The Moon Rock (1922) is Australian mystery writer Arthur J. Rees’ locked-room conundrum. In fact, the room — the murder scene — not only is locked from the inside, but also two hundred feet up the cold wall of Flint House. And the house looms on the edge of a cliff in Cornwall. Slip, and a falling body would strike the pale Moon Rock and its legend of doomed love. ‘A lonely, weird place, ‘ Scotland Yard’s Det. Barrant sums it up, and that’s even before he finds out what happened. The deceased is Robert Turold, a bitter and silent man obsessed with proving his noble linage and claim to a great estate. At last, he succeeds — only to be found dead in the locked room, shot in the chest. Suicide? Barrant suspects not. The house is full of suspects: servants, relatives, a lovely daughter with a ruinous secret. Rees knew all the conventions of a mystery novel — he wrote more than twenty — and how to set the table with plenty of red herrings. But the question is more than who-done-it. Tension builds, too, on the identity of the Moon Rock’s next victim. The one word to describe ‘The Moon Rock’ is, literally: Cliffhanger.
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