Unraveling a Mystery Like No Other: A Review of Hazell Ward’s The Game Is Murder
As a book blogger and devoted lover of mysteries, I’m constantly on the hunt for works that push boundaries and challenge genre conventions. When I first came across Hazell Ward’s debut novel, The Game Is Murder, I was instantly intrigued. A murder mystery that promises not just a whodunit but an astute dissection of the genre itself? Count me in!
From the very first page, Ward invites readers into a captivating setting—a Georgian house of mirrors—for a murder mystery party that promises to be both thrilling and provocative. The case revolves around the chilling murder of Sally Gardner in the basement of 8 Broad Way, London, where all signs point to Lord John Verreman as the prime suspect. It sounds like the classic setup for a cozy mystery, but Ward’s unique twist transforms the reading experience into something both electrifying and unsettling.
The protagonist, Maximillian Enygma, is an anti-hero for the ages—washed up, struggling with addiction, and grappling with his mental health. As he delves into the Verreman case, Enygma’s journey becomes a metaphor for our relationships with narrative itself. I found myself not just observing his struggles, but feeling his frustration when he realizes he’s trapped by the very conventions of mystery fiction he embodies. Ward’s ability to blur the lines between reader and character creates an immersive experience that had me questioning my own role as an audience member.
One of the standout points in Ward’s storytelling is her masterful use of structure. The chapters are cleverly titled after classic mystery novels, and the shift from second to third person is jarring yet effective, emphasizing the frail nature of reader agency. It’s as if Ward is reminding us that while we are here to solve the puzzle, we are also at the mercy of her narrative whims—something that sends delightful shivers down your spine.
Throughout the novel, the humor and wit shine through, preventing the metafictional exploration from becoming too pretentious. I particularly enjoyed the self-aware moments when Enygma’s failures mirrored those of famous literary detectives. Notably, there’s a hilariously awkward attempt to mimic Hercule Poirot, which provided comic relief in the book’s more serious tones.
However, I must admit that the middle section, filled with courtroom scenes and overly detailed evidence presentations, occasionally stalled for me. While Ward’s critiques of genre conventions are astute, they sometimes felt like a lecture, pausing the excitement of the plot. But as I turned the pages, the story’s underlying strength—a gripping murder mystery with relatable stakes and gripping motives—shone through.
I believe The Game Is Murder will resonate most with those who enjoy literary experimentation and don’t shy away from deconstructions of beloved genres. It’s a book that honors the legacy of mystery fiction while simultaneously questioning its foundations, making it a captivating read for anyone interested in the possibilities of literature.
In conclusion, Hazell Ward’s debut is an ambitious experiment that showcases both her confidence and skill as a writer. While it may not be a traditional whodunit, its unique structure and meta commentary offer much to ponder long after the final page. For readers willing to embrace the intellectual challenges presented, The Game Is Murder isn’t just another mystery; it’s a significant statement about the future of the genre. If you’re ready to join Enygma on this intriguing and occasionally frustrating journey, I wholeheartedly recommend diving into this remarkable debut.
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