Murder in the House of Omari, by Taku Ashibe

 

9781805335214

Pushkin Vertigo, 2025

original title Ōmarike Satsujin Jiken, 大鞠家殺人事件, 2021

translated by Bryan Karetnyk

375 pp

paperback

“On a certain street corner, one day in the near future—” construction is roaring through the Semba district of Osaka. The old storefronts are coming down, to be replaced by the shiny new developments that will soon erase the neighborhood’s past. A small noticeboard tries to offer a nod to history, mentioning that this was once the place where the image of the classic “Osaka merchant” was born. But its quiet attempt at remembrance doesn’t stand a chance against the jackhammers, excavators, compressors, and crushers that are making the area “disappear for good.”  Then something unexpected happens -- while digging, a work crew uncovers what looks like an old air-raid shelter. They pause for a bit, curious—it’s not empty, nor is it a typical shelter. Inside are bits of everyday life frozen in time: furniture, dishes, and even a stash of old mystery novels. One worker recognizes them immediately: a complete set of the Ryuko-Shoin world detective-fiction series, a  mix of Japanese, American, and British titles. There’s also a cloth decorated with a temari ball and an old-fashioned logo bearing the name Ōmari—a name none of them have ever heard. The hole is filled in, covered over, and forgotten. Whatever life once thrived there has vanished again, this time beneath concrete. And with it goes any trace of the "vibrant way of life and commerce that the House of Ōmari once brought to the area" —not to mention the numerous murders that happened there "during its final days."  

Luckily, we have the creative imagination of Taku Ashibe to relate that story, in this novel that ranges from 1906 in the Meiji Era through the end of World War II and beyond.  Ashibe is an incredibly prolific author and a member of the Honkaku Mystery Writers Club of Japan, nominated several times for the Honkaku Mystery Award for best fiction before winning it, along with the Mystery Writers of Japan Award in 2022, for Murder in the House of Ōmari.  

 Note the temari ...  from Amazon Japan

Before the story plunges into its unsettling run of murders, the author takes a moment to ground us in the company’s past and the people who built it. The House of Ōmari began as a modest “general-goods wholesaler” in South Kyuhoji-machi, but in 1894 the family made a savvy move into cosmetics—a decision that would define their future success. Over the years, one of the later heads expanded the enterprise even further, adding manufacturing to the mix while keeping the wholesale side alive and branching into over-the-counter medicines.  By 1906, the House of Ōmari is thriving. Sentarō, the family’s “young master” and heir apparent, decides to take a casual trip to the Panorama Museum near Namba Station. With only a company errand boy in tow, he heads out for what should have been an ordinary day—until he suddenly disappears, “like a puff of smoke.” His vanishing leaves the family without a male successor, throwing the Ōmari line of inheritance into disarray. To stabilize the future of the business, the family ultimately adopts their senior head clerk, who then marries their daughter Kiyoe and changes his name to Shigezo Ōmari.  The couple went on to have four children—two daughters (Tsukiko and Fumiko) and two sons (Taichiro and Shigehiko). But with Japan’s entry into World War II, the fortunes of the Ōmari family begin to shift. By 1943, the business is a shadow of what it once was; selling cosmetics is now considered unpatriotic, and to be "longing for" Euopean-style goods has to be kept under wraps. By 1945, the family is largely reduced to assembling care bags for soldiers, and their prosperity starts to unravel. Both sons are away serving in the military, leaving the two daughters and a daughter-in-law, Mineko, at home with their parents to keep the household and what remains of the business running.   It’s a dark night that same year when the police summon Dr. Namibuchi to the House of Ōmari for what they call a “police medical matter.” When he arrives, it turns out to be an attack on Tsukiko—but thankfully, she’s very much alive, and the blood is revealed to be fake. Yet the relief at her being alive doesn’t last long. Shortly after the police and the doctor finish their examination of the scene,   a real tragedy is uncovered: the body of Shigezo, the family patriarch, hanging in his bedroom. The police and Dr. Namibuchi quickly confirm what everyone fears—this was no suicide. Shigezo has been murdered.  As mentioned earlier, Shigezo’s death is only the first in a chilling string of murders. Add to that a peculiar detective and a series of bizarre happenings around the house, and the story quickly becomes stranger—and far more intriguing—than anyone could have imagined.

Sure, it takes a more than a little while before the first murder actually occurs, but it’s far from wasted time. As the fortunes of the House of Ōmari rise and fall, the author also captures the shifting landscapes of Osaka—and Japan as a whole—showing the transformations the country undergoes leading up to and during its militaristic period socially, culturally and economically.   It’s impressively done, working both as a well-plotted murder mystery and a vivid slice of history, with the two elements perfectly intertwined.  There is a bit of silliness here that might have been left out (a demon with red hair comes to mind), but otherwise, I have to admit to being completely caught up in the book, trying to figure out who is behind all of these horrific events.  Murder in the House of Ōmari had me tapping into my inner armchair detective, keeping me hooked from start to finish—while at the same time, the author’s rich historical backdrop had me completely absorbed in the history of a changing Japan as well as Osaka's merchant culture.  

This one’s definitely best for patient readers, but the payoff is well worth it—by the end, the story proves to be a truly satisfying read on many levels.   Definitely recommended. 

The LIttle Sparrow Murders, by Seishi Yokomizo

 

9781782278870

Pushkin Vertigo, 2024

originally published as Akuma no temari uta (悪魔の手毬唄, serialized 1957-1959; published in book form in 1971, Kadakowa Shoten)

translated by Bryan Karetnyk

311 pp

paperback

read in December

It is no secret how much I have come to love these books. I'd had this one preordered for months once I learned it was going to be published; I already have the next Pushkin Vertigo translation, Murder at the Black Cat Cafe, due out in the fall of this year, on my radar and in my sights.   The Little Sparrow Murders is number 49 of 77  in  Yokomizo's Kosuke Kindaichi detective series and is the sixth of this author's books to have been published in translation by Pushkin Vertigo.  I was also lucky enough to have latched on to a dvd of the film made in 1977, which was not quite as good as the novel, but then again, I expected that.  

