My thanks to Penguin Press UK and NetGalley for a review copy of this book.

Tokyo Express is a Japanese mystery/detective novel by Seichō Matsumoto, first published in 1958 and in this version, translated by Jesse Kirkwood. Having only read two of Seishi Yokomizo’s Kindaichi mysteries so far, when this showed up on NetGalley, I was keen to give it a try, and while it turned out quite different from the usual ‘mystery’ novel, I found it to be a very enjoyable one indeed.

After a short opening chapter, the significance of most of the happenings of which we realise only later, we find ourselves on Kashii Beach in Fukuoka where two bodies are found, a man in western clothes and a young woman in a kimono, both of whom have consumed arsenic. Everything seems to point to a ‘love’ suicide, as the persons involved had been seen boarding a train together at Tokyo station and now some days later the bodies have been found side-by-side. But seasoned detective Jūtarō Torigai, of the local police is not entirely convinced, and begins investigating the possible course of events, which if anything, only deepens his suspicions that something doesn’t quite fit. Then one day, Torigai has a visitor, a young colleague from the Tokyo police, Kiichi Mihara, who shares his suspicions. With inputs from Torigai, Mihara begins to investigate the matter, with support from his immediate superior and soon, others up the hierarchy as well. The puzzle before Mihara is no easy one, and us readers go along for the ride as he works at it from different angles, trying to decipher what exactly happened that night at Kashii Beach.

Tokyo Express is a short and very crisp book, rather different from the usual order of mysteries that I have read in that here our focus is almost entirely Inspector Mihara as he doggedly pursues the rather complex puzzle before him. More than a whodunit, since we do pretty much know ‘who’ early on, our focus is on how ‘it’ was done (if indeed there was an ‘it’), and how the person in question could have been at the scene of the crime when there’s a rather iron clad alibi with several witnesses placing them elsewhere. Mihara does interview the suspect and several witnesses, but they never take centre stage, nor do we go deeper into their personalities nor indeed those of the detectives themselves—the book belongs almost solely to Mihara and the puzzle. This is no simple puzzle, though; rather one that keeps us readers entirely engaged. Mihara is pitted against a clever adversary, and while there is no direct battle of wits, there is an indirect one, with the culprit having woven a strong, seemingly unbreakable web, such that it proves hard for Mihara to find the tiniest of chinks. One reads on excitedly to see whether such a chink exists and whether and how Mihara manages to break it. Those looking for a ‘mystery’ needn’t be disappointed either, for there are some surprises in the solution as well.

The puzzle that Mihara must solve is around railway lines and timetables, and of course the places where the suspect ought to have been and where they have actually proved themselves to be. His having to work though various railway routes and lines, timings, and stops was something I found especially fun since one of the few programmes I watch on TV these days is something called Japan Hour, on which one of the programmes featured is trips on local train lines in Japan where the hosts try to find original spots to visit. So, all the discussion and exploration of mainlines and local lines felt familiar territory. I think the book does carry a map and segments from the timetables but this was a bit muddled in the ARC.

Naturally, only having read a couple of Seishi Yokomizo’s books, that was the only point of comparison I had for Japanese mystery fiction. The first thing I noticed was while Tokyo Express is set only around a decade after the two Yokomizo books I’d read (set in the mid-1940s), this one feels more modern-day, closer in time to where we are with Japan’s well laid out and busy railway system, Tokyo with its coffee shops and trams, and government offices with clandestine dealings with businesses and corruption. Very different from Yokomizo’s isolated villages, rife with superstition and cut off in a sense from city life and ways. Yokomizo of course, also gives us a closer look at the people involved.

Both the detectives we come in the book across are likeable—whether it is the young, energetic and intelligent Mihara or the older, somewhat self-deprecating Torigai who first suspects that all is not as seems to the eye. Neither of them like more modern detective fiction carry any great burdens, and I kind of liked having a book that was focused on the puzzle rather than the people for a change. Torigai is of course weighed down by past mistakes and long experience while Mihara is unsurprisingly more spirited. I wish Torigai had had more of a role in the investigation, though, since I’d enjoyed seeing him work on the case initially and examine things he thought seemed wrong. But it was good to see that whether it was the local police or those in Tokyo, none was content to simply take the matter at face value and move on. All wanted to find the truth.

