By the Pricking of My Thumbs (Tommy and Tuppence) by Agatha Christie

“Was it your poor child?”

😀 😀 😀 😀 🙂

When Tommy and Tuppence visit Tommy’s elderly Aunt Ada in the Sunny Ridge nursing home, Tuppence falls into conversation with a sweet but rather confused old lady called Mrs Lancaster. As Tuppence, in a thoughtful moment, gazes at the fireplace, she is startled when Mrs Lancaster asks, “Was it your poor child?” The way she asks sends a shiver down Tuppence’s spine (and mine). A few weeks later Aunt Ada dies and when they return to the home to collect her belongings, Tuppence determines to speak to Mrs Lancaster again. But they discover Mrs Lancaster has gone – collected by her relatives. Tuppence, with nothing but her instincts to go on, finds this puzzling and worrying, and decides to track Mrs Lancaster down. She meets with a brick wall, however, of lawyers and bankers none of whom seem to know exactly where Mrs Lancaster might be…

This is a late Christie, published in 1968, and as with many of the later books the plotting isn’t as tight as when she was at her peak. But although it all gets a bit rambly in the middle, it has a wonderfully spooky atmosphere. From Mrs Lancaster’s spine-shivering question, Tuppence finds herself entering a maze of old rumours and gossip, much of them about murdered or missing children. People are very willing to talk, but memories are vague and Tuppence finds it impossible to pin down hard facts or dates.

All she has to go on is a painting that Mrs Lancaster had given to Aunt Ada, of a house by a canal that Tuppence feels sure she has seen once before, perhaps from a car or a train. So while Tommy is off at a hush-hush conference with his old colleagues from his days in the Secret Service, Tuppence digs out train timetables and old diaries, and sets out to repeat any journeys she has made over the last few years in the hope of spotting the house again. But it seems that someone doesn’t want Mrs Lancaster to be found, and Tuppence soon finds herself in danger. Will Tommy find her in time?

Book 20 of 20

Tommy and Tuppence are the only detectives of Christie who age in real time, so in this book they are now in their sixties. Between this and the nursing home theme, there’s quite a bit of musing on ageing in the book, both on the physical limitations it brings and on the mental decline that faces some elderly people. Christie, herself ageing of course, does this rather well. Tommy and Tuppence still spar as much as they always have, but Tommy perhaps worries about his wife a little more now, feeling that Tuppence should recognise that she’s not a young adventurer any more and should take more care for her safety. But that wouldn’t be Tuppence’s style at all! Once she gets her teeth into a thing she doesn’t let go, no matter where it leads her.

Hugh Fraser

Hugh Fraser really is a fantastic narrator! He always brings out the humour in the books, but in this one he also creates the spooky atmosphere brilliantly, never over-acting but knowing exactly how to chill the reader. He copes with a range of elderly lady voices beautifully, bringing out all the fun of Aunt Ada’s rudeness and the pathos of Mrs Lancaster’s confusion. He differentiates the characters with a different voice for each and never slips, so that it’s always easy to tell who’s speaking even when several people are conversing together. And he does a great job with Tuppence’s character, making her just as enjoyable as she is on the page!

Despite the woolliness in the mid-section, the basic plot is strong and the unsettling atmosphere lasts all the way through to the chilling ending. A great way to finish the #20(Audio)BooksOfSummer challenge!

Audible UK Link

The Quiet American by Graham Greene

The emperor is dead, long live the emperor…

😀 😀 😀 😀 😀

Thomas Fowler is a veteran journalist who’s been stationed for some years in Vietnam, reporting on the rising violence as France tries to cling on to its colony and America’s involvement is growing. The story begins when Fowler is told of the death of Alden Pyle, a young American attaché who had arrived in Saigon a few months earlier. Fowler then tells us the history of his relationship with Pyle – acquaintanceship, perhaps friendship, certainly rivalry. For Pyle had stolen Fowler’s young Vietnamese lover, Phuong, promising marriage and entry to the glamorous American world of skyscrapers and fashion that Phuong had read about in magazines. And along the way Greene shows us old colonialism giving way to the new American mission to use its wealth and military might to westernize and democratize the world, whether the world likes it or not.

When I read the blurb, I wondered why the book had been considered “controversial”, and now having read it, I assume it’s because of the anti-Americanism that runs through it. To be honest, for a Brit of my generation and political leanings, that isn’t exactly controversial – it’s quite a mainstream position, and one that exists just as much, or perhaps even more, today as back in the early 1950s when this book is set. Anti-Americanism is the wrong term, really; it’s more anti-US foreign policy – a belief that the US blunders into situations around the world that it doesn’t understand, values non-American life cheaply in pursuit of its aim to create an American hegemony, and then retreats, its own nose bloodied, leaving the people in a worse state than they were in before the Americans arrived. (And sadly America’s allies, especially the UK, tend to allow the US to drag them into their military catastrophes.) Greene wrote this book before the Vietnam war, but he clearly saw the writing on the wall and uses Pyle as a metaphor for the sometimes well-meaning but always fundamentally ruthless and self-interested policies the US has pursued since it decided to declare itself the “leader of the free world” after the Second World War.

Book 19 of 20

However, old-style European colonialism fares no better. Greene shows it in its death throes, desperately trying to retain control of the colonies it still possesses, but gradually being forced into retreat, leaving the field open for the new superpowers to move in. The particular European empire in the book is the French, but Greene is clearly including all the old European empires in his critique. Fowler’s weary cynicism and fatalism about the future is as much a metaphor for tired and war-ravaged old Europe as Pyle is for brash young America. In their actions there’s not much to choose between them, but Europe, Greene seems to be suggesting, is finally learning the futility of trying to maintain its control over other peoples just at the point where the US has decided it will rule the world and impose its values and culture across the globe at the point of a gun. The question hangs unspoken in the Saigon air – how many lives are a price worth paying for the ideology of “freedom”? Pyle makes it clear that there’s no upper limit, so long, of course, as they’re not American lives.

Fortunately there’s an excellent human story to stop all this heavyweight political stuff from becoming too much. We learn of Pyle’s death in the first pages, and then go back to his arrival in Saigon as a seeming innocent. But he has more depth than first appears and Fowler is reluctantly drawn into a kind of intimacy with him because of Phuong, the young woman whom both men care about, though in different ways. Vietnam is in the midst of conflict with various factions fighting for power, sometimes with the overt or covert support of the various colonialist powers. Terrorist acts are a daily occurrence, and Greene shows the constant anxiety, the fear and the grief of living in a society in turmoil. And he shows the uncaring cruelty of those vying for power towards the people they use as pawns in their games.

Graham Greene

Most of all I feel it’s a wonderful character study of Fowler – a man whose cynicism is founded on age and experience, whose career as a journalist reporting from the trouble spots of the world has allowed him to see humanity at its worst and has left him wary of those who believe they have the right or the power to impose their culture and control on others. Pyle and Phuong are shown to us only through Fowler’s eyes, but he is an honest observer, able to see the strengths and weaknesses in both of them and, indeed, in himself. And eventually we learn what led to Pyle’s death.

I listened to the audiobook narrated by Simon Cadell. While his narration is good overall, it has some weaknesses, not least that he sometimes seems to forget that Pyle is American. It’s also an older recording and the sound quality is not great – the volume dips and rises, and sometimes it’s a bit fuzzy. This is one case where I would recommend reading rather than listening, unless you can find a better narration. The book itself, though, is wonderful – undoubtedly one of Greene’s best and therefore highly recommended!

Audible UK Link

The Misty Harbour (Maigret 15) by Georges Simenon

Mystery man

😀 😀 😀 😀 🙂

A man has been picked up in the streets of Paris, wandering around in what is clearly a state of distress. There is nothing on him to identify him and he doesn’t speak. Beneath the wig he’s wearing, the police discover a recently healed gunshot wound, which seems to account for his befuddled state. After a publicity appeal, a woman comes forward and identifies him as Yves Joris, formerly a captain in the merchant navy, now the harbour-master at Ouistreham, a small port in Lower Normandy. The woman is his maid, Julie, and she’s upset to find him in his present condition. She tells the police that he disappeared six weeks ago, and had no wound at that time. So when and where was he shot? And who tended his wound? How did he end up wandering the streets of Paris? Who gave him the little bundle of new banknotes found in his pocket?

Maigret accompanies Joris and Julie back to Ouistreham with a view to finding out what has happened to Joris. But the case takes a darker turn when the next day Joris is found dead in his bed, poisoned with strychnine…

This one is a real puzzle and Maigret has to do a lot of proper detective work to get at the truth. He also stays largely sober, spending more time on the case than in bars for once, which works well for me – I find his usual endless drinking rather tedious. He soon realises he needs assistance so sends for his dependable colleague, Sergeant Lucas, to join him. It becomes apparent that many of the people of the small town may be involved in some way, and as is the way in tight-knit communities, people are not always willing to share what they know with the police. So Maigret and Lucas have to do a lot of spying and eavesdropping to find out what’s been going on.

Book 18 of 20

As always, the setting is one of the main strengths of the book. Ouistreham is frequented by merchant ships plying their trade around the Nordic countries and across to Britain, and Simenon works this into the story. We soon learn there’s some kind of Norwegian link, while Julie’s brother, Big Louis, is a seaman on a ship that becomes the focus of Maigret’s investigation, since it was in port both when Joris disappeared and again when he is murdered. Louis has a history of violence and has spent time in jail, but Julie is convinced of his innocence in this matter. But then, is Julie innocent? It appears that Joris has left her everything he had, and since a large deposit has recently been made into his bank account she’ll do quite well out of his death. Suspicion doesn’t only fall on these two though – the local mayor is behaving oddly too, and Maigret soon becomes aware of a mystery man who was also in the town at the relevant time.