It's July, 1955 and Kindaichi Kosuke is taking a much-needed rest and decides that he should go Okayama Prefecture where he'd "developed a fondness for the local people and their ways" after spending time there during a few of his crime-solving adventures.  First he stops in to visit with an old friend, Inspector Isokawa in Okayama, who gives him the address of an inn in Onikobe Village, owned by a woman who Isokawa once knew. Evidently, she's had "her fair share of sorrow," since her husband had been murdered some twenty years earlier, and the crime had never been solved.   While Kindaichi insists he only wants to rest for a while, he agrees to listen to the inspector about this case, which seems to mean so very much to him.   Once in the village, Kindaichi holes up at the Turtle Spring Inn, where he "could quite happily give himself over to idleness without being disturbed by anybody." As he notes, he didn't "feel any particular sense of obligation" to the inspector, but at the same time, he kept his eyes and ears open while "lazing around idly like a cat."   Kindaichi's plans for R&R are interrupted, however, with the disappearance (and perhaps murder?) of the elderly Hoan Tatara,  a self-described "recluse" and local historian.  Not long before Tatara disappeared, Kindaichi  had gone to his home and had written a letter to a former ex-wife for him, asking her to come live with him now that they're both old, a proposal that had been accepted.  In fact,  Kindaichi had run into an elderly woman with a large furoshiki on her back who had introduced herself as O-Rin, this particular ex-wife of Tatara's, who was on her way to his place.   Now, however, there is no sign of either of them, and Isokawa, who has come to Onikobe, wonders if perhaps Tatara's disappearance might have something to do with the unsolved crime of twenty years earlier.  It seems though that Tatara's disappearance is not the only strange happening in the village; it isn't long until a young woman is discovered murdered, her body and the scene staged in a bizarre fashion.  She isn't the only one to die, however -- the guests at her wake will soon be attending another one.   Kindaichi must figure out what connects all of these occurrences in order to stop these murders, and  discovers a slender thread of a clue that just might tie them all together. 

ryokan in Onikobe Village, from Trip Advisor

While my favorite of the Kindaichi mysteries so far continues to be The Inugami Clan (it's bizarre beyond belief and firmly in my strange-reading wheelhouse), The Little Sparrow Murders follows closely in second place.    The novel is also much more reader friendly than the previous ones, and Bryan Karetnyk's translation made the story flow.  I will say that I flipped back and forth between the text and the map that is provided at the beginning of the book any number of times before I finally took a photo and kept it up on my iPad screen to refer to.    The provided list of characters soon becames vital as well,  because the family relationships are beyond critical to the story. 

The Little Sparrow Murders delivers a super murder mystery, while also examining how the past has a powerful impact on the present and delving into social divisions, ritual, customs and the importance of history in this village.  It is also  a solid puzzle that armchair detectives will appreciate, making for a particularly good whodunit, and I am most happy to admit that  I did not guess or even come close to guessing the who here.   High marks to this one, and definitely recommended to readers of Japanese crime fiction or to fans of Yokomizo's detective Kindaichi Kosuke.  Now I'm not so patiently waiting for the next book.  

film poster for 1977 film, Akuma no temari-uta. From IMDB

Akuma no temari-uta was directed by Kon Ichikawa, as were thirteen other films featuring our erstwhile and somewhat scruffy detective Kindaichi.   There are other films with different directors, but the Ichikawa films are by and large my favorites, and Kindaichi's adventures were also revisited on Japanese television and in manga.   The story changes just a bit in the movie based on this novel but the main thrust of the book carries through the film.   In the book you have the list of characters complete with family relationships to draw on, but here the introduction to these people happens within the first half hour or so, making it a big on the draggy side.  But after that, I was completely engaged in what was happening on screen, especially the murders, which were portrayed in a way that even horror-film watchers would have appreciated, yet still kept close to the descriptions in the novel.  One trademark of Ichikawa's work is that he is experimental in style -- in Akuma no temari-uta there are quick cuts, flashbacks that often are revealed in grainy black-and-white and other moves that definitely kept me on my movie-watching toes.   One of these involves a scene from the 1930 movie Morocco that is so eerie in the watching, yet necessary to the overall character study.   There's also a sprinkling of Kindaichi's dandruff I could have done without, but that same thing happens in all of the Ichikawa movies in some form.   The end comes with some pretty over-the-top dramatics, but then again, I'm a long-time watcher of Japanese films where emotional scenes tend to bring this sort of thing out in the actor.  I am lucky enough to understand the language but I'm sure there must be copies of this movie on dvd with English subtitles. As usual, the bottom line is this: film good, book much better.  

Point Zero, by Seichō Matsumoto

 

9781913394936

Europa Editions, 2024

originally published as Zero no shoten, 1959

translated by Louise Heal Kawai

279 pp 

paperback

 I needed a short novel for late-night reading while family was here last week and Tokyo Express (apa Points and Lines) called out to me from my shelf, after which I found myself wanting to read more of Matsumoto's work.  I chose this one,  Point Zero, which, like Tokyo Express, is set against the backdrop of  postwar Japanese society.  I found myself unwilling to put it down at any time once I'd started reading, and I liked it so much that I took out my copy of the author's A Quiet Place (also from Europa) which I'm ready to start later this evening.  About Point Zero, it's best to say as little as possible so as not to give away too much, so my post will be a bit vague.  Personally, I think the back-cover blurb is too spoiler-ish but feel free to disagree. 

 Although Teiko Itane had received marriage proposals in the past, she'd turned them all down.  Her situation changes when she receives a proposal from a certain Kenichi Uhara via a matchmaker.  Uhara is the manager of the Hokuriku branch of a major advertising firm, spending twenty days a month at the office in Kanazawa City and ten days in Tokyo.  That arrangement is of particular concern to Teiko's mother, but it seems that the company has been trying to get him to move to Tokyo for a while and he's finally agreed, using the opportunity to finally get married as well.  Even though they hadn't spent any time alone together, Teiko decides to accept the proposal, and also believes that whatever life he'd had in the past should stay in the past.  This decision will come back to bite her later, but for the moment, aside from some sort of  unspoken "complexity" within Kenichi that she senses, the few early days of the marriage that they share aren't so bad for either of them.  She's made friends with Kenichi's brother's family (who live in the Aoyama neighborhood of Tokyo) and after the honeymoon, the plan is for Kenichi to make his final trip to Kanazawa to hand over the job to his successor, a certain Yoshio Honda, who will be accompanying him on the train journey.   As she watches the train pull out of the station, she has no clue that this will be "the last time Teiko ever saw her husband." 

The first hint that something is wrong comes when Kenichi sends a postcard saying that he'll be home on the twelfth and fails to show up.  After a few phone calls, Teiko learns that nobody in the company knows where he is; on the third day the section chief of Kenichi's company advises her that someone will be going to investigate his disappearance in Kanazawa.  He also asks if she would be willing to accompany that person.  Kenichi's brother Sotaro can't get away at that time, so she heads to Ueno station where she learns that Honda has already been in touch with police and is taking Kenichi's disappearance very seriously.  Once she arrives in Kanazawa, she learns a bit more about Kenichi's movements the day before he was to take the train home to Tokyo, the results taking both Honda and herself by surprise. But this information is just the opening salvo of many more surprises to come, including a series of unexpected deaths and a ruthless killer who is determined not to be caught.  The question that drives Teiko here is just how these deaths are connected. She also realizes that "Her husband had a secret. What was it?"   Beginning her quest with only two photos of two different houses that might possibly be some sort of clue,  finding the answers becomes for Teiko nearly a full-time occupation.  She also doesn't realize that she is up against a very powerful and determined opponent, someone who will do anything to prevent the past from catching up to the present, no matter the cost. 