Fast moving, precise and with a very interesting puzzle at its centre, this was a book I very much enjoyed reading, and which made me want to explore more of Matsumoto's books

Two bodies are found on an isolated beach in Bay of Hakata in 1950s Japan. To all appearances, it's a lover's suicide but experienced detective Torigai Jutaro finds a few issues with that assumption which are later followed up on by young detective Kiichi Mihara. Tokyo Express is the first English release of Seicho Matsumoto's debut novel Ten to Sen (translated as Points and Lines), which was published in 1957.

Having read some earlier Japanese detective fiction, I was quite interested to see another writer of the genre. It's an enjoyable read that includes twists and turns throughout and includes some interesting characters. In this book, the first doubts about the double suicide come from detective Jutaro. Maybe not so much the doubts but he is troubled by the receipt from the restaurant on the train. My expectation was he would be the one to delve further into the case. Instead, it was detective Mihara who does most of the work and solves the case.

The story gives some insight into the norms of society during that period in Japan in a concise work that covers quite a few details. While it's not the best of the detective stories I've read, it definitely left an impression on me for its simplicity,

Overall I would give this 3.5 stars. I would like to thank Netgalley and Penguin Classic for providing this advanced reader copy. My review has been written voluntarily.

First of all, I'd like to thank Netgalley and the publisher for providing me with an early copy of this book in return for an honest review.

This is an "orthodox" crime fiction book by one of the most prolific Japanese authors in this genre. It is, in many ways, a traditional crime story, involving a double suicide, government corruption, tireless detectives, and train timetables (!). Technically, and within the genre, it's brilliant - the victims are clear (more or less), as is the criminal (more or less), but what is unclear at all is the motive and the method. As the story develops, the detectives untangle the complexity of the crime, and thread by thread unravel the mystery.

Like other books in this genre (by e.g., Rampo,, Yokomizo), it's very methodical and algorithmic. It's a puzzle, and the puzzle is interesting. The book is short enough for the puzzle (and lack of much else in the book) to not bore the reader, and the story is credible and lifelike enough to not feel forced (like much of Yokomizo's work, in my view at least).

For a representative of this genre, in its sweet spot, it's an excellent book. However, I personally don't like it. Even in my crime fiction books I expect more depth to the characters, and look for something more exciting and emotional. Higashino is a great example of how this can be done, as is Miyabe. In this particular case, I found it to be too sterile. A bit like a crossword puzzle in a daily. Nothing wrong in this, and some readers might find this great, but it's not for me. So - if you like this genre (and its "orthodox" subgenre in Japan) overall, I highly recommend it.

This was a wonderful read. Short. Well written. And massively enjoyable.
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It felt as though I was reading episodes of a great tv show, which makes sense when you put together the fact that it was originally magazine shorts which then created the full length story
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A brilliant and mystery filled read for pretty much everyone to enjoy!

Tokyo Express is a short crime fiction written by Seicho Matsumoto, who related events in 1957 Japan. In the bay of Hakata, two lovers are found dead. The police suspect a double suicide by cyanide poisoning, but two men refuse to settle on this conclusion. While Torigai Jutaro starts the investigation, Kiichi Mihara pursues it. From station to station, the mystery unfolds and the truth is unburied.

That was my first story from Seicho Matsumoto; I discovered him through this first mystery, which was relatively short though enjoyable. To me, it truly felt like a good episode of a series. I could picture every scene in my mind as the descriptions and details were extremely well-done. Overall, I'd say I wasn't fascinated by the story in itself. It felt pretty common, not much original; originality could, however, be found in the little details I mentioned earlier. Matsumoto masterfully plays with time and with the concept of social perception, what one assumes from a simple scene or trivial conversation or encounter between two people. There was, thus, a sort of twist of reality.

Realism was pretty heavy in this novel, but there was always questioning about the extent to which this realism expands. Actually, I think I should make a little distinction: there is a questioning on the boundary between the terms real and truth. What is the real? And what is the truth? The real is what actually happened; the truth is what we believe is real in our own perception of things. In this sense, the story develops to uncover tiny little truths here and there, by total strangers or even Torigai's daughter, to eventually lead to the real, what really happened to Sayama and Toki, the two lovers found dead.

