holmes’s astonished client, but this time, not Watson, who had guessed what Holmes was up to.

Let’s look at how two of these clever stories handle disguises:

Gustavo Bondoni’s story, “The Burning Mania,” takes a cue from two significant events of 1885: a new law permitting the operation of crematoria and the Irish bombings in various London locations. Lestrade asks Holmes to investigate the recent disappearances of eight criminal gang members very possibly linked to the bombings.

As they track the culprits, Watson says this about Holmes and disguises: “I always felt more comfortable when he did that”—a consideration as Holmes’s growing notoriety increases the possibility of recognition. Later, Watson acknowledges that, even without different hair or clothing, Holmes “could become completely unrecognizable in moments by changing the way he looked or even his personality,” persuading others “to see him as something different from what he was.” An insightful comment from the good doctor.

In “The Adventure of the Damaged Tomb,” George Gardner’s story, he similarly refers to heightened public alarm after the Fenian Bombings, so when Hamworth’s Catholic church of St. Mary’s is attacked with dynamite, severely damaging the ancient tomb of the Mountfalcon family, assumptions are made. In their lodgings one day, Watson nervously encounters “a heavy-set, red-haired man of about fifty,” with the “distinctive twang that categorized him with the Irish-American set.” Another disguise success!

The authors mentioned above used disguises to good effect in their stories in Sherlock Holmes: A Year of Mystery 1885. Their stories are:
George Gardner – “The Adventure of the Damaged Tomb”
Gustavo Bondoni – “The Burning Mania”
Victoria Weisfeld – “A Brick Through the Window”
Katy Darby – “The Adventure of the Lock Hospital”
George Jacobs – “The Mystery of the Cloven Cord”
Kevin Thornton – “Tracks Across Canada”

EQMM – March/April 2024

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A great plot keeps you reading, compelling characters make you care. But in my case it’s the love of words that brings a smile to my face. Authors using them in clever new ways. Painting indelible pictures with them. Hinting to me that they love the language as much as I do.

The short stories in the current issue of Ellery Queen Mystery Magazine show once again that mystery writers can be just as expert at manipulating the English language as their more literary cousins. So many excellent stories in terms of the plot/character/setting basics, plus a couple whose deft prose grabbed my attention.

First, let me mention Bill Pronzini’s story, “The Finger,” because it has an affinity with this theme. His character is a successful and prolific writer of international suspense novels who has been known to crank out a 100,000-word thriller in just five weeks. Clearly, this man writes at a devilish speed, aided by superb touch typing skills. When an infection causes him to lose the little finger of his right hand, his typing speed plummets and, worse, the cascade of ideas that propelled that lightning pace has dried up too. Instead, Pronzini writes, “the innovative similes and metaphors that were the hallmarks of his work came less easily and tended to be trite instead of original. The prose stuttered and bumbled.”  

In this collection, there are several examples of “innovative similes and metaphors” that this nine-fingered author could have been justly proud of, in my opinion, and no stuttering and bumbling. Here are three examples I especially admired:

In Nils Gilbertson’s unsentimental story “Apple Juice,” he describes this scene: “By the time he reached the barn, night had turned to early morn and sun shone through bare trees, their branches like petrified veins against the cornflower sky.” Petrified veins. I look at my hands and see that instantly.

The EQMM Department of First Stories offers “Murder Under Sedation” by Lawrence Ong, and though this is his first detective story in EQMM, he rips off a clever putdown of every dreary dental waiting room everywhere: “I scanned the magazines on the rack to count how many are still in print before turning my attention to the waiting room’s other occupant.” I laughed.

“Turnabout” by Sheila Kohler contains a short passage, a model of subtlety, that conveys more meaning than some entire novels. The narrator and her longtime friend Jane walk into Jane’s husband’s study, where he and another visitor, Sergei, sit in armchairs opposite each other, smoking and not speaking. “It was something about the silence, I think, that spoke so clearly to me, or perhaps the way they were looking at one another, something in the brown-green and the blue-grey eyes which, young though I was, I recognized. I looked at Jane. Did she, smart girl that she was, understand what was going on?”