Georges Simenon

I must say I had no idea what this was all about until Maigret revealed all at the end, and I’m still not sure that all the loose ends are properly tied up. However, as I say regularly, I find my concentration levels dip more when listening to an audiobook than when reading, so it may well be that I missed some bits of explanation along the way. No matter – the fact that I felt a couple of minor questions were left unanswered didn’t spoil my enjoyment overall. Maigret’s depiction of this small working port is excellent, the detection element is well done, there is some good characterisation, and the major story revolves around messy human relationships – my favourite kind! One of the stronger Maigret novels for me, and I may well read it in a “proper” book format sometime to see if it clears up those bits of the story that remained misty for me this time!

Audible UK Link

Notes on a Scandal by Zoë Heller

Best days of our lives…

😀 😀 😀 😀

When Sheba Hart joins the staff of St George’s school, history teacher Barbara Covett finds herself fascinated by the younger woman – a fascination that borders on obsession. Sheba, we soon discover, is no stranger to obsession herself, only her obsession is more dangerous. She has developed a sexual passion for one of her pupils, 15-year-old Steven Connolly. Barbara tells us the story – her version of it, at least – so we learn right from the beginning that Sheba’s affair has been discovered…

This is an intensely readable book, short and taut, and with a wonderful narrator in Barbara who is really the star of the show even though it’s Sheba’s story she’s ostensibly telling. In the early stages she tells us about the life of an inner-city school in a not particularly salubrious area of London, and the picture she paints is insightful and feels authentic, and is full of humour. It’s a kind of battle-ground – teachers vs. pupils, and also teachers vs. management. Barbara is nearing the end of her career and any idealism she may once have had is long gone – by her own account she is competent, but cynical, with low expectations of what any teacher can hope to achieve beyond maintaining discipline and getting through the day.

Sheba is the opposite. Although approaching middle-age this is her first job as a pottery teacher and she still believes she will be able to mould young minds to share her passion for art. She receives a rude awakening when her teenage pupils scent the weakness that comes with inexperience and set out to torment her. This provides an opening for Barbara to insert herself into Sheba’s life as a kind of wise mentor. But it also leaves Sheba vulnerable to the one pupil who shows a mild interest in art, and a much stronger interest in Sheba herself – Steven Connolly. As Sheba becomes ever more embroiled in this inappropriate relationship, Barbara becomes her only confidante.

I enjoyed Barbara’s twisted character very much. A single woman living alone with her cat (hmm… who does that remind me of? 👵😼), she is lonely and we gradually learn that she seems to have great talent for alienating friends who then become enemies. Is she a closeted lesbian? Perhaps. But if she is, it’s not clear whether she’s aware of it. Her obsession with Sheba borders on the sexual, and she certainly seems jealous of both Sheba’s husband and her youthful lover. But her own account is that she is simply looking for a friend. Barbara’s idea of friendship is extreme, however – she resents all other claims on Sheba’s time, and we see her attempt to manipulate herself into a position where she is the one person Sheba depends on. If Barbara wasn’t such an awful person, it would be easy to feel sorry for her. But I didn’t!

Book 17 of 20

I have to admit I didn’t find the rest of the characters quite as believable. The main problem was that I simply couldn’t see what would possibly have attracted attractive Sheba to this rather uncouth teenager. He doesn’t sound like a physical hunk, and he’s certainly not a smooth-talking flatterer. Is it simply that he shows his interest in her? But if Sheba is as attractive as Barbara leads us to believe she must be used to male flattery, and if she wanted an affair she could surely have found someone with more going for him than poor Steven! (Yes, I know these things happen in real life, but this one didn’t convince me.) Putting my disbelief to one side, however, it’s a wonderful depiction of self-delusion as Sheba convinces herself and tries to convince Barbara that this is more than sex – it’s love. Barbara’s cynicism on that point is equal to my own!

Sheba’s family are rather stock characters – the unsuspecting husband with a not-unchequered past of his own; the surly teenage daughter going off the rails; the son with Downs Syndrome who needs a lot of love and attention; the disapproving mother who feels her daughter has under-achieved in life. They exist, mostly, simply for the reader to feel that Sheba is betraying them – somehow her sin wouldn’t have seemed quite so sinful had she been free of family ties.

Zoë Heller

And on the subject of sin, that’s the book’s other deliciously twisted strength. I wonder if anyone would have the courage now to write a book suggesting that the boy was as manipulative as the woman? Of course we only see Steven through Barbara’s unreliable eyes, but it does seem as if he merely wants a bit of sexual experience with a “hot” teacher – there’s little of the victim about him. He’s a disgusting little oik, to be honest – or is he? Do I think that because Barbara thinks it? Is he really a male Lolita, preyed on by a paedophile? The law would certainly say so. Heller uses Barbara cleverly to show us only one side of the story – Barbara’s. This makes it an ambiguous read. Why really did Sheba become obsessed? What impact did it all have on Steven? By not telling us, Heller avoids preachiness and leaves each reader to make her own moral judgements.

A rather lighter read than the subject matter suggests, I’m not sure there’s really much profundity here or much depth of insight into what brings these situations about. However, the wonderful characterisation of Barbara carries it, and while perhaps not quite as thought-provoking as it might have been, I certainly enjoyed listening to it, especially since the audiobook narrator, Jilly Bond, did an excellent job of bringing Barbara’s voice to life.

Audible UK Link

The Rendezvous and Other Stories by Daphne du Maurier

Disappointing…

🙂 🙂 😐

Although this was apparently the last collection of short stories to be published in du Maurier’s lifetime, most of the fourteen stories in it date from her early twenties, with only a handful from later in her career. I feel that shows – these are not her best work, with some of them ranking as pretty poor, in my opinion. In general I found them rather unoriginal, often padded and repetitive to a length far longer than the story justified, with “twists” that were all too obvious. But what really put me off the collection was the almost complete lack of likeable characters. There is, I feel, a kind of cruelty towards the characters – they start out miserable, go through hell, and come out worse than they began; not in every case, but often enough for me to have remarked several times in my contemporaneous notes that she really doesn’t seem to like people, especially women. Her women are either weak and ripe to be victims, or they are manipulative, cruel and cold. There is rarely love in the pages though there’s plenty of lust, desire and rather sordid infidelity. The rare “good” character seldom achieves any kind of reward or happy ending, while many of the nasty ones do quite well for themselves. My misery meter swung towards high quite early on, and by the end it was hovering consistently in the danger zone – only copious supplies of medicinal chocolate got me through.

As you’d expect, they’re well enough written and some of the descriptive writing is very good. Occasional stories are lighter, with some humour, and those tended to work better for me. I listened to the audiobook version read by Edward de Souza, and to be honest I think it was only the excellence of his narration that kept me going to the end. Overall, then, of the fourteen stories, I rated only five as excellent or good, while five rated as poor and the remaining four were middling.

Book 16 of 20

Here’s a brief flavour of the three I rated most highly…

The Supreme Artist – an ageing actor is visited in his changing room after a performance one day by a woman who seems to remember him from a youthful romantic dalliance which he has completely forgotten. However, it would be rude to say so, and he’s an actor, so he throws himself into the part, playing a man who has spent his life hiding the broken heart she left him with. He may or may not convince the woman, but he gradually begins to convince himself! There’s a lot of humour in this and it’s a fun characterisation, done very well.

Leading Lady – an actress this time, not ageing, but no longer in the first blush of youth. She is about to star in a play being produced by a man she has never worked with before. He wants an up-and-coming young actor to play the male lead, but the actress has seen this young man act and fears he will outshine her, with both youth and novelty on his side. But the producer is the money man, of course, so she can’t simply refuse. So she sets out to manipulate the producer into deciding for himself that the young actor shouldn’t get the role. This is also well done, although it’s one of the many where the woman has nothing admirable about her. And frankly, it reads rather differently after the MeToo movement and the many recent scandals in the world of acting than it would have done before – the element that might have seemed humorous when it was written doesn’t seem quite so funny any more.

Escort – A merchant ship is sailing home to England during WW2, through seas dangerous with U-boats. The captain is taken ill so the First Officer, our narrator, finds himself in charge. A U-boat finds them but a sudden fog rolls up just in time to save them. When the fog recedes, an old sailing barque appears, and hails them to offer them a safe escort home. This has a spooky element to it, which is done well. As far as I can find out it must have been written during the war, and it has a definite patriotic message, one designed to draw on British pride in great naval victories of the past. To be truthful, it mirrors very closely a famous story written by Arthur Machen during WW1, The Bowmen, except that his is set on land and draws on a different but equally heroic British legend. Had du Maurier read it, or is it coincidence? I don’t know, but I decided to give her the benefit of the doubt.

So a disappointing collection for me, and one more suitable for du Maurier completists than for newcomers wanting to sample her work.

Audible UK Link

The Woodlanders by Thomas Hardy

Women, know your place…

😀 😀 😀 😀 🙂

George Melbury has been blessed with only one child, his daughter Grace, so he decides to spend his hard-earned money on educating her. A happy child, growing up among the woods that surround the tiny hamlet of Little Hintock and provide the people there with their living, Grace forms an early attachment to her childhood friend, Giles Winterborne, and it’s her father’s wish that she will one day marry him. But when Grace returns to Little Hintock after years spent at boarding school, she has become such a cultured lady that Mr Melbury no longer thinks Giles is good enough for her, and Grace tends to agree so doesn’t put up much of a fight. Instead, she is wooed and won by the new local doctor, impoverished scion of a once wealthy local family. Happy ending? Good grief, no! This is Hardy, so poor Grace’s troubles are just beginning…

First off, let me start by saying I thoroughly enjoyed this one. Hardy writes like a dream, and the woodland setting gives him the opportunity for some wonderful descriptive prose. Over the course of the book, the reader gets a clear picture of the society of the woodlanders, the trades they follow and how they make their living, their limited but enjoyed social life, the gradations of class even within the working population, the gender roles – a Hardy speciality – and the social and cultural gulf between the working people and the gentry.

