Cortically Magnified

In a previous blog post, I reviewed Ellery Queen’s classic detective novel The Greek Coffin Mystery (1932), which manages to involve color blindness in its puzzles. But I am not done yet! I have a couple more. On one hand, it feels to me that color blindness is gimmicky as a plot device. A mystery writer must be quite desperate for new ideas if she or he has to turn to perceptual psychology (or any branch of specialized knowledge, for that matter).

I don’t think mystery novels by Ellery Queen are popular in western countries anymore, but they are still read in Asia. When I was a PhD student, every time I had to travel from my home country Taiwan to the USA, I would buy an Ellery Queen novel at the airport bookstore. This way, I could land in LAX with a solved mystery. Ellery Queen novels are substantial books with very complex plots - perfect for long flights because uninterrupted concentration is needed to tackle them.

During the lockdown, I finally found the time to read the first volume of G.K. Chesterton’s Father Brown stories. In general, I can’t say I like them as detective stories, because what I am looking for in this genre is brilliant deduction, and Father Brown doesn’t do that kind of thing. However, I was very impressed by a story titled The Sign of the Broken Sword. It’s a very unusual detective story, in which Father Brown analyzed the accepted narrative of a (fictional) historical event, and concluded that the overlooked inconsistencies could only mean one thing: the narrative was manufactured to cover up a deeper, tragic truth.