Murder by the Book

I’ll admit I approached *Murder by the Book* with skepticism—how many times can you hear ‘the butler did it’ before it feels like a museum piece? But Edwards’ selections prove the Golden Age was far weirder and more inventive than its reputation suggests. The standout for me was Christianna Brand’s ‘The Cat Walks Through the Wall,’ where a feline’s literary tastes (yes, really) become a clue. Julia Franklin’s narration here is *perfect*—she nails the story’s blend of whimsy and menace, her voice dripping with just enough irony to sell the absurd premise. Less successful is the Anthony Berkeley story, which drags under Jeff Harding’s otherwise excellent delivery; the twist relies on a legal technicality that feels clunky in audio, and Harding’s gravitas can’t quite mask the story’s creaky mechanics. The real joy, though, is in the production’s attention to tone. When John Telfer reads Gladys Mitchell’s ‘The Glove,’ his clipped, almost impatient rhythm mirrors the protagonist’s frustration, making the reveal hit harder. Conversely, David Thorpe’s sonorous pacing in the Joseph Commings story (‘The X Street Murders’) turns a straightforward puzzle into something hypnotic—like being read a bedtime story by a particularly erudite ghost. My one gripe? The transitions between stories are abrupt; a few seconds of music or even a whispered ‘turn the page’ would’ve helped reset the mood. Still, this is a minor quibble in an otherwise stellar production. If you’ve ever dog-eared a mystery novel or argued about Agatha vs. Dorothy, this audiobook will feel like a secret handshake. Just don’t listen while organizing your own bookshelves—you’ll start eyeing your first editions with suspicion.