But, Mr Hardy, what is the message of the book? We know you’re a feminist, and that’s as clear here as it is in Tess. So why do I come away from this one feeling you are issuing a warning to fathers not to educate their daughters above their station? Why does it seem as if you are saying that true goodness is the preserve of the poor and humble – that education corrupts? Why does Grace’s education change her from a loving child into a cold-hearted little snob? Why does she change from being a hearty, healthy daughter of the woods into a delicate little flower, who sews not and neither does she spin for fear of spoiling her pretty little hands? Even with the one rich character, whom I was willing to boo as being a parasite on society, what do we learn but that she too is a woman on the make, educated and married above her station? You as good as state that Grace would have been a happier, better woman if she’d never been taught to think and had married within the sphere to which she was born. This hardly reads like a paean to social mobility, especially not for daughters!

Book 12 of 20

I actually thought this might have been an early one, from before Hardy fully developed his feminism but it isn’t. It falls between The Mayor of Casterbridge and Tess of the D’Urbervilles, both of which I felt were clearer on Hardy’s views on the status of women. It’s not that he doesn’t sympathise with Grace’s position as a women educated out of her class, nor even that I feel the portrayal is inaccurate for the time. It’s simply that, whether he intended it or not, the underlying message seems to be, not that society should get a grip and accept that women should have the right to both an education and a happy life, but that it would probably be better for the poor little dears to stew in ignorance so they will make a happy child-bearer and home-cleaner for a worthy working man. I don’t want to get into spoiler territory, but even the ending left me wondering if he was really suggesting that men should be allowed to behave badly, but that women should find it in their sweet, feminine little hearts to forgive? Pah, I tell you, and forsooth!!

Thomas Hardy

Maybe I expect too much from him – he is undoubtedly far advanced in his portrayal of women in comparison to many of his contemporary male writers, especially in his recognition of women as sexual and, in Grace’s case, intellectual beings. But perhaps Grace isn’t quite tragic enough, or perhaps I missed out on nuance because I was listening rather than reading – a skill I don’t think I’ve yet fully mastered. Or perhaps it’s simply that I never grew fond of little Miss Snooty-and-Delicate who can’t order a meal for herself in a pub despite/because of her education, while I loved her rival in love, Marty, Miss Ignorant-but-Self-Sufficient, whose attitude to life is give me the tools and the opportunity and I can make a living for myself as well as any man. Why do the men all prefer Grace? Do men really want wives who need to be pampered and petted rather than ones who will share their burdens as equals? Pah!

Anyway, as I said, I thoroughly enjoyed this one – nothing I like better than having a one-sided argument with a great author who can’t answer back… 😉

I listened to the narration by Samuel West – again excellent. West father and son seem to be becoming my go-to narrators for a lot of the great English classics.

Audible UK Link

Latter End (Miss Silver 11) by Patricia Wentworth

Repent at leisure…

😀 😀 😀 😀 😀

Two cousins are attracted to Lois – Jimmy Latter, older, well established and with a large house; and Anthony, young, good-looking, but just starting out in life. For purely mercenary reasons Lois opts for Jimmy, and becomes the chatelaine of Latter End. But now she has inherited a fortune of her own and is rather bored with Jimmy, which is a shame since he worships her. Which is more than can be said for his large household of distantly connected relations and ancient retainers, who can’t stand Lois – a feeling that is mutual. Lois wants to run things her own way and the first thing she wants is to get rid of all these people – Jimmy’s two younger step-sisters, a woman he grew up with and views as a kind of surrogate sister (although her view of Jimmy is somewhat less platonic), old servants who have been around so long they have come to be treated almost as part of the family, and so on. And she has Jimmy wrapped round her little finger, so she can always persuade him that her plans to send all these people away to fend for themselves are made for their own benefit. So when Lois turns up dead, poisoned, the field of suspects is wide. Jimmy, however, fears he may have driven Lois to suicide, so begs Miss Silver to investigate, hoping she will prove that Lois was murdered…

Lois is that stalwart of vintage mysteries, one of the things that makes them so enjoyable – a truly unlikeable victim that neither characters nor readers feel much need to grieve over. True, Jimmy grieves, but only to an extent – even before Lois died his eyes had been opened to her true nature, so if he can only be assured that her death wasn’t his fault he’ll be able to get over her pretty easily. The rest of the characters are frankly overjoyed that she’s gone – their only concern is that they don’t want themselves or each other to be accused of the murder.

Book 11 of 20

Although Lois’ duplicity and manipulation undoubtedly make her ripe for murdering, in her defence I have to admit that she had a point about the hangers-on in the household. Only two of them, step-sister Julia and cousin Anthony, seem to feel that they should make their own way in life. All the rest seem quite happy to live eternally in Jimmy’s home and off his generosity. Jimmy is old-fashioned enough to think his new wife should meekly fit herself in to all the existing household routines and traditions. Lois is not that kind of woman! She wants to be mistress of her own home, especially once she finds that she is in fact wealthier than Jimmy. Wentworth was clearly less sympathetic to that attitude than I was, and anyway when we first meet Lois she is attempting to revive her rejected suitor’s love for her despite now being a Married Woman so I quite agreed she is a Bad Lot Who Deserves All She Gets!

Patricia Wentworth

I loved this one. Wentworth writes exceptionally well for this genre, and while she doesn’t quite compare to Christie in terms of plotting, she manages a similar mix of mystery, suspense, occasional humour and a touch of romance. Miss Silver is not unlike Miss Marple in that she uses her status as an elderly spinster to open up the world of gossip above and below stairs, while her long life and keen intuition allow her to judge when people are hiding secrets. Like Miss Marple, she works in tandem with the police who know her of old and have a grudging respect for her abilities. However, she’s also different enough to avoid feeling like a carbon copy of Miss Marple. Miss Silver is a professional investigator, who takes on investigations for financial reward, and she therefore has a businesslike efficiency in place of Miss Marple’s disguise of fluffy ditheriness and random village parallels. Both ladies knit, however! Google tells me they both first appeared in 1927, so if this is correct, clearly their similarities are entirely coincidental.

I listened to the audiobook narrated by Diana Bishop, and she did an excellent job. She has recorded millions of the Miss Silvers (approximately), and I can see they are going to feature regularly in my future listening! Highly recommended, book and audiobook both.

Audible UK Link

The Warden (Barchester Chronicles 1) by Anthony Trollope

Blessed are the meek…

😀 😀 😀 😀 😀

Septimus Harding is the Warden of Hiram’s Hospital, a charitable institution founded by a long-ago legacy to provide alms and accommodation to twelve old men of Barchester. Over the years the value of the legacy has grown so that now, as well as providing for the twelve pensioners, it also pays a generous stipend of £800 a year to the Warden and provides him with a large, comfortable house. Mr Harding is a conscientious man, neither ambitious nor particularly intelligent, who does his duty as pastor to the old men, and loves them. His elder daughter, Susan, is happily married to Archdeacon Grantly, and his younger child, Eleanor, hasn’t yet admitted to her love for a newcomer to town, the young doctor John Bold, but everyone knows that their eventual union is only a matter of time. So Mr Harding is a contented man. But John Bold is young and idealistic, and he sees the huge disparity between the alms paid to the twelve pensioners and the stipend paid to the Warden, and he feels the Church is misappropriating money that was intended to be spent on the poor of the town. Despite his as yet undeclared love for Eleanor, he begins a public campaign against what he sees as the Church’s abuse…

While I enjoyed all of the Barchester books to varying degrees, this first one has always been my favourite. A short book, it is perfectly formed, and what makes it so special is that Trollope shows all the characters as fundamentally decent people even while he allows them all to have wildly differing opinions on the subject of Church patronage. It is an idealised picture of a world that probably never existed, but that is what makes it such a comfortable and comforting read. It describes a world where even Church abuses are carried out with the best of intentions and where the worst accusations that can be aimed at the officers of the Church are of thoughtlessness and a certain lack of zeal. To Archdeacon Grantly, representing the views of the Church hierarchy, so long as the twelve bedesmen are being well looked after, and they are, then of course the remaining money should go to provide a comfortable living for the Warden, for the Church has a responsibility to provide good livings for all its officers (especially if they happen to be personal friends of the Bishop, who happens to be Archdeacon Grantly’s father).

Donald Pleasence and Nigel Hawthorne as Mr Harding and Archdeacon Grantly in the BBC’s wonderful 1982 production of The Barchester Chronicles

John Bold’s position is given fair treatment too. Mr Harding has never given much thought to Hiram’s original intentions when he made his bequest because Mr Harding is not a thinker, deferring always to the Archdeacon and the Bishop as a good Churchman should. However, when Bold, whom he admires and likes, points out the disparity between what the Church receives from the legacy and what it pays out in charity to the old men, Mr Harding cannot fail to see that his point is valid. But if the Archdeacon thinks it’s justified, then surely it is? As the Archdeacon gears up to fight the accusations of abuse, John Bold turns to the campaigning press to make his case directly to the public. And this public trial by media is the book’s other great theme, as we see poor Mr Harding caught up in a storm not of his own making, publicly reviled and humiliated, and portrayed as a monster of greed, lining his own pockets at the expense of the poor.

