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  • Published: 27 June 2016
  • ISBN: 9780141369822
  • Imprint: Puffin
  • Format: Paperback
  • Pages: 352
  • RRP: $16.99

First Class Murder




The third gripping mystery from the author of Murder Most Unladylike, set on the glamorous Orient Express.

Shortlisted for the Edgar Award for juvenile fiction 2018!

Daisy Wells and Hazel Wong are taking a holiday on the world-famous Orient Express - and it's clear that each of their fellow first-class passengers has something to hide. Even more intriguing: there is rumour of a spy in their midst.

Then, during dinner, there is a scream from inside one of the cabins. When the door is broken down, a passenger is found murdered, her stunning ruby necklace gone. But the killer has vanished - as if into thin air.

Daisy and Hazel are faced with their first ever locked-room mystery - and with competition from several other sleuths, who are just as determined to crack the case.

  • Published: 27 June 2016
  • ISBN: 9780141369822
  • Imprint: Puffin
  • Format: Paperback
  • Pages: 352
  • RRP: $16.99

About the author

Robin Stevens

Robin was born in California and grew up in an Oxford college, across the road from the house where Alice in Wonderland lived. She has been making up stories all her life.

When she was twelve, her father handed her a copy of The Murder of Roger Ackroyd and she realised that she wanted to be either Hercule Poirot or Agatha Christie when she grew up. She spent her teenage years at Cheltenham Ladies' College, reading a lot of murder mysteries and hoping that she'd get the chance to do some detecting herself (she didn't). She went to university, where she studied crime fiction, and then she worked at a children's publisher.

Robin is now a full-time author, and her books are both award-winning and bestselling. She lives in Oxford.

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Praise for First Class Murder

A delight . . . Hazel and Daisy are aboard the Orient Express: cue spies, priceless jewels, a murder and seriously upgraded bun breaks

The Bookseller

Addictive . . . A rumbustious reworking of Agatha Christie's Orient Express caper

Amanda Craig, New Statesman