How does Anthony Horowitz do it? Bestselling author of Magpie Murders and The Word is Murder. Author of two Sherlock Holmes Novels, three James Bond novels and the popular Alex Rider series for young adults (13 novels, six graphic novels, seven short stories, a supplementary book and a TV series). Not to mention two long-running series for PBS — Foyle’s War (2002 – 2015) and Midsomer Murders (1997 →). And more.
Has the prolific author managed to clone himself? In a sense that’s what the author has done in the last few novels he’s authored, the latest of which is The Twist of a Knife (Harper), the fourth is his Hawthorne and Horowitz Investigate series of tongue-in-cheek mysteries in which (the real-life) Horowitz narrates the trials and tribulations of (the fictional) Horowitz, who serves as the long-suffering biographer / amanuensis to the enigmatic and exasperating private investigator Daniel Hawthorne, an ex-cop with a checkered past.
In this outing, (real) Anthony Horowitz puts the (fictional) Anthony Horowitz in the frame as the prime suspect in the grisly death of a critic who has just savaged the (fictional) author’s new play. To make matters worse, he’s arrested by a detective inspector who has it in for (fictional) Horowitz for damaging her standing in the police department as the result of his interference in a previously unsolved murder case.
Will prime suspect (fictional) Horowitz be able to enlist the aide of Daniel Hawthorne, the one person capable of proving his innocence (if, dear reader, he is in fact innocent...)? That remains to be seen, since (fictional) Horowitz, who has tagged along, albeit reluctantly, on three of Hawthorne’s investigations and produced popular books on each, has quite frankly grown tired of the super sleuth and has made it clear that he wishes to end the arrangement.
In setting the reader up for the murder to come, (the real) Horowitz treats us to the run-up to the play’s London opening, the building tension between cast members and director, the playwright’s opening night jitters, the impending judgment of the audience and the critics, expertly alternating between moments of humor and suspense.
At the after-party, we feel the discomfort that ripples through the room upon the arrival of critic Harriet Throsby, whose only agenda appears to be to antagonize one and all before breezing out, leaving them to await the publication of her review. They don’t have to wait for long. What fun (real) Horowitz must have had, thrashing the (fictional) Horowitz’ fictional fiction of a play!
Soon after, the police arrive at his flat. Throsby has been murdered, and all evidence points to (fictional) Horowitz as the killer. Charged with the crime, Hawthorne seems to be his only hope. In classic crime fiction fashion, a plot twist frees him and allows Hawthorne and (fictional) Horowitz just 48 hours to identify the real killer, turning The Twist of a Knife into a classic “ticking clock” thriller.
And with time running out, and the clock continuing its inexorable ticking, the duo is faced with the daunting task of investigating a minefield strewn with dead ends, red herrings, genuine clues, and at least seven suspects, all who had the means, motive and opportunity to put an end to the life of the detested critic. Meanwhile, the evidence continues to mount.
Perhaps it was Adrian, Harriet Throsby’s editor? Ahmet, the producer who will suffer financially if the play is a flop? The long suffering Arthur, Harriet’s husband? A member of the cast? Or…?
No spoilers here, but you are sure to enjoy the classic Agatha Christie-esque ending, as Hawthorne brings the suspects together and unmasks the killer. With The Twist of a Knife, the very real Anthony Horowitz delivers a comedy thriller that’s complex, compelling and completely satisfying.
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