Although he shows both sides of the argument fairly, Trollope’s sympathies are all with Mr Harding. He seems to be accepting that the Church does appropriate money to itself and its officers that could be spent on alleviating poverty. But, it feels as if he is saying, is the Church not such a great and beautiful institution that it is worth the money that it takes? Are not the buildings lovely and worth the cost of their upkeep, from the little parish churches to the great cathedrals like Barchester? Are not the services, with their comforting rituals and soaring choirs, designed to bring man closer to God? Do not the Church’s officers, drawn largely from the younger sons of the gentry, need to be provided with comfortable accommodation and a generous income? The poor, after all, are used to being poor, so should they not be grateful for the little charitable portion the Church allows them? In Trollope’s world, Bold is shown as having the misguided zealousness of youth, well intended certainly, but not quite understanding yet how the world works. While admitting the point at the heart of Bold’s argument, Trollope seems to be regretful that reforming zealots can’t simply leave a system that works so well alone. What’s to be gained by impoverishing churchmen simply to give a little more to poor people who already have enough for their simpler needs?

Book 10 of 20

Despite my own atheism and my disgust at the various abuses that have been perpetrated in the name of religion over the centuries, I find each time I read the book that I too am on the side of poor Mr Harding, at least while I’m reading. My cynical brain knows that the picture Trollope is presenting of the Church is idealised, but my heart loves those ancient cathedrals and the choirs and the traditions, and the cloistered peace of mellow cathedral towns. In real life I would side with Bold, but in this fictional world I too believe that he is merely making the pensioners unhappy and greedy by telling them they deserve more. He is destroying the contentment of his love’s father, reducing her income, and simultaneously destroying the grateful acceptance of the bedesmen. To what end? In this world of Barchester even the poor are healthy, well-fed and rosy-cheeked, so why rock the boat?

If only that had ever been true. Trollope’s world is a fantasy, but it is a comforting fantasy, and one in which many of the respectable people of his time firmly believed. There is almost no point of connection between Trollope’s happy vision of the poor and that of his reforming contemporaries, like Dickens. This book was published in the same year as Little Dorrit, with its searing depiction of the debtors’ prison, the Marshalsea. Compare and contrast.

I listened to the audiobook narrated by Timothy West who did a marvellous job. He has narrated many of Trollope’s works and I’m very much looking forward to listening to more.

Audible UK Link

Rain and Other Stories by W Somerset Maugham

A masterclass in character…

😀 😀 😀 😀 😀

This is a collection of short stories, many of them with a colonial setting in the South Seas, though a few are set in Britain. It’s billed as having eleven stories, but four of them are extremely short fragments of description or little anecdotes – well written and quite enjoyable, but more like linking passages than stories, and I decided not to rate them. The remaining seven are quite substantial in length, with a couple reaching novella length, and I found every one of them good, and several excellent. I listened to the audiobook version, narrated excellently by Steven Crossley who created perfectly appropriate voices for each of the myriad of characters who cross the pages.

In each case, while the settings and stories are interesting, the real strength is in the depth and variety of the characterisation. Maugham makes each character completely believable, however extreme or banal their actions may be, and in almost every case, with one notable exception, he makes the reader sympathise with even those whose attitudes and actions at first seem obnoxious. He penetrates below the outer shell, showing with a few deft and sometimes shocking revelations the complexity of each individual, and how they are the product of the attitudes of their society to class, gender, colonialism and religion. His narrators often learn this lesson along with his readers, so that they share the sometimes sudden insight that changes our view of a character we thought we understood.

Book 9 of 20

Of the seven stories to which I gave a rating, one earned 3 stars, two 4 stars, and four 5 stars, and a couple of the 5-stars rate among the best short stories I’ve ever read. I found myself completely absorbed, listening for long periods with no loss of concentration (which regular visitors will know is unusual for me with audiobooks). Here’s a brief flavour of the ones I enjoyed most:

Mackintosh – Mackintosh is sent to an island in the South Seas to be assistant to the Governor, Walker. Walker is a bullying, boastful old man who rules the island like an absolute monarch. In Mackintosh’s eyes, he behaves as a tyrant towards the natives, ready to humiliate them or worse if they refuse to obey his commands. But he treats Mackintosh as an underling too, rather than as any kind of equal, and though Mackintosh thinks his growing outrage and hatred for Walker is because of how he treats the natives, the reader wonders how much it is really to do with Walker’s treatment of himself. As the story progresses, I found my perceptions of both men changing, and the ending is shocking while still arising naturally and almost inevitably out of what has gone before. Brilliant characterisation and great storytelling – probably my favourite story in the collection.

Rain – A little group of people travelling to various destinations are held up when an outbreak of measles causes them to be quarantined in Pago Pago, and they lodge with a trader. Told in the third person, we see the other characters from the perspective of Dr McPhail. He and his wife are forced into a kind of intimacy with another couple – Davidson, a fanatical missionary who believes it is his mission to save souls, even when they’d much rather not be saved, and his wife, who believes as fanatically in her husband as he believes in God. The other person staying in the lodgings is a young woman called Sadie Thompson, who they soon realise is a whore. Davidson decides to save her soul. Another substantial story in length, and with a lot to say about religious fanaticism and colonialism, but also about the patriarchy in action. Davidson is the one character in the collection who I felt was given no redeeming features. I found the ending a little obvious, but still effective – another great story.

Jane – the story of two women as seen through the eyes of the male narrator. Both are widows – Mrs. Tower, an apparently happy society woman; and Jane, her sister-in-law, whom Mrs Tower sees as her “cross” – a rather annoying bore she tolerates only because of their family connection. But then Jane does something remarkable and quite out of character – she marries a man many years her junior, changes her look and becomes a society sensation. Again this story is mostly character studies of the two women, but this time with lots of humour and a touch of unexpected pathos. A sympathetic portrayal of both women, and very well done.

The Colonel’s Lady – Colonel George Peregrine is a typical bluff ex-soldier, in a seemingly contented but childless and passionless marriage to Evie. One day he learns his wife has had a book of poems published, and although poetry really isn’t his thing he skims a couple and tells her the book is “jolly good”. However, to his astonishment the book becomes a bestseller and soon everyone seems to be talking about it, and he feels his friends and acquaintances are giving him sly or sympathetic glances. Eventually he decides he’d better read it properly, and learns he doesn’t know Evie nearly as well as he thought! Another one with a lot of humour, and a great character study of George. But it also has quite a lot to say about the relative and changing positions of men and women in this society.

W Somerset Maugham

The cumulative effect of a lot of these stories left me with the feeling that Maugham was something of a feminist, so I was astonished on googling to find that he has been accused of misogyny! My extremely limited reading so far has turned up no evidence of this – quite the reverse, in fact, with all the women shown sympathetically and due attention given to the unequal expectations of them within a patriarchal system. So I suppose I’ll just have to read the rest of his books to find out what he did to earn this reputation. Given the quality of the little I’ve read so far, that will certainly be no hardship!

Audible UK Link

Silas Marner by George Eliot

The importance of community…

😀 😀 😀 😀 😀

Unjustly accused of theft, Silas Marner, his faith in God and man shattered, flees his home and church and sets himself up in a new place where he knows no one and no one knows him. Raveloe is a small rural village with a strong sense of community among the working class, who, as tradition demands, show deference to the local Squire and his feckless sons. Here Silas lives alone, plying his trade as a linen weaver and accumulating a store of gold which he carefully hides and takes out each night to lovingly count. And so his life may have continued, but that one night his hoard of gold is stolen. He is still reeling and depressed from this disaster when, a short time later, a little girl walks through his door. Silas discovers the body of the child’s mother nearby in the snow, and decides to adopt the girl, whom he calls Hephzibah, or Eppie for short.

Being one of the small minority who didn’t love Middlemarch, I began this one with a lot of hesitation – a book I felt should read rather than one I wanted to. So the pleasure of discovering that I loved it was all the greater for being unexpected. This one has what, for me, Middlemarch lacked – a strong plot. Its brevity is undoubtedly another point in its favour!

It gets off to a bit of a rocky start, as Eliot pontificates for a while about “the poor”, in that supercilious way that suggests they are one homogenous mass, easy to categorise, define and condescend to. “The poor”, apparently, are rather stupid, highly superstitious, easily led, and would fall somewhere not far above beasts of the field in a zoological league table. Whenever one of these 19th century writers talks about “the poor”, I feel I get a better understanding of why people invented guillotines. Happily, however, once she has staked her claim to social and intellectual superiority, she moves on quite quickly, and her depiction of individual members of “the poor” is much more nuanced and insightful than this opening monologue had led me to fear.

Book 6 0f 20

I also feared that Eppie might be one of these saccharin, perfect angels that infest Victorian fiction, usually shortly before they die tragically. Happily not! Eppie is wilful, naughty and refreshingly normal, and won past even my pretty strong anti-child defences. Silas’ reaction to her arrival is very well portrayed, as he sees her as a kind of redeeming gift from the God whom he felt had deserted him. Since she’s a very young child on her arrival, Silas, a man with no experience of children, has to reach out for help, forcing him to become part of the village life he had until then shunned. Perhaps he never quite regains his lost trust in man or God to the same level of naivety of his youth, but he learns to love again, and to appreciate neighbourliness and kindness and the value of community.

Book 8 of 80

The other side of the story is darker, and gives it a weight that prevents Silas’ story from being too sweet. The reader knows the identity of the dead woman, although the villagers do not, and we know why she was there that night, in a snow storm. “The poor” may get Eliot’s condescension, but she is stern on the fecklessness of those who live off the labour of others – the Squire class. Squire Cass himself is a man of pride and temper, and his sons have grown up with weak characters and a sense of entitlement that leads them into vice, each of a different kind. Eliot allows the possibility of redemption, but she intends to make her characters work for it.