Great job, one and all!

Letting Dr. John Watson Occupy Your Writing Brain

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Authors of the 14 pastiches in the recent anthology, Sherlock Holmes: A Year of Mystery 1885, edited by Richard T. Ryan, talked about how they time-travel from the 21st century back to the Victorian era for their stories.

Most of the anthology’s contemporary authors—including DJ Tyrer, George Gardner, and George Jacobs say re-reading some of the Sherlock Holmes stories gets them going. This, or watching one of the Basil Rathbone films, helps Hassan Akram “get into Watson’s mental atmosphere.” Tyrer uses the original stories to channel Watson’s voice and remind himself how Holmes talks. When Gardner starts writing, he tries to adhere to the stories’ basic structure: Watson sets the scene, a visitor arrives at Baker Street and explains the problem, Holmes (and sometimes Watson, too) investigates, the villain is apprehended, and the pair discuss the case in an epilogue. If Jacobs gets stuck, he finds a jumping off point by seeing how Conan Doyle approached an analogous situation in one of the stories. He also says that the audiobooks narrated by Simon Vance help him “keep the voice going in my head.”

As Gardner noted, “Watson has quite a direct voice suited for action scenes, but he still retains a Victorian flourish in some of his descriptions.” The language “has to be consistent not only with the era, but also with Watson’s social standing and experience,” Gustavo Bondoni says, adding that Watson is “a gentleman with a military (and medical past), he will think in very specific ways, and I don’t want to get out of that groove.” Katy Darby says “Imitation is the sincerest form of flattery, but it has to be accurate, otherwise, what’s the point?”

The stories have to establish the right tone, too. Paul Hiscock says that the author guidelines for one of the first of the many Holmes pastiches he has written advised that Watson should always refer to The Great Detective as Holmes, not Sherlock. This formal touch, even within such a close relationship, helps establish that correct tone and, with all his experience, he says, “these days I barely think about it.”

David Marcum has written so many Sherlockian pastiches that the can afford to, as he says, “simply wait for Watson to speak.” He says he never knows more about the situation than does Watson, “who is in the middle of it and watching it unfold” (spoken like a true pantser). This makes the story all very immediate to him, and he says he can re-read one of his earlier stories and, “except for a few plot highlights, the whole thing is a surprise to me.”

Getting into Watson’s head? Kevin Thornton says, “A slightly pompous, middle-aged, educated white man? I think I have that covered.” LOL

Let’s take a closer look at Paul Hiscock’s captivating story, “The Light of Liberty,” dealing with political and fundraising difficulties surrounding the Statue of Liberty. Designed and built in France, the Colossus was to arrive (disassembled) in New York in 1885, there to await completion of its pedestal. But a key piece of the statue—the Flame of Liberty—has been stolen from a warehouse near the docks in Rouen.

Holmes and Watson journey to France to sort out this tricky diplomatic business, which is perfectly suited to Holmes’s deft touch. You’ll meet French Inspector Lapointe, even more reluctant to accept Holmes’s help than his English counterparts. Liberté!

See how these authors put fact and fiction together. Their stories in Sherlock Holmes: A Year of Mystery 1885 are:
D.J. Tyrer – “The Japanese Village Mystery”
George Gardner – “The Adventure of the Damaged Tomb”
George Jacobs – “The Mystery of the Cloven Cord”
Hassan Akram – “The Return of the Buckinghamshire Baronet”
Gustavo Bondoni – “The Burning Mania”
Katy Darby – “The Adventure of the Lock Hospital”
Shelby Phoenix – “Sherlock Holmes and the Six-Fingered Hand Print”
Paul Hiscock – “The Light of Liberty”
David Marcum – “The Faulty Gallows”
Kevin Thornton – “Tracks Across Canada” and “Tracked Across America”

Photo of Sherlock Holmes London statue by Oxfordian Kissuth, Creative Commons license.