Overall Rating: 3.5 Stars ⭐️⭐️⭐️
I picked up”Three card Murder Club” in a 2 for £9 deal in Asda on a whim when food shopping one evening. This is in fact a locked room mystery and a true one at that; the term locked door mystery in present times is often abused or misleading and therefore the reader does need to be afraid of a hidden passage fix within the novel. Since the author "can solve a Rubik's cube in three minutes," it should come as no surprise that the murders in this novel are difficult for the detective characters to solve (more author profiles should include entertaining facts like this one). Con artists and grifters are involved in the mystery, as the title suggests, but their role in the story is unconventional, with the lines separating law enforcement from criminals being blurred in an in a captivating but fulfilling manner. Although Maurice Leblanc's Arsène Lupin is a well-known earlier example of a criminal turned investigator, I believe Blackhurst's treatment of the issue is more nuanced and sophisticated.
The goal in Blackhurst's instance is to present her two female heroines, Tess Fox and Sarah Jacobs, who are half-sisters. However, the reader is shown information about these individuals rather than being told it, which makes for an unexpected but effective introduction. Their acerbic interaction is shown effectively, and I liked how the roles are reversed. Rather than a more cliché victim-about-to-die prologue, I believe this adds additional curiosity because the reader is unsure of the direction things are headed in. In addition, the way the prologue was written made me think of TV shows when you only see a small portion of the show before the opening titles and music start.
In sharp contrast to the prologue, Chapter 1 opens with a body that physically lands in the first line of the current chapter, fourteen years later: “At 2:15 p.m. on Tuesday, February 5, the first corpse dropped from the sky and landed at the feet of a woman who was waiting for the Grove Hill number 7 bus”. There are several ways to reveal the body in a murder mystery, including However, I really like the subtle, direct approach.
The instability of DI Tess Fox's employment is shown in the opening chapter, which does a fantastic job of establishing her character: "It was put through to the spotless desk of Acting Detective Inspector Tess Fox of Sussex Major Crimes Team." Particular focus on the “acting”. The fact that Fox is related to the victim increases this vulnerability and gives the case a fascinating new angle. The mystery is increased by the fact that we don't know how Fox knew the victim or how she could have been connected to their death. We only know that she is eager to hide this relationship, therefore we can't help but question if she is dishonest police officer or a victim of the situation? To its credit, the story doesn't provide clear classifications like "good cop" or "bad cop," and the subsequent story further emphasises this lack of distinction. She takes evidence from the crime scene to hide their shared past, which is a risky move for a new series' detective protagonist, but Fox's softened stance doesn't appear forced. It, in my opinion, made it impossible to draw a sharp distinction between her and her con artist sister. However, I believe that Sarah's harsh upbringing is tempered by the revelation that she preys on the weak and the avaricious, among other less "honourable" con artists. The strategy is akin to that of the BBC television series Hustle.
It was interesting to learn more about Fox. The author does not provide the reader a tonne of information on Fox and or her relationships with her father and half-sister. The details are revealed more gradually. While the idea of a police officer as an "outsider" figure is not new, Blackhurst reinvigorates the trope in Tess's character development by putting her outside the boundaries of her family, which is centred around running a sizeable and prosperous grifting enterprise. With few exceptions—using her full name, Sarah Jacobs, or the more derogatory term, "the other woman,"—the 14-year separation between Fox and her sister is well portrayed. Because of their lack of intimacy and the fact that one of them works as Con artists by trade, therefore their suspicion of one another is natural and effectively exploited. I also like the rivalry between these two characters and how outside forces force them to cooperate. In that regard, the author offers strong character motivation.
The murders that are given to the reader have many intriguing characteristics, and Tess Fox and her team investigate the issues surrounding the logical ways in which they were done. Despite her expertise of tricks and illusions, it is not surprise that she goes to her sister to see if she can shed light on conventional tactics, as they don't appear to be producing many results or leads. However, even though the protagonists used every resource at their disposal to solve the murders, I didn't think much progress was made towards understanding how the killings were carried out throughout the book. Maybe more page space is devoted to the developing drama between Tess and Sarah than to the "how" of the crimes. This makes sense because the story keeps building the stakes for these two. Though some of Sarah's reconstructions rely on conjecture and speculation, I believe that more easily available imbedded clues would have been helpful given the complexity of these crimes—which are reminiscent of the TV series Jonathan Creek. Because of this, the "how" of the case becomes clear only towards the conclusion of the narrative, when Sarah finally shares her conclusions. As I am I doubt you can figure them out on your own unless you've read a lot of mysteries with locked rooms.
Nevertheless, I liked how each of the sisters came to the "who" of the story independently and in a unique way. I would argue that this is a promising beginning to a new series because the author also gives a very heated finish that leaves the characters with no simple or easy choices.