George Eliot

I particularly enjoyed the occasional intervals where we eavesdrop on the men of the village, gathered of an evening in the local tavern to swap stories and exchange gossip. There’s a lot of humour in these passages, but they also give a great depiction of the social hierarchy of village life, based not so much on wealth as on age and experience, with a sense of earned wisdom being passed down through the generations. Eliot also shows how the women of the village try to ensure that motherless Eppie is given the guidance on womanly matters that Silas can’t provide.

Having been rather rude about Andrew Sachs’ narration of The Power and the Glory recently, I was delighted to find him excellent in this one. Without the distraction of “foreign” accents to contend with, he gives a full range of very good characterisations, each well suited to the social class of the character in question.

In the end, the various strands all come together satisfyingly, managing to be sweet without a surfeit of sugar. An excellent listening experience, and I’m now keen to explore more of Eliot’s work.

Audible UK Link

Pied Piper by Nevil Shute

A wartime comfort read…

😀 😀 😀 🙂

It’s 1940 and elderly John Howard is feeling useless because no one wants his service in the war effort. His son has been killed in the Battle of Heligoland Bight and his daughter now lives in the US with her husband. So feeling a little lost he decides to take a holiday in France (in the middle of a war, as you do). Once there, he learns that the German Blitzkrieg has begun and it looks like France will soon fall. He realises he has to head home while he still can. An English couple at his hotel can’t leave for England straight away and beg him to take their two young children with him. Howard is hesitant – he may have been a father but he’s never had to look after young children by himself. However, he agrees and they set off. But the German invasion is happening faster than he expected and soon the transport system of the country collapses. Howard must make his way as best he can, and as he goes he finds himself collecting other children of various nationalities to take to safety.

On the whole I quite enjoyed this gentle, heart-warming story, but not nearly as much as the other Shute novels I’ve read. Published in 1942, it must have been written during the early days of the war, when France had capitulated and Britain was standing alone against the mighty Nazi war machine; and is clearly directed at those people in Britain and America who were at home worrying, while Europe raged and British sons and grandsons were already in the Forces, fighting in several arenas and preparing for the day when they would be strong enough to liberate France and drive the Nazis back. It is designed to show the innate goodness, generosity and courage of the Brits, as opposed to the nasty Germans and the cowardly French, and our expectations that the Americans, if they would not fight with us, would at least provide sanctuary for refugees. It’s not quite propaganda, but it comes close, as much contemporaneous wartime fiction did.

Book 5 of 20

Some of the attitudes irritated me. That it was considered best to get English children back to England makes perfect sense, and yes, I could even see that some French parents might have wished to send their children to Britain or America if they could. But when Howard started randomly picking up children who had been separated from their families and deciding that they too should be sent to America rather than trying to find their relatives or leaving them with local authorities, it seemed high-handed in the extreme. I couldn’t help wondering what would happen to these little children after the war – would they ever be reunited with their families? And I imagined grandparents discovering their son or daughter was dead and their grandchildren had mysteriously vanished for ever without a word or sign. The children themselves, those who had been orphaned, seemed remarkably easily comforted by the idea that they’d be going to the utopian Land of the Free – what’s a dead parent or two in comparison with the chance to learn English and play baseball? I think it was when the Nazi wanted Howard (his enemy, remember) to take his child too that I felt Shute had pushed it too far.

Nevil Shute

This has been more critical than I initially intended. It is quite a sweet story, a bit slow and rather repetitive, but quite cosy, if such a thing can be said about a story set in a country occupied by the Nazis. But as I thought about it to write my review I realised I had real reservations about the underlying messages in it (confirming my general view that thinking is a Bad Thing and should be avoided at all costs). Understandable, of course, given the time of writing, since clearly the readership of the time would have wanted the British and Americans to be portrayed as the good guys (which in that particular war we largely were, at least in Europe), even to the point of suggesting some kind of innate superiority. But I have to say that reading it with modern eyes, I found it a little too sycophantic towards our American cousins and a little too self-congratulatory about our own perfections as a people. In terms of tension in the storytelling, the book begins with Howard relating the story to a man in his London club, so we know from the beginning that he and the children made it to England safely. Again, I can well see that at the time the readership probably did not want to be reading books that left them tense and scared over the fate of fictional children when their real lives were already full of fear for their own children, but it does mean that there’s never any real sense of dread, even when Howard and the children meet with dangerous situations along the way. A wartime comfort read for those waiting and worrying at home, and I’m sure it would have been better appreciated by its intended readership than by cynical old me.

I listened to the audio book narrated by David Rintoul, and he did a very good job.

Audible UK Link

The Power and the Glory by Graham Greene

The role of the narrator…

When narrating a book, a narrator has to decide how to interpret the various accents of different characters in the dialogue. This is crucial to allowing the reader to get lost in the book, and to being able to believe the placing of the characters in the social structure being portrayed in the book. The Power and the Glory is set in Mexico, and nearly all of the characters are Mexican. Therefore presumably they all speak Spanish or Mexican dialects. However, obviously, the book is written in English. So there are two choices open to the narrator: he can either give all of the Mexican characters appropriate Mexican accents, or he can give them all comparable English accents. (Of course, if the narrator and/or publisher were American, Canadian, Australian, Kiwi, etc., then it would make sense to give a range of the accents of those countries, but in this instance it’s an English author, and an English narrator.)

As an example, in the English-translation Maigret audiobooks, Gareth Armstrong chooses to give all of the characters appropriate English accents. If they are upper class he gives them a posh English accent. If they are working class he gives them a rougher London accent. If they don’t come from Paris he gives them a suitable regional English accent. This works very well. The only time he gives anyone a “foreign” accent is if the character is not French, and therefore would sound foreign to the French characters.

It would be equally logical, even if I feel it would be a little annoying, had he chosen to give all of the characters French accents. In order to do this effectively, he would obviously have to be able to give a range of French accents – educated, rural, working class, etc. – and I’m not sure many English speakers know enough about the range of French accents to catch the nuance of that. I certainly don’t.

Andrew Sachs as Manuel in Fawlty Towers

But it seems to me that the one choice a narrator can’t make, in these circumstances where every character is native to the setting of the book but the book is either written in or translated into English, is to give some of the characters English accents and some of the characters foreign accents. Where is the logic in that? And unfortunately that’s what Andrew Sachs has done in his narration of The Power and the Glory. Some of the characters, mostly the educated and/or powerful ones, sound English although they are Mexican, and then there’s a range of what I can only describe as caricatures of Mexican accents, mostly for the poor and downtrodden characters. I found it completely annoying and distracting and, dare I say, a touch condescending? But the point where I really began to wonder if I could take any more was when a mestizo character appears, and Sachs gives him an accent that at first I thought sounded very like Manuel from Fawlty Towers (not surprisingly since that is the “Spanish” accent that Andrew Sachs is most famous for), but then I realised that what it actually reminded me of was Calimero! This particular character whines quite often – “You’re going to leave me here to die, señor”, etc., – and I kept expecting him to finish every sentence with “It’s an injustice, it is, yeah!”

(If you don’t know Calimero, this is him – the most annoying cartoon character ever created, and as good an argument for eating chicken as I can think of.)

The result of this was that at no point did I connect with the book. If you’re a regular visitor you will know that Graham Greene is one of my favourite novelists and, while I don’t think The Power and the Glory is his best book, I certainly think it’s a good one. But although I struggled past the mestizo and Calimero incident and listened to the end, I found the narration too distracting to allow me to enjoy the book. In all fairness I should say that many people have found this an excellent narration, though some other reviewers have made comments similar to (though less brutally rude than) my own.

Book 4 of 20

I wouldn’t normally review a narration rather than the book itself, but this is one of my #20(Audio)BooksOfSummer, so I had to say something about it… 😉 One day I’ll re-read a paper copy, and review the book properly.

Audible UK Link

Knots and Crosses (Rebus 1) by Ian Rankin

A study in psyche…

🙂 🙂 🙂

Three young girls have been abducted from the streets of Edinburgh, and Detective Sergeant John Rebus has been assigned to the team investigating the disappearances. Soon the discovery of the bodies of the girls makes the case even more serious, and the race is on to find the killer before any more girls go missing

This is the first book in what became the long-running Rebus series, and it is very different in style from the way the series developed later. Apparently Rankin hadn’t originally intended it to become a series – he wrote this as a one-off, as an examination of a damaged man, suffering from PTSD following his experiences in the SAS.

I’m very glad that I didn’t originally read this series in order because, to be honest, had I read this book first I doubt very much whether I would have gone on to read any of the others. (Thus confirming my general belief that the first book in any series is often the weakest, and it’s often better to jump in around the third or fourth and then work backwards.) The quality of the writing is already here – Rankin could already evoke Edinburgh in all its contrasts of wealth and poverty, the powerful and the marginalised. But the story, as a crime story, is well nigh non-existent. The missing girls are so forgotten about that I still couldn’t tell you any of their names. There is almost no detection, on the page at least, and we spend far more time learning about Rebus’ psychological problems than about either the victims or the perpetrator.

And while it’s an interesting thought to see how a man suffering from the effects of PTSD would have difficulty coping in the police, I’m afraid the implausibility of the reasons for Rebus’ problems made it impossible for me to fully buy in to the premise. Having read many of the later books, I’ve always been aware that Rebus had served in the SAS at an earlier point in his life, but here in the first book we learn that in fact he was so traumatised during the training that he never made it through. In itself this is hard enough to accept since, although the SAS has the reputation of being only for the toughest of the tough, I can’t believe that they would put new recruits through the kind of extreme experiences to which we are expected to believe Rebus was subjected, and send them back into civvy street as broken men.

