Death Invites You – Paul Halter (1988)

DeathInvitesYouI had originally intended to read Death Invites You as my first Paul Halter novel, and with good reason.  It boasts the most intriguing set up of any of the French author’s English translations – quite the feat, given an impossible crime catalogue laden with rooms that kill, invisible assassins, bodies surrounded by untouched snow, and every manner of locked room puzzle – plus I’ve seen a number of reviewers list it as his best.  How then does this book end up being the tenth Halter I’ve read?  Honestly, I have no excuse other than a capricious hand when selecting my next reads.

As for that set up, it’s as impressive as it gets.  A dinner party arrives to find their eccentric host locked in his office.  Unable to summon him, they eventually break down the door and stumble upon a bewildering sight.  A full banquet has been spread out on a table, the food still steaming hot.  Something else is steaming – a dead man sits hunched over the table, his face in a bubbling pot of oil.  All doors and windows are thoroughly locked from the inside.  Witnesses in the house saw no one entering or exiting the room in the time leading up to the incident, and there’s no evidence of how such a feast could have been prepared from within.

Oh yeah – these same circumstances echo an unsolved crime from decades earlier, right down to the obscure detail of a bowl of water sitting beneath one of the windows.

It’s about as intriguing set up as you get.  Well, I hate to say it, but there isn’t much meat on the bone beyond that.  Death Invites You feels very one dimensional compared to the rest of Halter’s work.  Whereas your typical Halter will feature at least three threads running in parallel, with multiple crimes/puzzles spanning various locations, this one is very much confined to the one crime and the house in which it was committed.  I don’t know if that’s so much of a criticism – this is much better than works by most other mystery writers – but it feels somewhat stifled; cut short as if better destined for a novella.

It’s strange: Death Invites You has a similar page count to other Halter works, and yet it feels like it comes in about fifty pages short.  You get the crime scene setup, then the detectives move around a bit and conduct their business, but that’s about it.  It was over in a flash.  There are a lot of fun theories thrown around to explain different aspects of the crime scene, and it’s an engrossing read, but looking back there seems to be so little that happened.

It probably didn’t help that I spotted the killer easily and a key “misdirection” scene played out as clear as day.  Plus, the solution to the whole thing fell a bit flat.  I’m sure I’ve never seen this exact solution, but I can easily think of three variations on the trick in other books.  For such a brilliant set up, I was looking for an equally clever finish.

Granted, Death Invites You was one of Halter’s first novels.  Following narrowly on the heels of The Fourth Door and The Crimson Fog (the latter earning an in-story reference despite taking place nearly a century earlier and with Halter’s alternate series detectives), we’re treated to an author still in the first album phase – pouring out that pent up creativity which in some ways may surpass their later work, yet lacking the refinement that would come in that sophomore effort (in this case, The Madman’s Room, The Tiger’s Head, and The Seventh Hypothesis – just two years later).

It’s interesting to compare Death Invites You to The Crimson Fog (both having come out in 1988).  The Crimson Fog features an excellent first half, that in a sense feels like its own self contained miniature story, yet somehow gets overlooked in most reviews in favor of the unnecessary second half.  Now as good as that first half is, it’s not enough to carry a complete novel.  Perhaps it shines because it’s part of a larger work. Death Invites You seems like that first half of The Crimson Fog, but in being offered up on its own, feels anemic instead of shining.

But, this is still Halter, and he plays with the reader deftly even in his early career.  As an author, he’s well a step ahead of you, anticipating exactly how the experienced armchair sleuth will interpret several key clues.  On the other hand, some of these clues are ultimately just that – devices to toy with the reader.  When your imagination gets set spinning by a clever set up, it can be disappointing when it winds up as merely a prop in the end.

So no, I don’t see Death Invites You as Halter’s best.  I’d actually probably list it last of the ten books I’ve read so far.  And yet, for me, Halter’s weakest effort is more fun and imaginative than most other books I’ll read this year.  Ultimately, that’s a testament to how strong the rest of his work is.  Hopefully Locked Room International keeps these translations coming.  I’d love to see what came the following year (1989) with Death Behind the Curtains, or to sample later works with as intriguing titles as The Twelve Crimes of Hercules, The Bloody Match, 139 Steps from Death, or The Curse of Barbarossa.

