Playing Dead, edited by Martin Edwards, is an anthology of 22 short crime stories crafted by members of the prestigious Detection Club to honor Simon Brett’s 80th birthday. I’m not as familiar with Brett’s crime books but have long enjoyed his radio writing so I wasn’t surprised to see this collection stands out for its remarkable diversity, wit, and thematic coherence and as such it feels like a delightful tribute to Brett’s legacy. Published in 2025 by Severn House, it showcases some of Britain’s finest crime writers, each bringing a unique voice to a shared celebration.
What makes Playing Dead interesting is its range of styles all brough together by a nod to Brett’s career in theater, radio, and cozy crime. It feels like Edwards, as editor and contributor gave authors free rein, if he did then it was the right move as it results in a vibrant mix of historical mysteries, police procedurals, biting satires, and even darker psychological tales. Catherine Aird, who sadly passed away before this was published, reimagines the 1593 murder of Christopher Marlowe in “Dead in Deptford,”. Elly Griffiths draws inspiration from Wilkie Collins’ The Woman in White for a modern take in “The Woman in Whitechapel.” Michael Ridpath’s “Silver Fox” delivers a tale of revenge against an online scam, showcasing contemporary relevance with a tech-driven edge.
The collection’s connection to theatre and performance which I assume is to reflect Brett’s own Charles Paris series adds a distinctive layer. Stories like Ann Cleeves’ “Sleeping Beauty” and Alison Joseph’s “Murder at Mousecomb” are set in theatrical worlds, brimming with dramatic flair and meta-commentary on acting and deception. Peter Lovesey’s “Just a Minute” and Lynne Truss’ “Bells and Whistles” draw on Brett’s radio background, infusing their crimes with the quirky charm of BBC panel shows. Even Liza Cody’s 39-word triple haiku, “Character Assassination,” packs a punch, proving the anthology’s experimental spirit. This thematic thread, paired with the cover’s clever curtain-opening design, creates a cohesive yet varied reading experience.
The contributorsalso including bestselling authors like Abir Mukherjee (a particular favourite of mine), Andrew Taylor, Frances Brody, and John Harvey all pay homage to Brett’s influence. Mukherjee’s “Full Circle” tackles a wrongful conviction with his usual emotional depth, and Taylor’s “Dead Ground” explores the lingering consequences of a schoolboys’ discovery. Editor Martin Edwards’ own “Sanctuary” story reinforces his skill as both editor and writer. Simon Brett makes an appearance and closes the collection with “Cast, in Order of Reappearance,” a Charles Paris misadventure.
One thing I liked was that these stories don’t just mimic Brett’s style but riff on his themes. For example, L.C. Tyler and Christopher Fowler (also sadly no longer with us) amplify Brett’s wit in “Crimes Ancient and Modern” and “The Luncheon,” respectively. Ruth Dudley Edwards’ “Publish and Be Damned” channels Brett’s knack for resourceful protagonists. The inclusion of Brett’s memoir, “The Detection Club: A Personal Memoir,” also adds a heartfelt touch, offering anecdotes about P.D. James and the club’s history.
While the style, and even quality varies slightly the standout stories are very enjoyable, and even the ones that weren’t so much to my taste were still fun. The collection introduced me to new authors and it also reminded me of authors I had heard of but hadn’t got round to checking out yet. It’s a testament to the Detection Club’s talent and Edwards’ editorial prowess, making Playing Dead a fresh, memorable addition to crime fiction.