But what I found even more unbelievable is that the police would employ someone so badly damaged. Because he is very badly damaged, to the point of frequently collapsing, losing awareness of where he is, losing consciousness, becoming violent, etc. And it’s certainly not due to the stress of his current job, since he doesn’t really appear to do anything very much.

The other thing that surprised me is that Rebus is shown here as a man of faith, battling to reconcile his belief in an all-powerful, loving God with the horrors he sees happening daily in the world around him. It’s interestingly done, with that distinctive Scottish flavour of ambivalence towards the whole subject of religion, but again feels very different to the cynical Rebus who develops in the later books.

This whole concentration on Rebus’ psyche goes on for far too long. The story of the abductions is really packed into the last few chapters, by which point I had pretty much forgotten all about the dead girls. I was also disappointed that Rankin fell back on the old clichés of the motivation of the killer arising out of personal animosity for the detective, together with a side story involving Rebus’ brother. However, in these final chapters we see the beginnings of the more traditional style of noir-ish police procedural that Rankin would develop in future books and, throughout, his skill in invoking atmosphere and excellence in characterisation are already clear. Although the Edinburgh setting is already well developed, there isn’t the focus on specifically Scottish society and culture that would become a major feature down the line.

Ian Rankin

So, all in all, my recommendation to newcomers would be to come in a few books further on, when Rankin had begun to focus more on the crime aspects and had allowed Rebus to become rather more functional! For existing fans this one is interesting to see how it all began, but with the proviso that the Rebus of this book has become a very different man by the time Rankin fully hits his stride. I’ll be interested to see over the next few books if that transformation is done by a process of slow evolution, or if Rankin merely threw out the bits of Rebus’ original character that didn’t work so well once he had decided to use him as the lead in a long-running series.

I listened to the audiobook narrated by James Macpherson, who has narrated all of the Rebus books and does a fine job with them.

Audible UK Link

N or M? (Tommy and Tuppence 3) by Agatha Christie

Careless talk costs lives…

😀 😀 😀 😀 😀

It’s 1940, and Tommy and Tuppence are desperate to help the war effort in any way they can. But they’re in their forties now, and Tommy is seen as too old for the armed services while Tuppence’s old skills from her days as a nurse in WW1 don’t seem to be in demand either. Tommy gets in touch with Mr Carter, now retired from the Secret Service, and asks if he can pull any strings. And then a Mr Grant shows up, ostensibly offering Tommy a dull but useful clerical role in Scotland. But when Tuppence leaves the room, Mr Grant tells Tommy this is a cover story – really the Secret Service want him to go undercover to a boarding house in the South of England from where they believe a top Nazi spy is operating. But they don’t know who – all they know is that it’s one of two people known only by their code initials, one male, one female – N or M. It’s vital the spy should be uncovered – the whole war depends on it! The operation is top secret and no one must know he’s going, not even Tuppence. So off Tommy goes, but when he gets there he’s in for a big surprise when he meets one of his fellow guests – Mrs Blenkinsop, who bears an uncanny resemblance to his eavesdropping wife…

I’m afraid when Ms Christie gets into espionage plots they become so convoluted and unlikely that I’m always left feeling if this was the best the Nazis could do the only wonder is they didn’t lose more quickly! But I don’t care – Tommy and Tuppence, especially Tuppence, are so much fun to spend time with that the plot can be as silly as it likes and I’ll still love the book! And there’s so much in it about the anxieties that would have been forefront in the minds of people on the Home Front that I expect it didn’t seem nearly so unbelievable when it was published in 1941 – Fifth Columnists, parachuting spies, those perfidious Irish, Nazi sympathisers, German refugees who might be spies… and all while Britain was standing alone against the mighty Nazi war machine, and victory was far from certain. As would have been the case for so many people too old to serve, Tommy and Tuppence’s two children – adults now – are in the forces, and both doing jobs requiring a lot of secrecy so that their parents don’t even know where they are much of the time. It’s partly to take their minds off this constant worry that makes them both so keen to be doing something – anything – to help.

Book 3 of 20

The boarding house is filled with a variety of characters who all look innocent enough, but equally could all be N or M. There’s the retired military man who seems to despair of democratic Britain and feels the Nazis are doing quite a good job of running Germany – but is he really a Nazi sympathiser or just a grumpy old man? Is the Irishwoman loyal to Britain despite her husband’s Irish nationalism during WW1? Is the young German really a refugee from a regime he hates, or is he an infiltrator? What about the hypochondriacal man and his put-upon wife – are they what they seem? Surely the mother evacuated from London with her young child must be just what she claims? That was what made the idea of the Fifth Column so frightening – once you accept the idea as possible, then anyone could be a Nazi spy. And so every careless word could lead to death or disaster for our troops. Christie captures this feeling of paranoia very well.

Despite all this serious stuff, there’s also enough humour in it to stop the tone from becoming too dark. The banter between Tommy and Tuppence is always entertaining, and here there’s an added element in that we see how their children treat them as if they were ancient and past it, while Tommy and Tuppence in reality are doing a far more important and secret job than either of them. Albert makes an appearance, and while it’s always fun to see him, sadly he follows in the tradition of Lord Wimsey’s Bunter or Campion’s Lugg – the comedy working class character who adores and idolises his master or mistress. Albert actually refers to Tommy as his master, for goodness sake! So I’m glad he plays a fairly minor role, and am devoutly thankful that neither Poirot nor Miss Marple saw the need for a working class sidekick.

Hugh Fraser

Hugh Fraser is as wonderful as always. Here he gets the chance to play loads of different characters, from grumpy old men to beautiful, moody young women, not to mention the toddler who speaks mostly in baby language and gurgles, and he handles them all brilliantly! So, despite my niggles with the plot, this is a hugely enjoyable listening experience, and Tommy and Tuppence are as much fun as ever!

Audible UK Link

Heartstone (Matthew Shardlake 5) by CJ Sansom

Who guards the guardians?

😀 😀 😀 😀 😀

When Queen Catherine Parr’s old servant comes to her with a legal problem, the Queen naturally turns to her old friend, Matthew Shardlake. The servant’s son had been tutor to two children until their parents died in one of the waves of sweating sickness that swept the country. The children, Hugh and Emma, had been given into the guardianship of an old family friend, Master Hobbey. Unfortunately smallpox ravaged the Hobbey family shortly after, killing Emma and leaving Hugh badly scarred. Some years later the tutor had visited Hugh, and had become outraged by something he saw as a monstrous wrong. He had placed a complaint with the Court of Wards, but before he could explain his concerns, he was found hanged. The verdict was suicide, but his mother finds that hard to believe. The Queen wishes Matthew to take up the case, with a view to finding out what it was that had so horrified the tutor, and to ensuring the well-being of Hugh. This will involve Matthew in making a trip to Master Hobbey’s home, Hoyland Priory, not far from Portsmouth, where the English army and fleet are massing to defend the country from an expected invasion by France.

Meantime, the story of Ellen Fettiplace continues from the previous novel. She is a woman Matthew met when he was dealing with a case that involved him visiting Bedlam, the lunatic asylum, where Ellen has been incarcerated for nineteen years. She has come to depend on Matthew, and he fears she has fallen in love with him. There is a mystery as to why she is in Bedlam and, since she came from a village in the same area as Hoyland Priory, Matthew decides to investigate while he’s there.

Book 2 of 20

The Shardlake books are so monumental in size and complexity that frankly it’s very hard to summarise what they’re about. The plots are always interesting and there are always several strands going on simultaneously, and at the same time Sansom fills in the historical background, gives a good deal of social history, and doesn’t forget to keep us up to date with the lives of all the regular characters. Here, we see the outcome of Henry VIII’s hubris in warring with France. Men are being conscripted into the army, huge warships are being built, vast expenditure on military preparations is causing high taxes on the wealthy and a devaluation in the coinage which is further impoverishing the poor; and in general England is suffering for Henry’s ego.

In Portsmouth, Henry’s favourite ship, the Mary Rose, has been refitted in preparation for the coming battle, and she plays her part in the plot too. Sansom manages to impart a ton of historical information interestingly, so we learn all about the ship and what it would have been like to serve aboard her, and we see how she fares when the battle commences. Shardlake and Barak travel south with a company of archers heading for Portsmouth, so we also learn about this aspect of warfare. And of course, Matthew as usual finds his cases leading back to the skulduggery of Henry’s court, so that we get an insight into the high politics of the day too. On top of all this, there’s lots of info about how wardship and guardianship worked, about the enclosure of common land, and about the legal system of the day. As I’ve said before, I’ve learned far more about the Tudor period from Sansom than from all the mighty history books I’ve ploughed through in my lifetime, with the added bonus that Sansom makes it interesting and enjoyable!

The Mary Rose
by Geoff Hunt, PPRSMA
via http://www.maryrose.org

Meantime, on the personal level, Jack is irritated to have to go away from London at this time, since Tamasin is heavily pregnant. Although Jack is still officially Matthew’s assistant, the two men are now close friends, almost family; and Jack, always loyal, is also able to be honest when he feels Matthew is making bad decisions. Guy is staying with Matthew after his shop was attacked, and Shardlake has a new steward who is not working out very well, and is giving Matthew yet another problem to solve.