This concept of realism was deeply reinforced by the several maps and time notes made by Mihara. This idea of including them into the narrative made me feel like actually following the investigation, or even almost doing it myself. Without mentioning the endnote stating that similar events really occurred in 1957, I was immersed in the story all along.

What I might reproach to it is probably that I didn't particularly relate to any character. Despite feeling into the story, I was also feeling out of it in some senses. I would also say that I found it repetitive at some points. The multiple failures of Mihara in his investigation made me frustrated many times; I think that if Matsumoto intended to make us feel like this, he succeeded. But Mihara suffering that many failures eventually annoyed me. Not once, apart from the end, can we read him find out that one of his leads was right. In the end, though the plot was extremely well found, I wonder if it wasn't a bit too far-fetched to align with the idea of realism Matsumoto tried to convey.

That didn't stop me from enjoying the story, on the whole. It is a very condensed crime story that I think a lot of this genre lovers will like, if not love; as for me, that was a nice discovery. I thank Netgalley and Penguin Press for the opportunity of reviewing this title in advance. It was a real pleasure!

On an isolated beach two bodies are found and are presumed to be a lovers suicide pact. However, detective Torigai Jurato believes that there is more to this case but it's not until a colleague from Tokyo arrives that anyone else seriously listens to his theory that something about the case is just not right. Further investigation only leads to more questions but with such a well thought out plan was it really suicide or a very clever murder plot.

This was quite a short novel that really packed a punch; as Mihara continued the investigation where Torigai had started but hitting walls at every turn I could palpably feel his frustration. The suspense built and even though this was more of a why dunnit than a who dunnit I was completely gripped and read the entire book in a sitting. I would recommend for any one who likes tense thrillers; 5 stars.

Thank you to Netgally and the publisher for a copy of the novel in exchange for an honest review

Tokyo Express is a new edition of a 1950s Japanese detective story that hinges around train timetables and corruption. When the bodies of a young man and woman are found on a rocky beach, them having died of cyanide poisoning, it seems like there's nothing to investigate: a simple case of double suicide. But a local older detective finds a few details that don't add up, and soon a younger detective from Tokyo is drawn into the case, trying to unravel how these two people ended up on the beach.

I'd not heard of the book or author before and I don't read much detective fiction, but I was intrigued to try this one, and it was an enjoyable experience, with a fun, tightly packed mystery at its heart. The investigation seems to be constantly thwarted from the start, hinging around specific details of train times and witnesses, and you get an interesting insight into the assumptions that may or may not be made, as can be the case with detective stories in general. At the same time, the book gives a look at Japan at the time, particularly in terms of industrialisation and corruption, and the ending highlights that even the exposure of crime doesn't change the situation much.

The 1950s Japan setting is important to the novel, but the reading experience doesn't feel dated, and the translation generally makes it feel readable and atmospheric. I enjoyed the plot and the commentary on society, and the short length made it easy to read in one or two sittings.

Matsumoto's novel is not just another mystery story, but one that emphasizes social realism and explores the psychology behind certain acts of criminal nature.

The plot is very interesting, with its twist and turn it keeps you in its pages. The imagery is vivid and this entire plot takes place on the background of a post war Japan, so the elements of Japan is omnipresent.
Really liked reading the book.

A reprint and rebirth of a ‘50s Japanese detective novel, “Tokyo Express” tells the story of a man and a woman who are discovered dead on a beach in Southern Japan, still in each other's arms. The local police conclude it is a love suicide, and close the case. However one local cop is not convinced. The detective, and his opposite number in Tokyo work together to unpick the circumstances of the deaths, and in particular to unravel the seemingly solid alibi of their main suspect who has an alibi based on train times and unimpeachable witnesses.
It is evident, even in translated form, that Seicho Matsumoto is an astonishingly good writer, and deserves his glowing reputation. The book is a true police procedural, as we follow the thoughts of the detectives through their investigations until the final resolution. The story is perfectly plotted with believable characters and, whilst it may not tax the brains of seasoned crime novel readers, it is a pleasant, cosy-ish read.
This novel is fairly short at around 170 pages, and the English translation is excellent. It was originally published in 1958, but the story hasn’t dated much so it is an accessible read for the discerning modern reader. “Tokyo Express” is a detective story of the highest quality but it is also a work of literature, and comes highly recommended.