 

1971 edition (in which the cover is much more relevant and given the story, downright creepy)  from Amazon

Aside from the twists and turns that this story takes, I was struck while reading Point Zero by two things.  The first is the sense of place that Matsumoto layers into this novel, whether it is in describing  various views captured within the neighborhoods of Tokyo or (and most especially), his incorporation  of the natural world away from the city.   The second is that the most forceful characters throughout the novel are women.  Anyone who goes into this novel with preconceived notions of docile Japanese women taking a back seat to the men in their orbits may be surprised at the strength the author affords to many of the females here.  While there are more than a few I could talk about, it starts with Teiko, who is strong, highly independent and more than determined to get to the root of Kenichi's disappearance.  She has no trouble trying to dig out information from people ranging from top company executives to the police to denizens of the neighborhoods her investigation takes her, and obviously she will not be satisfied until she knows everything there is to know, even if she has to rethink things now and again.  

The novel is utterly twisty, full of betrayals and secrets which eventually are unraveled to take the reader to another time and place entirely.  All of the above makes for  a solid mystery at the core of this novel, and I seriously had trouble putting it down once I'd started.  I have a great love for Japanese crime authors who use their writing to explore human nature and troubled psyches, and  Point Zero certainly appeals on that level as well.  What elevates it beyond ordinary is Matsumoto's ability to set the crime not only within historical context but in a changing social context as well.  This one I can certainly and highly recommend, especially to readers of vintage Japanese crime fiction.  I loved it. 

from blu-ray.com

I also watched the film adaptation of this novel made in 1961.  There is also a 2009 version that I would love to see, but I have to wait for a long while for my DVD to arrive.    For now, luckily I subscribe to the Criterion Channel and there it was (the 1961 film) along with other Japanese noir movies.  The beginning happens very quickly  with fast scene changes and seems a bit clunky;  later these quick cuts will be a bit more fleshed out via flashback. It's only when Teiko arrives in Kanazawa that the movie gets a bit more back on track, but I was definitely thankful I'd read the novel ahead of seeing the film or quite frankly I would have been shaking my head at the start wondering what the heck is happening here.   The powers that be did make a number of changes to the original source material, but even with those it is still well worth watching.  

The Devil's Flute Murders, by Seishi Yokomizo

 

9781782278849

Pushkin-Vertigo, 2023

originally published 1973 as Akuma ga kitarite fue o fuku (悪魔が来りて笛を吹く)

Translated by Jim Rion

256 pp

paperback (read earlier this month)

I really love these Kindaichi novels -- over the years I've become a huge, huge fangirl.  According to Wikipedia, it looks as if this book first appeared as a serialization that ran from 1951 through 1953.  It was later published in 1973 in book form, and now the good people at Pushkin Vertigo have published it in an English translation, thanks to Jim Rion.  Going with that same article in Wikipedia, The Devil's Flute Murders is number fifteen in the series starring Yokomizo's detective Kosuke Kindaichi; it is the fifth of the Kindaichi books to have been published in English by Pushkin Vertigo.  Just a heads up here: at the Wikipedia page for Seishi Yokomizo,  I noticed that there is another translation coming from Pushkin Vertigo in 2024, The Little Sparrow Murders.  I will be grabbing that one as well, of course.  

As I've said many times, I love mysteries based on events of the past and this one did not disappoint.   

Very briefly, the action begins  in Tokyo in 1947, and much of the city and other parts of the country are still in ruins after World War II.  It is also a time when the aristocracy class as a whole is marking the last of its days, a phenomenon, as the author notes, examined that very year by Osamu Dezai in his work The Setting Sun (1947).  It would be later that year that the peerage came to its official end with the establishment of the new Japanese constitution, but when Viscount Hidesuke Tsubaki was found dead, he was still officially a member of the "sunset class." Before then, he had been a quiet and unassuming man with no cares about influence or ambition. He was also an accomplished flautist whose recording of "The Devil Comes and Plays His Flute" was quite popular.  His home in Tokyo had survived the firebombing of the city, but unfortunately that wasn't the case with his brother-in-law's residence, which was destroyed, prompting him to move into Tsubaki's home.   This relocation caused no end of stress for the Viscount; the addition of his wife's uncle Tamamushi coming to live at the estate only worsened the situation.   Then on March 1, Tsubaki simply vanished, leaving home "without a word of explanation to his family," never to return.   Some time passes before his body is discovered, identified by his daughter Mineko and other family/household members.   As this novel begins in earnest, in September Mineko has made her way to see private detective Kosuke Kindaichi  with a bizarre story that immediately captures his attention.  It seems that after Tsubaki's death, her mother Akiko, her maid Otane and her uncle's mistress Kikue had gone to the theatre where Kikue had clearly seen the Viscount sitting in the front row of the balcony.  He was gone by the time they had the courage to go and check it out, but seeing him had sent Akiko into a panic.  Kindaichi agrees to go to the Tsubaki home when Mineko mentions a "divination" (sort of like a séance) that is about to be held there.   He enters into a most surreal and strange experience resulting from that event that surprises everyone else as well, but that's just the beginning:  it is there for the first (but not the last) time that he hears the sound of Tsubaki playing his  "The Devil Comes and Plays His Flute," which, together with sightings of Tsubaki walking in the estate grounds, rattles everyone in the household.  From that point, Kindaichi is fully involved; what he can't possibly predict is that the deaths will pile up before he can get to the core of this mystery based on secrets that go well back in time. The Inugami Clan continues to remain at the top of the list of my favorite Kindaichi novels, but The Devil's Flute Murders definitely comes in a very close second.  While there is a solid mystery at its core, Yokomizo also examines the deleterious effects of wealth, social status and privilege, and in this case it's not just ugly, but deadly. 

 I've purposefully  offered only a barebones description  here since the book itself is quite involved with a level of complexity I haven't yet seen in this series; after having finished it, I can see why the serialization of this novel lasted so long.   Yokomizo obviously took his time,  allowing  Kindaichi to unravel each and every strand (and there are many) of this perplexing case until the detective can get to the bottom of it all.  It might be worth noting here that if you're someone who wants their mysteries solved quickly with a standard cut-and-dried, formulaic approach to a solution, you won't find that here.  Another thing:  the huge cast of characters is listed in the front in a sort of dramatis-personae type thing, but I became pretty frustrated at flipping back to that list time and again so I finally ended up just making a copy to leave nearby while reading.   And speaking of characters, at one point I actually said to my spouse that I believe this is the first time in reading a book where there were  only two people  I liked, and that was Kindaichi and the dead Tsubaki.    Reader beware -- if you're someone who has to like the people inhabiting your books, you might be a bit disappointed.    