Steven Crossley

Steven Crossley is again the narrator for this one, and his performance is really wonderful. It’s great having the same narrator for the whole series, since the recurring characters have the same voices each time, and I would find it very hard now to imagine the three major characters, Matthew, Jack and Guy, with different voices. But there’s always a cast of thousands (approximately) in a Shardlake novel, and Crossley does an amazing job of making each character distinct and individual, and immediately recognisable, which makes the listening experience so much easier and more enjoyable. He even does the women well, which is not always the case with male narrators. If the rumour is true that there’s a new Shardlake novel in the publishing pipeline, then I sincerely hope someone has already booked Crossley for the audio version!

You could certainly read this as a standalone in terms of plot, but to develop the emotional connection with the regulars it’s definitely better to read the series in order. And since each one is a masterpiece, that would certainly be no hardship – many, many hours of reading or listening pleasure!

Audible UK Link

The Flemish House (Maigret 14) by Georges Simenon

Culture clash…

😀 😀 😀 😀 🙂

Maigret has been approached by a young woman, Anna Peeters, who wants his help. Her family is suspected of having killed another young woman, the lover of Joseph, Anna’s brother, and the mother of his child. Anna fears the local police are about to arrest them and wants Maigret to investigate separately. Since Anna has been introduced to him by an old friend, Maigret agrees, and heads to the small town of Givet on the Belgian border to look into the matter in an unofficial capacity.

This is a short one even by Maigret standards, coming in at just 132 pages, or 3 hours for the audiobook. It gives an interesting picture of a border town, looking in two directions and split between French and Belgian cultures. Simenon was Belgian by birth, although he moved to France as a young man. Here he shows how the French people in Givet look down on the Flemish residents, and because the Peeters family have done well for themselves they also meet with a lot of resentment, of the kind that suggests they are aiming above their station as members of a “lower” culture.

The Peeters themselves behave as if they think they are something special. The missing girl is a young French girl called Germaine Piedbouef and the Peeters see her as too common to marry their precious Joseph, who anyway is more or less betrothed to his cousin Marguerite. Germaine was last seen when she visited the Peeters’ house, looking for the monthly allowance that Joseph paid her for the maintenance of the child. Although no body has been found, the local police are assuming that she has been murdered and that the Peeters must have been involved, either having committed the murder as a group or at the least covering up for whichever one of them did the deed.

Book 1 of 20

Maigret is less sure – perhaps the girl has simply given up hope that Joseph will marry her and run away to Paris, or perhaps despair has caused her to take her own life. And so he wanders around Givet talking to people, drinking plenty of the local Flemish drink of choice, genever (a kind of gin, apparently), and waiting for the local police to find Germaine, dead or alive. He becomes increasingly fascinated by the Peeters family. To him Joseph seems an unremarkable, rather weak young man, but his mother, sisters and cousin Marguerite all adore him immoderately and see him as the centre of their world. Anna particularly intrigues Maigret – she seems so sure of herself, so unemotional, but determined. He realises she is the true centre of the family, the person who holds them together and gives them strength.

Gareth Armstrong

Maigret does more actual detection in this one than is sometimes the case, and as always his setting is very well portrayed, with the added interest of the mixed culture. The dynamics within the Peeters family is also shown very believably, from a time when men were seen as the most important members of a family due largely to their greater opportunities to have a career and a place in the public sphere. The ending is a little odd in that it left me wondering why Maigret decided to do what he did – vague to avoid spoilers, sorry – but it added an interesting element to his character. A good one, and as usual the excellent narration by Gareth Armstrong added to my enjoyment.

Audible UK Link

The Wreck of the Mary Deare by Hammond Innes

Worse things happen at sea…

😀 😀 😀 😀 🙂

The little sailing boat Sea Witch is crossing the Channel one night, when suddenly a large ship looms out of the darkness and nearly rams her. The crew of the Sea Witch are planning to start a new business venture as salvagers and when they realise the ship may have been abandoned the skipper, John Sands, who is also our narrator, sees this as a possible salvage opportunity. So despite the fact that a storm is approaching, he decides to board the ship, the Mary Deare, to see whether they can bring it to harbour. But when he gets aboard, he finds the badly damaged ship is not completely abandoned – its captain, Gideon Patch, is there, exhausted and drunk and on the point of giving up hope. The storm hits, and Sands is unable to get back to the Sea Witch, so he and Patch are left to try to prevent the Mary Deare from sinking before help arrives. But what has caused the damage to the Mary Deare? And why has her crew, all but Patch, abandoned her? Sands finds himself caught up in a mystery as well as an adventure…

Hammond Innes was a big name in adventure writing in the last century, with a long career spanning from the 1930s to the 1990s. I’m sure I probably read some in my youth, but if so they’ve long faded from my mind. This one dates from 1956. The entire plot involves sailing – both big and small ships – and is full of nautical terminology and information about sea conditions, tides, and so on. Innes was apparently a keen sailor himself and clearly knows his stuff, and has the happy knack of not dumbing his knowledge down but still managing to keep the unknowledgable reader, like me, following in his wake. The story takes place mostly in the Minquiers, a cluster of reefs, rocks and tiny islets off the shores of the Channel Islands.

The story is divided into three parts, roughly speaking, with the first and last being adventures on the sea and aboard the Mary Deare, while the middle section involves the official court inquiry into what happened aboard. The adventures are exciting, though I did wonder if even strong experienced men could really have survived some of the physical ordeals Hammond puts them through.

The court case is what gives the adventure its plot. The Mary Deare has had a run of bad luck, firstly with the captain dying unexpectedly, so that Patch, who had only joined the ship in its last port, is thrust into the role of captain. A man is missing, a representative of the ship’s owners, and it is presumed he must have fallen overboard. Then there’s a fire which cuts off ship-to-shore communications, and finally an explosion in the cargo hold, breaching the hull. But are these things all accidents, or is there a nefarious plan afoot? The crew claim Patch ordered them to take to the lifeboats and make for shore, but Patch denies this, counter-claiming that they effectively mutinied under the direction of another crewman, Higgins. Then there are rumours that something dodgy went on the last time the ship was in harbour – that the supposed cargo of aero-engines had been secretly transferred to another ship. Patch, whose career and reputation are on the line, believes the only thing to do is to salvage the wreck and examine the cargo, and he ropes in Sands and the Sea Witch to help him.

The writing is perfectly attuned to the style of the story, with great descriptions of the sea and the storms, the conditions aboard the Mary Deare, how Patch and Sands go about trying to get the engines going again, and so on. The adventure sections have a real atmosphere of tension for the most part, though I felt the final section went on a bit too long – by that stage I was ready for the plot to be brought to its conclusion.

Hammond Innes

The courtroom scenes are slower, but I enjoyed the way Innes laid out all the conflicting evidence and gave us contrasting pictures of the various crew members. We see it all through the eyes of John Sands, who, like the reader, has no knowledge of any of these men other than what they themselves tell us. Therefore, like us, Sands has to make a judgment as to whether Patch is the victim of a conspiracy or is himself the saboteur.

I listened to the audio book version, narrated by Bill Wallis, and for the most part it’s excellent. The exception is when Patch is drunk and Wallis acts this out, slurring his words. This made it very difficult for me to make out what Patch was saying, and several times I had to rewind and listen twice or three times to the same sentence. Happily Patch sobers up eventually and the problem went away. But I do wish narrators would remember that clarity is the prime essential in audiobooks, however much they may want to show off their acting skills.

Overall, I thoroughly enjoyed this sea adventure and I’m looking forward to checking out some more of Innes’ books in the future, either in audio or print.

Audible UK Link

Black Wings Has My Angel by Elliott Chaze

Built for one thing…

😀 😀 😀 😀 😀

On the run after a prison-break, Tim Sunblade stops off in a cheap motel and hires himself a ten-dollar hooker. But when Virginia shows up, all lavender eyes and sinuous limbs and expensive scent, Tim sees she’s clearly used to a much classier trade. Next day he takes her along with him, telling himself he’ll drop her somewhere when he tires of her. But his fascination with her grows, to say nothing of his lust, and anyway he needs someone to help him with the big job he’s planning. Virginia has her own reasons to get away for a while and doesn’t object at all to the idea of getting rich, so Tim’s plan suits her just fine…

A noir thriller from 1953, apparently the book went out of print for many years and the difficulty of getting hold of it added to its aura as a cult classic. It’s now been back in print for a decade or so, and seems to be pleasing its new readership just as much as its reputation suggested. Noir sometimes works for me and sometimes not, so I was intrigued to give it a try at least, especially since the audiobook narrator, Malcolm Hillgartner, has also been highly praised.

Tim is our narrator and in true noir style we know from the beginning that his story is going to end badly. Virginia is the mystery that keeps the suspense going. Will she betray him, or will she share his downfall? The more time Tim spends with her, the more addicted to her he becomes – and it is an addiction, one he often wishes he could shake, but her looks, her sensuality, even her calculating coldness all exert a growing hold over him, so that he finds he can’t face losing her. But what of her? Is there a heart underneath her hard exterior? Does Tim mean anything to her or does she simply see him as a means to an end? Does she feel any of the lust and passion Tim feels for her, or is she just very good at her profession?

Elliott Chaze

This is undoubtedly noir, but not quite as pitch black as some. Tim has a heart and Virginia is ambiguous enough for us not to be sure till quite late on whether she has too. This gives it a kind of emotional warmth despite their actions – there’s not quite the level of amorality as there is in The Postman Always Rings Twice, for instance, which is way too dark for me. Although this pair are driven by lust and money, you kinda feel they’re both deeper than that – that perhaps there are reasons they are as they are. I found myself liking them both, despite everything, and that meant I was far more interested in their fate than if I’d wholeheartedly despised them. There’s a strong feeling that they are both emotionally affected by their actions too, that guilt may not be an altogether foreign emotion to either of them, which isn’t generally the case in the blackest noir, I think.

