The Word is Murder

Continuing in first person, Anthony explains that while Diana Cowper was being murdered, he was celebrating the completion of his most recent novel, an authorized Sherlock Holmes work, The House of Silk. He delighted in inhabiting a beloved universe, striving to remain faithful to its tone and norms. He feels optimistic about the possibility of a screenplay for Peter Jackson and Steven Spielberg, a sequel to a previous adventure for Belgian detective Tintin. His reflections on this work and an upcoming meeting with both men are interrupted by a phone call from an unexpected source.

The caller addresses him as “Tony,” a nickname he dislikes, and he soon realizes it is Daniel Hawthorne, a previous collaborator. Hawthorne, a former detective, consulted on Anthony’s television projects as a technical advisor. As much as he appreciated Hawthorne’s expertise, Anthony found him personally off-putting. Hawthorne was unfriendly and judgmental about any artistic license or drama injected into descriptions of police procedure. Anthony notes, “All he saw was the paperwork, the uniforms, the angle-poise lamps. He couldn’t find his way to the story” (17). He based an unpleasant character on Hawthorne, giving him a related name, another Biblical reference. He reluctantly agrees to meet him for lunch.

When Anthony arrives at the café to meet Hawthorne, the detective instantly deduces his recent travel and proximity to a dog. Hawthorne, who consults on difficult cases, proposes that he wants to commission a book based on his investigations. He insists that the two would split the proceeds equally. They argue, as Hawthorne rejects the idea that his reluctance to talk about himself or his life would be any obstacle to a book. Anthony also tries to protest, “I’m a fiction writer, you need someone who writes true crime” (20). When Anthony rejects the project, Hawthorne tells him about Diana Cowper’s murder, including that her son, Damian, is a famous actor. Privately, Anthony admits the idea has its benefits, as the plot, evidence, and research would naturally appear.

The two men part, with Anthony apologizing for his inability to help. He finds himself troubled by the encounter, as most writers are conditioned to take every opportunity, not reject them, and the story of Cowper’s death is compelling.

The action moves to two days later, at a notable British literary festival in the small village of Hay-on-Wye. Anthony enjoys discussing his process with audiences but is soon taken aback by a question from an audience member who argues that his current work is less valuable because it has no grounding in actual events. He travels home, haunted by the assertion. He calls Hawthorne and accepts his offer. He will learn only at the end of the novel that the woman at the festival is Hawthorne’s estranged wife.

Anthony continues by describing the difficulty of collaborating with Hawthorne, who hates the first chapter—the one the source text begins with—because it elides details or invents them. Hawthorne objects to Anthony leaving out details for the reader to learn later, such as why Diana Cowper took public transit. When Anthony objects to the interference and suggests the case could go unsolved, Hawthorne assures him he is an expert who is always called in for complex cases. Anthony insists that he has the right to work as he sees fit, though investigative details will be taken strictly from life. Anthony assures the reader that Chapter 1 does, in fact, reveal key aspects of the case.

Anthony meets Hawthorne at Diana Cowper’s home, taking in the novelty of visiting a crime scene he did not design. He is unable to tell what might be significant. He is slightly appalled to find Hawthorne has made lunch from the contents of the dead woman’s kitchen. Hawthorne explains that Diana likely knew her killer, as victims of her age and gender are unlikely to host a stranger or invite them to have a glass of water, as she clearly did. Because she was physically overpowered, the killer was likely a man. The killer came with only one goal in mind, as there are no traces of ordinary social activity or fingerprints. Hawthorne takes note of a credit card on a table, though he cannot be certain of its significance. Diana keeps memorabilia of her son Damian’s plays, including his Shakespeare appearances.

Anthony is baffled when Hawthorne, normally silent and focused, asks aloud what happened to Diana’s cat, since traces of his presence are everywhere. Downstairs, they find Detective Inspector Meadows, who is hostile to Hawthorne but presents him with more evidence reports. He cryptically tells Anthony, “[W]atch out for yourself when you’re around this one, particularly if you go near any stairs” (43). This refers to an incident where a prisoner died in Hawthorne’s custody. Anthony only learns about the event in a later chapter, so at this stage it is entirely cryptic.