I am beyond happy to report that I did not guess the who until nearly the end when Yokomizo almost hands it to the reader,  although I will say that I did sort of figure out the underlying why in a vague way a bit earlier.   If I explain what it was that made me get that far,  it wouldn't be fair to people who may decide to read this book, so we'll leave it there.  Bottom line: when all is said and done, The Devil's Flute Murders is a solid and compelling mystery that regular readers of Japanese mysteries in translation or regular readers of the Pushkin Vertigo Kindaichi series novels should absolutely not miss, although it is very different in many ways from its predecessors.   

*****************

As the book was winging its way to me, I had purchased a copy of the 1979 film adapted from this novel, but after  some research, I found at least two more adaptations, the earliest dated 1954.  If there are more I haven't found them yet so if anyone has any info, please let me know.   Toshiyuki Nishida has the role of the very, very scruffy Kindaichi, and while the movie is quite good, had I not read the novel prior to watching the film I think I would have been lost. The powers that be who put this movie together made several changes that detracted from the essence of the book, but it was still an entertaining film, complete with subtitles.

from Film Affinity

The version from 2018 (available with subtitles on YouTube) is the better of the two, with Hidetaka Yoshioka as a very angsty Kindaichi.  This adaptation was an NHK TV movie, and the storyline was 

clear and straightforward, making it easy to pick up on what's happening even if you haven't read the

from ho-lingnojikenbo

 book.  This was even better than the Kindaichi films I've watched that were done by Kon Ichikawa, which for me is saying a lot.

The Mill House Murders, by Yukito Ayatsuji

 

9781782278337

Pushkin Vertigo, 2023

originally published as Suishakan no Satsujin Shinsou Kateiban, 1988

translated by Ho-Ling Wong

253 pp

paperback

The Mill House Murders is apparently the second of several books by this author in what Wikipedia refers to as the "Bizarre House/Mansion Murders" series. I've previously read his The Decagon House Murders (also published by Pushkin Vertigo),  the first in the series and a really good mystery that cinched the deal when it came to preordering this book. And while I had the inklings of a solution to this mystery vaguely floating on the periphery of my brain, The Mill House Murders still managed to seriously stump me as I couldn't figure out either the who or more importantly, the how.  

The novel begins at 5:50 a.m., September 29, 1985, within a prologue in which we learn that it is nearly dawn, and the group of people staying at the home of Fujinuma Kiichi have had a very bad September 28th night. While a typhoon raged outside, things inside the Mill House had taken a horrific turn -- a woman had fallen from the tower room,  a painting had vanished, and one of the guests had simply  disappeared.  As if that's not bad enough, things are about to get worse, with the discovery of a dead man in the incinerator, "cut up in pieces and burnt."  It was, to quote Fujinuma, "a blood-soaked night."   Flash forward exactly one year later, and once again a major storm is making its way to the area, and once again guests are expected at the Mill House. Aside from a caretaker and a housekeeper,  Kiichi lives in the house along with Yurie, whose father's dying request was that Kiichi take her in.  Not too long after he had done so, Kiichi had been involved in a car accident that had left his limbs damaged along with his face, leaving him with the desire to withdraw from the world. He had Mill House built, and he and Yurie spent a rather solitary existence, with Yurie spending most of her life in the house's tower room until the two eventually married.  The Mill House is named for its three water wheels that provide the house with its electricity; as one of the guests remarks about them, they

"...  almost look like they are turning against the flow of time, keeping the house and everything in this valley frozen in a never-ending moment." 

It seems as though this is precisely what the reclusive Kiichi desires, but as idyllic as it sounds, it is evidently not meant to be.  

It seems that every year on September 28th,  a small group of Kiichi's acquaintances make their way to his home to view his collection of his famous-artist father's paintings, which he kept only for himself and not for public consumption in an exhibition.  It seems that these well-known paintings have strange effects on the viewer, often to the point of producing a hallucinatory reaction, but there is one that Kiichi will allow no one to look at known as "The Phantom Cluster," making his guests want to see it all the more.    This year there will be an extra, uninvited guest by the name of Shimada Kiyoshi who is not only interested in the events of September 28th of the previous year, but also a friend of the man who had disappeared at the time, who was thought to have been responsible for the theft of the painting and most likely for the death of the incinerated man.  As Shimada says to his host, "something about the case bothers me. There's something not right ..."   And yes indeedy, there is something very wrong in this house, beginning with the first death, bringing back fresh memories of that night a year earlier, as well as the question of  whether history might be repeating itself once again.  

2008 Japanese cover (which I must say beats PV's cover by a mile) from Amazon Japan

Shimada's theory is that the police investigation of the 1985 events was flawed, and he is there to try to find out "with my own eyes and ears" what had happened.   He is not there in any official capacity, nor is he there to catch the killer; his mission is to simply discover the truth.   As they say in Japan, 頑張ってね, -- ganbatte ne -- good luck.  He'll need it.  As he notes at one point, 

"... solving a problem is a lot like solving a jigsaw puzzle. However, in this case we don't have a picture of the completed puzzle, nor do we know how many pieces there are in total. And of course, the pieces of our mystery might not be flat, but three-dimensional, or perhaps they even have four or five dimensions. So depending on who is putting the pieces together, we could all end up with completely different pictures, or perhaps I should say 'shapes.'

 Given what's going on at the Mill House, solving this particular puzzle is  definitely not going to be easy. 

There is seriously nothing like reading a book that takes place during a major storm while in real life there's thunder and lightning at play all around you, making The Mill House Murders atmospheric and a bit creepy at the same time.   This story begins in the past, moves into the present, and continues in this way throughout the novel. At most points both timelines are set as a mirror of the other, as Shimada's questioning goes on and he gains more information and more clues as to what had happened in 1985.  That is not to say that 1986 doesn't have a few surprises in store; as I said at the beginning of this post,  I thought I had at least a sort of outline of the solution in my mind (I actually sort of did in a vague way guess a small part of it) but by the end, the various twists and turns taken throughout this story brought things to a level at which I would never have guessed.   The truth is that I'm always so happy to end a book with a with a huge gasp when all is revealed; this is twice now that it's happened with this author.  

