Broadly speaking, there are two types of mystery stories: whodunnits and whydunnits. We read a mystery story to find out who committed the crime (with the why, the motive, often serving to help the investigator find the culprit), or we read knowing from early on who the guilty party is as the story lays out the reasons, psychological and otherwise, that prompted the crime. An intriguing subclass of the whodunit is the inverted detective story. In this type, the howcatchem, the crime, and usually the perpetrator are shown at the story’s beginning. The main thrust of the drama here becomes how the detective goes about solving the crime and catching, or killing, the perpetrator. Nearly every episode of Columbo follows this format and, more recently, Luther. But what about a mystery story where, from the first pages, the reader knows who did the crime, why they did it, who they killed and how the person was killed – yet no detective solves anything? In Chronicle of a Death Foretold, the setting is a small village in Columbia, South America, and to add to the excess of information known, not only does the reader know all the crime’s particulars, but the characters in the story, the village residents, know before the fatal act occurs who will be killed, by whom, and why. Everyone even remotely connected to the killing knows the pertinent facts, with the possible exception of the victim. When all the typical questions that a mystery story answers are answered from the get-go, what kind of mystery is left? What does the narrative’s investigator need to investigate? It’s precisely these enigmatic areas that are explored in Gabriel Garcia Marquez’s novel.