I rweally enjoyed reading this book. well written, compelling with vivid descriptions of japan in its post war state. Twisty, unpredictable and gripping I couldn't put it down.

This is my first Matsumoto book and it did not dissapoint. It's a mystery novel but more important element is it's portrayal of post war Japan. I am much curious to read more from Seicho Matsumoto.

Tokyo Express is a new edition of Seichō Matsumoto's first novel 点と線 - previously titled Points and Lines, which is a literal translation of the Japanese title published in 1958. Matsumoto is credited with popularising detective fiction in Japan, and I can see that this would have been quite a departure from other fictional works which were being published around the same time (I'm thinking of the work of authors like Yasunari Kawabata and Yukio Mishima).

I read somewhere that this book was originally serialised, and I think that it probably would have worked better read in that format rather than read in two or three sittings like I approached it: each chapter begins with some exposition to remind readers where things were left in the last section, and it gets a bit wearing. My other main criticism is that the reader is treated as if they're not intelligent enough to link certain clues or events together, and each character says exactly what they're thinking all the time. That, and I just didn't find the mystery at the heart of the story all that compelling.

I think it's great that these new Penguin editions are bringing lesser known writers in translation to a wider audience (so so glad I discovered Tove Ditlevsen through the new editions of her autobiography), but I'm afraid to say that this wasn't really my kind of thing.

Despites its origins as a magazine serial, Tokyo Express’s an enviably taut, mystery novel by prolific, award-winning author Seichō Matsumoto. A bestseller since its first appearance in Japan in 1958, it’s since been adapted for both film and television. It’s now considered a classic of the flowering of Japanese crime fiction post-WW2 – the genre was banned during the war because it was considered a source of potentially decadent, unpatriotic ideas. At first the crime at the book’s centre seems relatively straightforward: a man and a woman are found dead on a desolate beach in wintry Kashii, next to them an empty bottle laced with cyanide, just another tragic, but predictable, example of double-suicide (Shinjū), a ritual that had become almost commonplace in the period after WW2. But one of the team assigned to the case, Inspector Torigai, isn’t satisfied with that explanation, he shares his suspicions with the equally-dogged, Inspector Mihara, sent from Tokyo to follow up on events.

Torigai's, and then Mihara’s investigations, form the bulk of the story, in many ways they’re thinly-sketched figures yet somehow, they’re quite compelling. Shabby, world-weary, provincial Inspector Torigai’s a particularly sympathetic character, and his bond with the younger, overworked Inspector Mihara’s very effective. Their investigation, with its links to government corruption and bribery, provides a striking glimpse of the machinery of everyday life in post-war Japan, along with its many contradictions: an era of massive reconstruction resulting in a society caught between tradition and rapid change; a place weighed down by complex and damaging social and professional hierarchies, where industrialists thrive but the police are understaffed and poorly-paid. Matsumoto’s portrait of 1950s Japan’s obviously inflected by his comparatively left-wing politics, reminding me at times of the approach of radical crime writers like Maj Sjöwall and Per Wahlöö.

Originally published in English as Points and Lines, this Penguin edition’s a newly-translated version by Jesse Kirkwood, winner of the 2020 Harvill Secker Young Translators’ Prize. It’s a fluid piece, although elements that hinge on nuances of speech and dialect don’t work quite so well in translation. Tokyo Express was the spark for a new trend in Japanese mystery writing, that reflected Matsumoto’s emphasis on social realism and interest in the psychological underpinnings of criminal acts. But his story retains elements reminiscent of conventional, puzzle-based fiction, much of the plot hinges on the minutiae of train travel and timetables – based on actual published timetables from 1957 – echoing more technical, locked-room-style mysteries popular at the time. It’s an enjoyable, sometimes fascinating piece, and there’s a particularly pleasing symmetry and precision to Matsumoto’s plot.