At Pushkin's website, there is a short bio blurb that says that Ayatsuji is a 

"Japanese writer of mystery and horror novels and one of the founding members of the Honkaku Mystery Writers Club of Japan, dedicated to the writing of fair-play mysteries inspired by the Golden Age Greats. He started writing as a member of the Kyoto University Mystery Club, which has nurtured many of Japan's greatest crime writers."

I do hope that Pushkin Vertigo will go on to publish at least a few (if not all) of the remaining Bizarre House/Mansion Murders books by this author -- for me The Mill House Murders was very well done, highly satisfying and really quite ingenious.  I happen to love these sort of mysteries;  they aren't always for everyone but I thrive on puzzle solving of any sort and these books are definitely puzzlers, in a very good way. 

 Recommended to regular readers of Japanese crime fiction/mysteries.  

Death on Gokumon Island, by Seishi Yokomizo

 

9781782277415

Pushkin Vertigo, 2022

originally published as Gokumon-To, originally serialized 1947-1948

translated by Louise Heal Kawai

310 pp

paperback

Completely overjoyed when I learned last year that this book was going to be published by Pushkin Vertigo, I hit the preorder button at lightning speed.  At the same time, I bought a dvd of the 1977 film made from this novel, directed by Kon Ichikawa, which I watched last night after finishing Death on Gokumon Island.  More on that later.    

It's September, 1946 and as the novel opens, a ferry is making its way to a few different islands in Japan's  Seto Inland Sea.   It drops its passengers until there are only three left, all heading for a small island, Gokumon-to, which translates to Hell's Gate Island.  One of these people is Kosuke Kindaichi, who overhears a conversation between the other two -- a priest who had gone to pick up the once-confiscated, now-returned bell belonging to Senkoji Temple, and another man who informs the priest that someone named Hitoshi was "supposed to be coming home soon."  He had heard the news from a soldier in Hitoshi's regiment who had come to the island a few days earlier, when the guy had turned up to tell the family that Hitoshi had sent him to let them know not only that he would be returning, but also that he hadn't been injured in the war.  The priest then asks about someone named Chimata, which captures Kindaichi's attention, sparking a conversation among the three men.  It turns out that Kindaichi, a friend of Chimata, had come to Gokumon-to let the Kito family know of his death aboard a transport ship just a month earlier. 

Kindaichi, "like every other young man in Japan," had been drafted into the army, where he had spent two years in China before being deployed "between different islands to the south." His last stop had been in Wewak, New Guinea, where his division had been defeated, causing them to retreat; his division had joined others and it was then that Kindaichi had met and befriended Chimata-san,  helping him through his bouts of a very bad case of malaria and spending time together while the other soldiers "fell one after the other."   While they eventually made it out okay when the war ended,  each time Chimata fell ill Kindaichi noted that he suffered from "an extreme fear of death."  All was well, it seemed, until Chimata fell ill on board the repatriation ship; before he died he had told Kindaichi that he didn't want to die, and that he had to go home.  Otherwise, he said,  his "three sisters will be murdered."    Exactly why this might be is not explained until the end, but by then, it's too late -- it seems that Chimata had been right, and now our detective must try to discover who is behind these (quoting the back cover) "grotesquely staged" deaths that start not too long after he lands on the island. 

1971 cover from Mandarake

He will definitely have his work cut out for him, since the islanders tend to regard anyone not from there as suspicious; he is even arrested once by the local police sergeant who has no idea of his prowess as a "famed detective" and who views him as prime suspect in the case.  With the arrival of his old friend Inspector Isokawa (from The Honjin Murders) Kindaichi is released (to the sergeant's great  chagrin, I might add), but even then it will not be smooth sailing because, as he says to Isokawa, "everyone here on Gokumon Island is crazy. They're all out of their minds."   Perhaps, but while the Inspector makes note of the insanity behind the murders, Kindaichi eventually realizes that there is most certainly a method behind the madness on the part of whoever is responsible.  

What is done very well is the description of the longstanding power structure on the island and then there's the novel's  immediate postwar setting which captures the  demobilizations that are still ongoing, the families who continue to wait for their loved ones to return home and sit by the radio to hear the latest repatriation news, and a real sense of how the war has interrupted the flow of life for most people such as Isokawa, whose career had basically stalled during World War II and remains unsettled at the moment.   At the same time, the real payoff  in reading Death on Gokumon Island must wait for the end.  I was actually becoming a bit frustrated partway through because the story becomes more than a bit muddled and clunky at times; to be fair to the author, he does toss out clues here and there but they are on the impossible side of figuring out until all is revealed and things fall into place.  Trust me -- even the most seasoned armchair detectives will not be able to figure this one out.  Word to the wise: pay attention to the list of characters offered up front; I found myself returning to it several times.

 So far, Pushkin Vertigo has published four of the books in Seishi Yokomizo's Kosuke Kindaichi series:  The Honjin Murders, The Inugami Curse, The Village of Eight Graves and now this one.  According to Thrilling Detective, there are seventy-seven books featuring Kindaichi, so with any luck (crossing fingers) we may be seeing more in translation.   As I've noted before, my favorite is The Inugami Curse apa The Inugami Clan, but with another seventy-three left, who knows what little gems are yet to be uncovered in this series!  Despite my reading reservations at times,  Gokumon Island ends up being not only clever, but the author injects more than a twisted sense of destiny as well as a sort of tragic irony into this story once all is said and done.  Recommended for fans of the series and for Japanese crime fiction in general; it may be a bit slow in the telling but the reward is well worth waiting for. 

from TMDB

The Japanese film (1977) based on this novel (directed by Kon Ichikawa, whose The Burmese Harp I could watch on a continuous loop) starts with the same premise as the book, but for some reason I still can't fathom, the powers that be here then changed the storyline, including the identity of the killer.  Also unexpected and producing a very loud "wtf"  was a decapitation scene, and I have to say that I actually cringed every time Kindaichi scratched his head releasing clouds of very visible dandruff. Ick.  On the other hand, it streamlines the rather convoluted story making it easier to follow, but I'm glad I read the novel before viewing the movie.   All in all a fun experience but in my humble opinion, not quite as well done as the movie based on Yokomizo's Inugami Clan, also done in the 70s but miles better than this one.  

My Annihilation, by Fuminori Nakamura

 

9781641292726

Soho Crime, 2021

originally published as Watashi no Shometsu, 2016

translated by Sam Bett

257 pp

hardcover

My Annihilation is yet another book I'm reluctant to label as simply crime fiction -- there are layers upon layers to unfold during the reading, and as the author himself notes in an afterword, in this novel he is exploring 

"questions about what it means to be human, and what it means to exist in the world,"

as well as the question "what is a self?"  