13 thoughts on “Death Invites You – Paul Halter (1988)”

  1. I found this rather disappointing; like you, I spotted whodunit early on.

    Rideaux and 139 pas are both good. Don’t get excited about Barberousse, which is actually his first book; the ‘solution’ to the impossible crimes is a cheat and a let-down.


    1. From what I can find, The Curse of Barbarossa was published in 1995. Was it an early story that Halter had worked on prior to The Fourth Door, and then released years later?


  2. I actually liked the lack of “triple story lines” here and felt that, for an author who gives us pasteboard characters, these were at least interesting. As often happens to me with Halter, I spotted the killer almost from the moment I met them, and that scene I believe you are alluding to merely confirmed it. It was a perfectly admirable choice for killer, with none of the silliness of, say, The Invisible Host, but it was stupendously obvious from the start. I feel like we could do a treatise on the psychological/emotional reactions of a mystery fan as they plow through a book absolutely certain, from start to finish, of the ending.

    I have The Curse of Barbarossa and have tried to read it three or four times but have some trouble for reasons I won’t go into here. This was his first work, I believe, and I wasn’t even sure if this <i.was published until he had been established for a while.


  3. It’s not his best, but it’s a great place to start — I’m inclined to believe that you would have liked this more if you’d read it earlier in your Haltering.

    I can’t disagree with what you say above, you’re not inaccurate in your criticisms of it, I just enjoyed it more for whatever subjective reasons make the discussion of books such fun. After The Madman’s Room it’s a bit of a disappointment, but isn’t everything? 🙂


    1. Yeah, that thought did strike me – if I had started with this as my first Halter, I think I’d have a much more positive view of it – it would be a brief, quirky, imaginative ride. But, yeah, once you hit those 1990s books, this just can’t compete. This is a great example of “where to start” being different than “the best”.


      1. On that note, I’d suggest that his 90s work so far translated has a much more Anglo-centric GAD feel to it when compared to his recent work like ‘The Yellow Book’ and The Gold Watch. I’m hugely looking forward to his new book anyway, but even more so given that he seems to have found a new form of writing that he’s enthusiastic about. It’s very Various Periods of Ellery Queen, though — and we’re so used to static characters and authors, especially in this genre, that it might be easy to always expect Halter to do the same thing now. He’s not, he’s really, really not.


  4. This one’s a mid-tier Halter, I like the cast of characters, the setting and the premise. The impossibility is nothing to write home about and the guilty party is…. Well… I would recommend it, though. It’s a fine novel and, even if it isn’t a classic, it’s still super enjoyable.
    I would love to hear JJ’s take on Halter’s periods or stages of writing. To me, Paul, back in the eighties and nineties, used to write shorter puzzle-centric mysteries with emphasis on the impossibilities. In the new millennium, he went on to write novels that were 80 or 100 pages longer and more character-driven. The interesting thing is that he seems to have returned to his former way of doing things, maybe because the English speaking world doesn’t know about this second period! LRI releases seem consistent to me,with The Gold Watch being an attempt to go back to period one. I might be wrong, though.


    1. The periods of Halter sounds like a fascinating topic. I had noticed that the Locked Room International translations that I’ve read are clustered between 1987 and 1994, and there aren’t many that go beyond that.


  5. Yes, exactly, and those that do, like The Phantom Passage are on the shorter side. Now, I know there are long novels in the earlier period, but most of them are post 2000. Other than being more focused on characterization and setting, the quality is great and puzzles are still important. He never pulled an Ellery Queen. It’s an interesting topic to debate.
    And speaking of quality, I would say Halter at 63 is still capable of writing a fantastic novel, he could easily release his best work tomorrow. When Carr wrote The Nine Wrong Answers back in 1952, a late era achievement, he was 46 years old…you know where I’m going.
    Yes, Carr at his prime was untouchable, but there are few mystery writers who are still great after 60. Halter is one of them.


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