But it’s certainly noir in that there’s no hope of a happy ending, and the sense of impending tragedy grows strongly in the latter stages. We don’t know what the tragedy will be, exactly, but there’s a kind of inexorable quality to it, as if all things are fore-ordained, and once on the path there’s no way to turn off.

You’ve never heard a siren until you’ve heard one looking for you and you alone. Then you really hear it and know what it is and understand that the man who invented it was no man, but a fiend from hell who patched together certain sounds and blends of sounds in a way that would paralyze and sicken. You sit in your living room and hear a siren and it’s a small and lonesome thing and all it means to you is that you have to listen until it goes away. But when it is after you, it is the texture of the whole world. You will hear it until you die. It tears the guts out of you like a drill against a nerve and it moves into you and expands.

The writing is great, with rather more literary qualities than a lot of pulp noir – it has more depth of characterisation and a wider focus, so that we see the world these two live in rather than being laser-focused on their lust, greed and crimes, though all those aspects are there too.

I loved it – probably my favourite noir novel, though I admit I haven’t read a lot of the genre. I also loved Malcolm Hillgartner’s narration – he is completely believable as Tim and keeps the emotional level just right, relying on little changes in speed or emphasis to increase the tension as the story moves towards its wonderfully dark climax. And one last bit of praise – isn’t it a wonderful cover? Perfect for the story and the expression on the blonde’s face is exactly Virginia.

She was a creature of moonlight, crazy as moonlight, all upthrusting radiance and hard silver dimples and hollows, built for one thing and only one thing and perfectly for that.

Great book, great narration – highly recommended!

Audible UK Link (For UK Audible members, it’s included on APlus)

Aunts Aren’t Gentlemen by PG Wodehouse

The Maiden Eggesford horror…

😀 😀 😀 😀 😀

When Bertie Wooster wakes one morning to find he has developed pink spots on his chest, his doctor orders him off to the country to rest. Aunt Dahlia finds him a little cottage, Wee Nooke, in the village of Maiden Eggesford, where she herself is visiting at Eggesford Hall. Needless to say, idyllic though the setting is, there’s no rest to be found for poor Bertie! Not only does Aunt Dahlia want him to help her nobble a horse in the big local race, but old flame Vanessa Cook has decided that she will marry Bertie, much to his horror. Not only is she the type of girl who expects him to give up smoking and cocktails, but she also feels he would be improved by reading more poetry. And Orlo Porter, who loves Vanessa and has been spurned by her, is on the warpath.

….“Lord Chesterfield said that since he had had the full use of his reason nobody had heard him laugh. I don’t suppose you have read Lord Chesterfield’s ‘Letters To His Son’?”
….Well, of course I hadn’t. Bertram Wooster does not read other people’s letters. If I were employed in the post office I wouldn’t even read the postcards.

This was the last novel PG Wodehouse finished before his death, and it’s in the nature of a reprise of all his greatest hits. All the plots in the Jeeves and Wooster books are fundamentally the same, and that’s a large part of their charm. You know exactly what to expect and Wodehouse never fails to deliver. He repeats jokes from book to book, and yet they seem fresh every time because he’s such a master of the witty turn of phrase and his use of language is delicious.

If she ever turned into a werewolf, it would be one of those jolly breezy werewolves whom it is a pleasure to know.

The books with Aunt Dahlia in them are always my favourites. In this one, she intends to nobble Potato Chip, the racehorse owned by Vanessa’s father, because she has bet her all on Simla, owned by her host at Eggesford Hall. To achieve her aim, she arranges to steal a cat to which Potato Chip has become so deeply attached he refuses to train unless the cat is with him, and of course where better to hide a stolen cat than in Bertie’s cottage! Bertie tries to point out how ungentlemanly nobbling racehorses is, but Aunt Dahlia simply doesn’t see it that way. As Bertie has come to realise, aunts aren’t gentlemen. Mr Cook is on the warpath…

He was a red-headed chap, and my experience of the red-headed is that you can always expect high blood pressure from them in times of stress. The first Queen Elizabeth had red hair, and look what she did to Mary Queen of Scots.

PG Wodehouse

Of course, things get progressively more tangled, until the inimitable Jeeves saves the day with his usual display of inspired brilliance. Despite this having been written when Wodehouse was in his nineties, it’s right up there amongst his best. I chuckled my way through it, safe in the knowledge that all would be well. Jonathan Cecil is the perfect narrator for these books, and they are guaranteed to bring sunshine into the greyest day. It’s time they made Wodehouse available on the NHS!

Audible UK Link
Audible US Link

Christie Week: Cards on the Table by Agatha Christie

A menagerie of murderers…

😀 😀 😀 😀 😀

Mr Shaitana loves to collect things – jewels, weapons, Egyptian artefacts, objects from the mysterious Far East, etc. One of his stranger collections is of uncaught murderers and when he meets the famous detective Hercule Poirot, he can’t stop himself from boasting about them. Almost against his better judgement Poirot is intrigued, so when Shaitana invites him to a little party to meet his murderers, he accepts. When he arrives, he finds there are eight guests including himself, three of whom he knows – Superintendent Battle of Scotland Yard, Colonel Race, whose career included intelligence work, and Ariadne Oliver, detective novelist, who believes that more crimes would be solved if only there were a woman at the head of Scotland Yard. [FF muses: Hmm! Wonder what she’d have thought of Cressida Dick! 😉 ]. It’s obvious, then, that the other four guests must be Shaitana’s murderers. And when later in the evening Shaitana is stabbed to death, it’s equally obvious that one of these four must have done the deed. It’s up to Poirot and the other three detectives to work out whodunit, but first they must look into the backgrounds of the four suspects to find out if Shaitana was right that they had each successfully committed a murder before…

….“He played the part of the devil too successfully. But he was not the devil. Au fond, he was a stupid man. And so – he died.”
….“Because he was stupid?”
….“It is the sin that is never forgiven and always punished, madame.”

I love this one but I have two tiny reservations, so let me get them out of the way first. There are some unfortunate racial slurs in this and some attitudes to foreigners which were perfectly normal back then, but which may jar today. My other issue is that Christie assumes that her readers will understand the intricacies of the card game of bridge, which the suspects were playing at the time of the murder. Poirot uses the bidding and scores as a method to understand the personalities of the four players. Back then I’d imagine the vast majority of her readers did play bridge, or at least knew the rules. I, however, only have the sketchiest understanding of it so most of that was lost on me and I found my eyes glazing over during some of the rather lengthy dissections of the game.

However, there’s so much good stuff in it that these small points don’t spoil the overall enjoyment. Ariadne Oliver is always a favourite of mine when she turns up in a Poirot mystery, and in this one she’s especially fun as she explains to another star-struck character what being a mystery novelist is like – the hard work that comes between thinking up a plot and having a finished book, the pressure of publishing deadlines, and so on. She also discusses with Poirot how it’s possible to re-use plots so long as you disguise them well enough. I always feel Mrs Oliver gives us a real insight to Christie’s own writing life, and she does it with so much humour and such a complete lack of pomposity that it makes me like her even more!

“As a matter of fact I don’t care two pins about accuracy. Who is accurate? Nobody nowadays. If a reporter writes that a beautiful girl of twenty-two dies by turning on the gas after looking out over the sea and kissing her favourite Labrador, Bob, goodbye, does anybody make a fuss because the girl was twenty-six, the room faced inland, and the dog was a Sealyham terrier called Bonnie? If a journalist can do that sort of thing I don’t see that it matters if I mix up police ranks and say a revolver when I mean an automatic and a dictograph when I mean a phonograph, and use a poison that just allows you to gasp one dying sentence and no more. What really matters is plenty of bodies! If the thing’s getting a little dull, some more blood cheers it up.”

Zoe Wanamaker as Ariadne Oliver in the Suchet adaptation

Superintendent Battle and Colonel Race are occasional recurring characters too so it’s fun to have all of them working together. The four suspects each provide interesting stories. Young Anne Meredith (called after one of Christie’s fellow mystery novelists) seems too naive and innocent to be a murderer, but is she what she seems? Dr Roberts has all the opportunities given to him by his profession – has he bumped off one or two patients in his career? Major Despard has had an adventurous life in some of the far-flung corners of Empire, where dark deeds (and dead bodies) can easily be buried. And Mrs Lorrimer – she’s an enigma: ultra-respectable, it seems, and lives for her bridge. Can she possibly have murdered anyone? Shaitana thought so. Each of the four detectives brings their different expertise to bear – Poirot working on the psychology of the suspects, Race using his intelligence contacts to learn about Despard’s career, Mrs Oliver gossiping with Anne Meredith and her friend Rhoda, and Superintendent Battle doing all the painstaking police work. And each of them contributes valuable information, although of course it will be up to Poirot to solve the case in the end.

….“But I don’t doubt it will be essentially the same type of crime. The details may be different, but the essentials underlying them will be the same. It’s odd, but a criminal gives himself away every time by that. Man is an unoriginal animal,” said Hercule Poirot.
….“Women,” said Mrs. Oliver, ” are capable of infinite variation. I should never commit the same type of murder twice running.”
….“Don’t you ever write the same plot twice running?” asked Battle.”

The solution is particularly good, with Christie misdirecting the poor reader (and most of the detectives) all over the place. It is fair play, I’d say, but with each of the suspects being suspected of other murders there’s the added element of solving all those mysteries too, and that adds hugely to the interest. One of her best, I think – one of many!

I listened to Hugh Fraser narrating the audiobook and as always he does a wonderful job of giving each of the characters their own voice and persona.

Audible UK Link

Hope you enjoyed Christie Week – I’ve loved chatting Christie with you all!