It doesn't take too long to become completely immersed in this novel, which begins in "a cramped room in a rundown mountain lodge," where our narrator is considering the "various forms of identification" in his bag, all belonging to someone named Ryodai Kozuka.   In a corner of the room is a white suitcase which he did not bring there, and on the desk is a manuscript, which he believes just might be Kozuka's life story.  As he begins to read, he finds a warning:

"Turn this page, and you may give up your entire life," 

but the narrator reveals that he has "no intention" of giving up his "old life;" all he wants is Kozuka's identity.   Noting that while Kozuka may have left some "unfinished business" behind, he assures himself that "it was no business of mine."    It's at this point (and we're only on page four) that I realized that it may have been a smart thing to heed that warning, but on into the manuscript he goes.  

What he discovers within is unsettling, at best.  It begins with Kozuka's narrative about his childhood experiences, about which after only one-third of the way through, the narrator observes a similarity to his own story.  Reading on, he comes to a passage where Kozuka, looking back, notes that 

"... It doesn't even feel like this is me. It's all so blurry, like something shrouded in a distant fog.  But evidently somebody is going to take my place. Someone willing to take over for me, accepting all the horrors ... I'm going to be saved."  

This bit obviously disturbs the narrator, but only momentarily;  continuing on he comes to the story of  real-life serial killer  Tsutomu Miyazaki,  "one of the most infamous criminals in Japan."  And while the narrator asks himself "What was all that about?"  we know that there are certain things that link both Miyazaki and the author of the manuscript, which I won't mention to avoid spoilers.  Yet for our narrator, nothing seems more important at the time than opening that white suitcase, until he is interrupted by the ringing of a bell to his room.  That's when things, if not weird enough already, start to take the reader far, far down the rabbit hole.  

Without spoiling things for potential readers, what actually emerges here is a sinister plot for revenge,  and I must say it's one of the creepiest I've encountered, with the actual mystery behind it all taking a number of  surprising twists and turns before all is revealed.   Underlying this novel is the answer to the question of "what is a self,"  to which the author responds that  "Under a particular set of circumstances, it becomes impossible to tell."  Using various forms of textual material throughout the novel, the author runs with this idea, revealing just how easy it is "to get inside a person's head," an idea at the very heart of this story.  He raises questions of identity and memory, especially the ways in which they might be changed or in this case, even created. With that then comes the question of what happens to the original self that must somewhere continue to exist; this sort of philosophical/psychological underpinning  is why I noted my reluctance at the outset to define My Annihilation as just another crime novel. At the same time, it moves this book well and deeply into the literary zone, and as the back-cover blurb notes, "into the darkest corners of human consciousness."   In short, it's right up my alley.  

I love to try to solve mysteries as I read them, but My Annihilation is  one of those books where just when you think you have a handle on things, there's a shift and you realize you're completely off base.  As quickly as things change here, for me it became a matter of just giving up, going with the flow and letting things reveal themselves.   I'm not sure I'd recommend this one to all crime/mystery readers, but it's definitely for people who like their reading on the darker side.  

The Village of Eight Graves, by Seishi Yokomizo

 I'm looking at the date I was last here -- September!  Yikes!   I have to say that we had an extremely rough 2021 which is actually putting it mildly, but now, thankfully, we've turned that corner and things are much better and slowly getting back to normal going into 2022.   I'll be picking up where I left off with the septimo circulo list shortly as well as with a stack of books I've sadly neglected.    Truth be told, I'm just glad to be back.  

 9781782227453

originally published 1950

translated by Bryan Karetnyk

349 pp

paperback

Village of Eight Graves will be the third book I've read that features the somewhat shaggy-looking detective Kosuke Kindaichi, whose creator Seishi Yokomizo wrote him into a grand total of 77 novels.  Pushkin Vertigo has also published translations of his The Honjin Murders and The Inugami Clan (my favorite of the bunch so far), and there will be another one, Gokumon Island  later this year.   I've already preordered the last one, and I bought a dvd of that film as well.  I tried to find a copy of Village of Eight Graves on dvd, but I'm not all that sure I really want to pay the $60 the one I actually found goes for.   I did however, content myself with the trailer on YouTube (note: if you to and take a look at it you should know ahead of time that there are no English subtitles, but you'll get the drift).  

The story in Village of Eight Graves is set in postwar Japan, but before arriving in that time period, Yokomizo takes his readers back in time to the sixteenth century to explain how the village got its strange name.  Legend has it that eight samurai fled when their daimyo surrendered to another, taking along with them some 3,000 tael of gold.  They ended up in the village, where the people were hospitable to them until they learned that the samurai were being sought;  at that point they killed all eight, offering their heads in exchange for a promised reward.   With his dying breath, however, the leader of these warriors put a curse on the village, "vowing to visit his vengeance upon it for seven generations to come."  The villagers never did find the gold,  and six months later, the "ringleader of the attack on the warriors," a certain Shozaemon Tajimi,  went more than a bit beserk and not only killed members of his family but "every villager he came across."  Seven died, and Shozaemon killed himself, bringing the total to eight.  Believing that this attack was some sort of "retribution from those eight warriors who had been murdered in cold blood," the villagers decided to give them proper burials, "erecting eight graves where they were venerated as divinities."  

Flash forward first to the 1920s and then on to the postwar era,  as a young man named Tatsuya Terada recounts the story of  how he "embarked on an adventure of dazzling mystery and stepped into a world of blood-chilling terror."   It all begins with  the appearance of an attorney who comes looking for Tatsuya on behalf on someone who has been looking for him.  Identity satisfied, all the lawyer will tell him is that the person seeking him out is "extremely wealthy" and wants to "adopt and provide" for him.  But before he gets any further news, he receives a letter telling him  to "never set foot in Eight Graves again,"  and that if he does, "there will be blood!"  It was the first Tatsuya had heard of Eight Graves, but in another visit to his lawyer, he meets his maternal grandfather, whom the lawyer reveals is actually not the person looking for him.  However, he offers Tatsuya his true identity as the son of Yozo Tajimi, reveals that he has two unmarried half-siblings, and that neither one will ever have children. To prevent the Tajimi line from dying out, it seems that his great aunts have decided to name Tatsuya as the Tajimi heir.  But before Tatsuya even travels to the village, he is there when his grandfather dies, not a natural death, but one determined to be from poison.  This is the first of a number of strange deaths; the remainder will wait  for Tatsuya's return to Eight Graves Village, where it doesn't take long for the villagers to believe they are all done by Tatsuya's hand.  If I say much more there won't be a need to read the book, and people will likely be upset that I've spoiled things.  However,  it's when Tatsuya is taken to Eight Graves Village that not only do the deaths continue, but also that there are a number of strange, seemingly inexplicable occurrences that will test Tatsuya's mettle to the limit.  And while Kindaichi is on the scene here and there, his role remains sort of behind the scenes until the very end, leaving a 300-page plus mystery for the armchair detective reader to try and solve.  I never did but I had great fun getting to the big reveal.    

from Amazon Canada.  Kosuke Kindaichi action figure.  I want one of these!. 

