The Bride Case, by Kristine Kathryn Rusch

 

"The Bride Case," by Kristine Kathryn Rusch, in Alfred Hitchcock's Mystery Magazine, September/October 2024.

This is the ninth time I have chosen Rusch's work for the best of the week.  She's good.  

Last week I said that in short stories science fiction seems to lend itself more to philosophical reflection than mystery.  A week later, here is Rusch coming to make a monkey out of me.

This story kept surprising me, not because of twist endings, but because the shape of it kept shifting.  It starts off conventionally enough:  The narrator - if he had a name I didn't catch it - is an attorney, on his way to an important homicide case, which we read a bit about.  But before that case starts he has time to look in on a client who is trying her first divorce case.  

Then something goes wrong, life-changingly wrong.  And the story shifts.  Later it changes again and we get to what the story is really about, as the narrator has to really think about his relationship with the law.

Violence. Characters in conflict. Philosophy.  All in one fascinating tale.

Midnight Movie, by James Van Pelt

 "Midnight Movie," by James Van Pelt, in Alfred Hitchcock's Mystery Magazine, September/October 2024.

A topic that comes up at least once a year on the Short Mystery Fiction Society list is: What's the difference between Alfred Hitchcock and Ellery Queen Mystery Magazines? I even wrote an essay on the subject.

Here is one difference: EQMM does not welcome stories that include elements of science fiction, fantasy, or the supernatural -- unless there turns out to be a mundane explanation. AHMM, on the other hand, sometimes lets such tales in, if there is a strong mystery element.

Which brings us to this week's story.  

The narrator runs a theatre.  Someone is murdered during a midnight show, stabbed by someone in the row behind them.  The narrator suspects the killer might be the customer he calls the Creep, who always wears a fedora and dark glasses (during a midnight flick?).  As it turns out the Creep is doing something quite different, and that's where the science fiction element comes in.

I think SF tends toward the philosophical more than mystery fiction.  It has to do with the "what if" element so often built into the genre.  "If X could happen how would that affect Y?" This story will entertain you and make you think. 

Bitter Cold, by Shannon Taft

 

"Bitter Cold," by Shannon Taft, in Notorious in North Texas, edited by Michael Bracken, North Dallas Chapter of Sisters in Crime, 2024.

The big question with historical fiction is: How much is too much? I'm talking about detail. You want the reader to believe you know what you're talking about, but you don't want them thinking they are reading a history book and falling asleep over it.

It may help if you're writing about something the reader knows nothing about, which is certainly the fact in this story - at least with this reader. 

It's January 1918, and the narrator, Major Evans, is the commander of military police at Camp Taliaferro, where American and Canadian pilots are being trained to fight and fly in the World War.  It is one of the coldest winters in Texas history and the troops are not prepared nor equipped for it. That could explain how Canadian Flight Cadet Charlie MacDonald wound up dead in his tent, except there is evidence that he was strangled.

Evans has to investigate the murder quickly while being pressured by the brass to play down a dangerous international incident that could play havoc with the already low morale.  

The story felt very real to me.