Enigmatic Variations No.1642 – Conflict by Skylark

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“28 clues contain a surplus word, which should be removed before solving. In clue order, the first letters give one person’s accusation, whilst the final letters spell out much of another’s rebuttal, which is continued as pairs of surplus words in three other clues. In the remaining 10 clues, an extra letter must be removed before solving (leaving real words): in clue order, these specify the final contents of the shaded cells. The CONFLICT has affected the initial grid, resulting in clashes in seven cells to be resolved in favour of the letters making real words and names. Chambers Dictionary (2016) is recommended”

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Inquisitor 1855: Virtue Rewarded? by Arcadia

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Virtue Rewarded? by Arcadia

Five thematic entries (I to the eponymous V, who must be identified at the foot of the grid) are unclued. Across clues are in alphabetical order of their answers, all bar one requiring thematic transformation before entry. Information in brackets refers first to final grid entries; then to clue answers. Down clues and answers are normal. Clashes occur in four symmetrically placed cells, in which solvers should enter both clashing letters. Arranging them appropriately could loosely enable II to __ __ (4,4) I, while III __ __ (4,4), as tasked by V, despite the attentions of IV. All thematically adjusted entries are unique and in Chambers, though heaven knows why.

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Financial Times 17,740 by FALCON

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The puzzle opens with this announcement:

Allan Scott, who compiled nearly 400 cryptic crosswords for the FT as Falcon, has died. A regular compiler for several other newspapers, he also set many Polymaths, the FT’s Saturday general knowledge puzzle. His guiding principles were that “the shorter the clue the better” and that in the contest between compiler and solver, “the solver should always win”. He worked right up until last month. This is his penultimate cryptic puzzle.

I for one will certainly miss this setter. This posthumous offering from Falcon displays his usual solid setting style . . . ,

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