One thing brought out very quickly which is extremely well done here is the effects of fear and superstition on the villagers, all stemming back to the  sixteenth-century and the ongoing belief of these people that history tends to repeat itself,  leading to exactly what some people are capable of when overcome by fear for their own lives.   The mystery (and its solution) is beyond satisfying, and there are a number of suspects from which to choose to up the whodunit game.  Like any good mystery writer, Yokomizo lays down any number of red herrings that tend to take readers down certain paths before realizing they've been had.  Unexpected twists and turns abound right up until the very end, adding to the fun and continuing to add more to the mystery itself  as well as ratcheting up the tension level for the reader.  Two things: first, my advice would be to copy the cast of characters offered at the front of the book -- I ended up doing this not too long into the novel because I found myself  constantly flipping back and forth.  Second, the story takes a bit of a turn into the realm of adventure tale having to do with the samurai gold, which was a bit off-putting until I just let myself go with it, figuring we'd get to the solution at some point -- a good decision.    And while it's not great literature, who cares? It's an incredibly fun book that will test any mystery reader's solving ability.  Definitely recommended.

The Decagon House Murders, by Yukito Ayatsuji

 

9781782276340

Pushkin Vertigo, 2020

originally published as Jukkakukan no Satsujin  (十角館の殺人),  1987

translated by Ho-Ling Wong

284 pp

paperback

"We're just the poor insects that flew into the trap called the Decagon House"

Had I been eating something when the big reveal of this story came along, I probably would have choked because of the huge gasp that involuntarily came out of me.  As soon as that cleared, the first words out of my mouth were "holy sh*t."  I don't have that reaction very often;  even though there have been many times I've been truly surprised at the unmasking of the who, this one absolutely takes the cake.  

It began as a "little adventure" for seven members of their university's Mystery Club, who'd decided to make the island of Tsunojima the destination of their club trip.   They'd gone there looking forward to 

"Freedom on an uninhabited island. A cold case to pick over. A bit of a thrill."

They had arrived on the island on March 26th, having been taken there via fishing boat.  Tsunojima, located about five kilometers off the coast of Kyushu's Oita Prefecture, had been the site of a still-unsolved "mysterious quadruple murder" six months earlier, resulting in the deaths of Nakamura Seiji (last name first), his wife Kazue, and the "servant couple who worked for them.  Nakamura's gardener was thought to have been the killer, but it was never proven since he'd disappeared and never been seen again.  The murder culminated in a fire which had completely destroyed the main house, the Blue Mansion; the "annex building" known as the Decagon House was left intact.  Decagon House was to be their home away from home for the next few days; together, each of the seven members -- Ellery, Carr, Leroux, Poe, Van (short for Van Dine),  Agatha and Orczy -- comprised "the core writing group" of the club.  For the upcomng April club magazine, they were each asked  while on the island to write one story based on the magazine's title, Dead Island,  the name of the "first Japanese translation of Dame Agatha's masterpiece" known to everyone today as And Then There Were None. 

from Goodreads

Oh no, I thought, I don't want to spend my reading time going through a Christie ripoff, and as luck would have it,  aside from a few nods in homage to And Then There Were None, it turned out to be anything but.  

The novel moves back and forth between what's happening on the island and what's going on back on the mainland, where a former member of the University Mystery Club, Kawaminami Taka'aka, receives a mysterious letter containing only one sentence:

"My daughter Chiori was murdered by all of you."

Kawaminami is floored when he realizes the letter is from none other than Nakamura Seiji -- and that he's received an  "accusation made by a dead man."  What's more, he discovers right away that at least one other member of the club, now on the island,  has received the same correspondence.  Along with two other acquaintances,  he begins to delve into the matter of the strange letter, which leads them to also investigate the case of the quadruple murders of the previous September on Tsunojima.  In the meantime, the weirdness begins back at the island with the discovery of seven "milky white plates," on which red characters had been printed, 

quickly followed by the mysterious death of one of the seven and the first of the plates having been tacked to the dead person's door.  With no possibility of leaving the island, and as more deaths follow, as the back cover blurb notes, "the survivors grow desperate and paranoid, turning on each other." 

As I've always said about this genre that really stands on its own within the genre of crime/mystery fiction,  these stories are less character oriented and more about how the deed was done.   It's no surprise to me on reading several reader reviews  of this book that noted the lack of character development, because that's pretty standard with this sort of thing, something I've come to expect after reading so many of them.  Taking that aspect away, focusing on the who and the how, The Decagon House Murders becomes an intense puzzle, the solution of which I would never have guessed.  I will say that I'm a bit frustrated at not being able to share my experience with the identity of the who, but to do so would be giving away the show.  I do think I would like to take a look at the original though, because I'm not sure I would have translated some things in this book the same way, for example, in having one character refer to the group as "y'all."  I mean, come on. Seriously? 

I had great fun with this novel, and I certainly would recommend it to regular fans of this sort of puzzler, or to fans of Japanese crime fiction in general.  The ending alone was well worth the price I paid for the book.  

The Aosawa Murders, by Riku Onda

"I'll tell you the truth, as I know it."

Generally I don't reread crime/mystery novels because I can only be surprised once,  but this is no ordinary crime/mystery novel, and it affected me much more the second time through. After the original read I knew I had something great in my hands but things were still a bit murky; rereading brought clarity and I was flat out chilled.  

781912242245

Bitter Lemon Press, 2020

originally published 2005

translated by Alison Watts

304 pp

paperback

It was a summer day and a special one: there were two "auspicious" birthdays at the Aosawa home: those of Dr. Aosawa, now sixty, and the grandmother who was eighty-eight.  There was another birthday as well, that of a grandson, and it was a day for celebration.  A neighbor child, Junji, had gone home to get his brother Sei-ichi and sister Makiko to come back to the Aosawa house to join the festivities, and the three arrived back just in time to witness a "scene from hell."  Seventeen people lay either dead or dying from drinks laced with poison, six of them children.  Two people survive: Kimi, the housekeeper who had only had a small taste of her drink, and Hisako Aosawa, the young daughter of the doctor who had none.   Kimi was out as a suspect because although she survived she was hospitalized right away, severely ill,  leaving only Hisako.  The thing is though that she is blind, and had no way to identify any possible suspects; nor is there any possibility that she could have laced the bottles of sake and soft drinks containing the poison.  The detective investigating the case is sure it's her, but there is no evidence linking her directly to the crime.  The case stalls, but another line of inquiry opens centering on the man who delivered the drinks to the party that day.  It's not until his suicide that, as the back-cover blurb notes, "his actions seem to seal his guilt," but the question is why? No connections could ever be discovered linking him to the Aosawas.  And then there are those people who aren't convinced he's guilty, still holding on to the idea that it was Hisako who was responsible. 

Years later,  Makiko Saiga publishes a book about that day called The Forgotten Festival, which she claims was "ultimately fiction" although it was "based on facts and research."  Nonfiction, she says, "is an illusion," since "All that can exist is fiction visible to the eye. And what is visible can also lie."  Later her assistant will reference her work as a "grey area."  She had written Forgotten Festival after countless hours of interviews with people somehow connected to the crime;  and once published it caused quite a stir.   Now, thirty years after the murders, a friend of Makiko's younger brother feels compelled to start looking into the truth of things, going back to many of the same people who were  involved with the case or who had once been interviewed for The Forgotten Festival, including the detective on the case, Makiko Saiga and of course, Hisako Aosawa herself.

The Aosawa Murders is not simply about discovering the who and the why.  Among other issues, the author so disturbingly reveals throughout this story that although the murders happened thirty years earlier,  that day took its toll and  had a lasting, often devastating impact on several people, and continues to do so in the present.  She also asks the question of how to get to the real truth behind events, especially when it comes from so many different perspectives; there's also the ultimate question of responsibility. 

The author should be commended on how she put this book together, ultimately leaving it to the reader to go through several perspectives using personal recollections, newspaper articles, diaries, pieces of Saiga's Forgotten Festival etc. to pick up a number of clues before arriving at the chilling truth of what actually happened that day and why.    I discovered that there is nothing wasted here, that everything that everyone says is important, and the trick is in putting together things that may not at first seem to matter or to be connected.  We are handed that clue at the outset by Makiko Saiga, who as she is walking around the city talks about a "synaptic experience...all connected but separate."

If you must have a linear, easy-to-follow plot, or you're not one to really sit and think about what you've just read, this book is likely not for you.  This novel is brilliant; it is very different and quite cleverly constructed so as to provide a challenge to even the most seasoned of crime or mystery fiction readers.  It zeroes in on human nature which moves it well into the literary zone, which is where I most enjoy being.

For me, this book is not just Japanese crime fiction at its best; it is crime fiction at its very best.

The Inugami Clan, by Seishi Yokomizo

9784925080767
ICG Muse, 2003
originally serialized 1951-1952
translated by Yomiko Yamazaki
327 pp

paperback

"...we hear good tidings...

Having finished Yokomizo's The Honjin Murders, I moved right away into his The Inugami Clan -- a) it's the only other novel in this series to have been translated into English and b) I've had this edition sitting on my shelf forever so it was readily accessible.  Pushkin-Vertigo will be releasing another translated edition of this book called The Inugami Curse, available from the UK in February and here in the US in August of this year. 

Yokomizo opens his story with a scene that will be familiar to many readers of crime and mystery stories:  in a "labyrinthine" house on the shore of Lake Nasu, an elderly man is in his death bed surrounded by his relatives all waiting for the end.   The man is "the so-called Silk King of Japan" and family patriarch, Sahei Inugami, and while everyone "sat silently, listening to the old man's breathing,"  it doesn't take long before it becomes obvious that they're not actually there out of grief.  It seems that no one in the family has a clue about Sahei's "intentions" toward his "enormous fortune;" and as he moves toward his end,  the impatience  of the the eldest daughter, "unable to restrain herself,"  leads her to ask him bluntly about his "last wishes."  The family attorney, also in attendance, announces that he is in possession of Sahei's will, explaining that its contents cannot be made known until Sahei's grandson Kiyo returns home.  After the war, he was last known to be in Burma, but no one has seen him in some time.    If that fails to happen,  the attorney is authorized to read the will on the one-year anniversary of Sahei's passing.  As the head of the Inugami family silently slips away to his final moment of life, the narrator, looking back,  reveals that it was his death  that "set in motion the blood-soaked series of events that later befell the Inugami Clan."

 Some months later, Detective Kosuke Kindaichi arrives in Nasu, summoned by a mysterious letter penned by one of the family attorneys who writes of his fears of "events soaked in blood," and "One family member after another falling victim..."    Kindaichi's arrival coincides with the news that the missing Kiyo Inugami has finally been located and will be returning home,  allowing for the reading of Sahei's will upon his arrival.   The unexpected and explosive contents of this will, as the back-cover blurb notes, will trigger

"a chain of gruesome and bizarre murders as the members of the Inugami family are pit against each other in a desperate contest for his fortune." 

At this point, anyone thinking "been there, read that" is sadly mistaken.  While greed is often the underlying motive of many a mystery story,  Yokomizo cleverly adds to the mix long-buried family secrets, gruesome murders that leave even the most experienced policemen baffled and shaking their heads, a certain measure of sleight-of-hand, a unique crime pattern, several grotesque elements that would be perfectly at home in many a Gothic novel, and an unmistakable  pulpy vibe underneath it all.   While there are a number of plot elements that are certainly familiar to regular readers of mystery or crime fiction in this book, it's important to consider that much of what happens here, as in The Honjin Murders, is rooted in the time and postwar cultural vibe surrounding these events.    As an aside, Sari Kawana's Murder Most Modern: Detective Fiction and Japanese Culture is a great resource for regular readers of Japanese mystery novels; it's very helpful, and one I'd recommend for readers wanting more out of these books than simply story.

1976 movie poster from MyDramaList

My issues with this novel were not so much with plot (which I thought was very nicely concocted), but with Yokomizo's penchant for leaning toward the melodramatic and downright cheesy in his word choice/writing style, and then there are his descriptions of certain characters that became repetitive over time to the point where they tended to grate on my inner ear.   All the same, I had great fun with this novel and ended up liking it very much, despite the fact that it was not too difficult to figure out the who behind it all.   While that's an issue in my crime reading most of the time, it bothered me less with this book because it's not just the identity of villain that matters,  since there is so much more going on here. Parts of the plot are seriously demented and even horrific, making it much darker than many Japanese mystery novels I've read, taking it out of the realm of Agatha Christie  (where so many readers have placed it) and into much darker territory, where as a mystery reader I feel most at home. 


I would certainly recommend The Inugami Clan to readers who have some familiarity with older Japanese crime novels.  They're sort of in a class unto themselves and take some getting used to, but I genuinely appreciate these old books and I'm happy to see them being published again. 

ps/ my copy of the 1976 film will be here shortly -- I can't wait to watch it!!