“It begins, all this, at a funeral. Or rather, to be exact, after the funeral.”
At its heart, After the Funeral (alternatively published as Funerals are Fatal) is a story of England in transitioning times. The war has led to changes in all layers of society. Not just has the very upper crust seen their standing buckle in light of post war regulations, but those impacts have rippled to the staff or even the pre-war business owner in town. Christie has a knack for telling this sort of story. It’s not just the lord of the manor lamenting that he can’t find a good help anymore, but also the manor’s trained butler questioning his own place in a changing society.
Of course, After the Funeral also features a murder, and a damn fine one. The story unfolds after the natural death of Richard Abernethie – your typical rich corpse surrounded by a family pecking for his inheritance. At his funeral party, socially awkward Aunt Cora remarks to everyone’s horror – “But he was murdered, wasn’t he?” Twenty four hours later and Cora is occupying a coffin – her head nearly severed by an axe.
Continue reading “After the Funeral – Agatha Christie (1953)”
If there’s a better village mystery than A Murder is Announced, please tell me so I can scramble to read it. Admittedly, I haven’t read many of these, so that statement might come across as hopelessly naive. I don’t mind – all I know is that this one provided everything I was looking for.
I’ve enjoyed my nascent reading of Agatha Christie so far. When picking my least favorite novel has me scratching my head between The Hollow and Cards on the Table, you know I’ve been having a good run. That run keeps going with Murder is Announced. It doesn’t pack an emotional punch that’s going to stay with me like Murder in Retrospect, but this may be the most fun I’ve had with Christie so far.
Continue reading “A Murder is Announced – Agatha Christie (1950)”
Four suspected murderers sit around a table playing bridge. Nearby, four of Christie’s greatest detective minds sit embroiled in their own game. The play is interrupted by a gruesome discovery – the body of the party’s host, stabbed through the heart. Despite the murder occurring in full view of a room of players, nobody can describe how it happened.
Sounds like a dream come true, right? There’s almost an element of John Dickson Carr’s The Problem of the Green Capsule or Seeing is Believing, in that a murder is pulled off in front of a room full of spectators. In this case though, it wasn’t quite a captive audience – the players were paying too close attention to their cards. It’s still a perplexing puzzle – how did the killer slip away from the game and dispatch the host without being observed?
Continue reading “Cards on the Table – Agatha Christie (1936)”
The phrase “historical mystery” instantly brings to mind John Dickson Carr. The author shifted his focus from contemporary Golden Age mysteries starting with The Bride of Newgate (1950) and contributed heavily to the sub-genre up until his final novel – The Hungry Goblin. His historical works cover ground between the seventeenth century (The Devil in Velvet) up until the time of his own birth (The Witch of the Low Tide) and I’ve seen several comments claiming that he basically created the historical mystery.
Or does Agatha Christie hold that title? Death Comes as the End, published in 1945, came out five years before The Bride of Newgate. Set in ancient Egypt, the tale of death stalking a high priest’s family certainly checks the boxes for historical and mystery. It’s worth mentioning though that Carr had two prior historical works – the non-fiction The Murder of Sir Edmund Godfrey (1936) and Devil Kinsmere (1934), although I haven’t read the later and I’m not certain that it qualifies as a mystery.
Continue reading “Death Comes as the End – Agatha Christie (1945)”
My last encounter with Agatha Christie, Five Little Pigs (Murder in Retrospect), really stuck with me. There was something that she captured between those pages that my mind couldn’t leave alone – the tragedy of it all. It’s been several months, and yet my thoughts continually drift back to the characters, the setting, and paint drying on a canvas.
It’s a rare thing for me to really be impacted by a mystery book. Christianna Brand has a certain knack for it – creating a cast of characters so richly painted that it becomes anguishing in the end when one of them is revealed to be a killer. John Dickson Carr was less effective at it, but he had his moment with books like He Who Whispers and She Died a Lady – titles in which some element of the story pulls at the mind long after the book is set down.
Continue reading “The Hollow – Agatha Christie (1946)”
Five Little Pigs
I was dead set on reading this book under it’s original title – Five Little Pigs. It’s an odd enough title that it always caught my interest. But I’m a creature of some convenience and thrift, and so when I realized that I already had access to the story under its US release as Murder in Retrospect, I had to succumb to practicality.
What a dry title though – Murder in Retrospect. At least, that’s what I thought as I initially started to turn the pages. I’ll tell you this though – upon completing this 1942 Poirot novel, I can see no name more fitting.
That’s what it is after all – a murder in retrospect. Poirot is approached by a young woman with the request that he investigate a murder that occurred 16 years in the past. Her mother, Caroline Crale, was convicted of the murder of her father Amyas, a well renowned painter. Although Caroline died in prison, she left a note to her daughter proclaiming her innocence. Poirot is intrigued enough by the case to take it up, drawn in by the prospect of solving a mystery without ever being able to glimpse the crime scene.
Continue reading “Murder in Retrospect – Agatha Christie (1942)”
If my choice for my very first Christie book (Death on the Nile) was predictable, my follow up read is probably equally so. I’m starting out with a bang after all, dabbling in some of the better regarded titles in Christie’s library, and checking off some of the books identified in the Five Agatha Christie Books to Read Before They’re Spoiled For You list assembled by Brad over at Ah Sweet Mystery. Crooked House straddles the categories neatly, and deservedly so.
My experience with Crooked House is incredibly similar to my experience with Death on the Nile. Although we’re dealing with entirely different stories taking place in completely different settings, both books swept me right in and maintained my interest throughout, despite the lack of any “impossible” hook that I typically seek out. And, in both cases, I pretty much saw the solution the entire time, and yet somehow managed to remain enchanted.
Continue reading “Crooked House – Agatha Christie (1949)”
Is there even a point to reviewing an Agatha Christie novel? I mean, there must be books about books about Christie reviews. My comments wouldn’t even by footnotes in a footnote. Still, half the fun of reading for me takes place after the book is finished – the discussions that ensue and the insights shared by my fellow GAD enthusiasts.
In this case, I’ve completed my first Agatha Christie book, which feels like an embarrassing admission to make in this sort of forum. Oh well. I started my journey with John Dickson Carr and locked room mysteries, and if I spread my wings a little late in life, so be it. I don’t mind doing it in the open.
A little research into which Christie book to start with has led me down a somewhat obvious path – Death on the Nile. Yes, I suppose that And Then There Were None or Murder on the Orient Express would have been a bit more obvious – at least in the US, theses are the two titles that anyone on the street would associate with the author. I spoiled the former by watching the recent movie adaptation, and the later seems like the conventional hit that I might save for later. Death on the Nile was the middle ground – it shows up on pretty much everyone’s “best of Christie” list, plus Brad at Ah Sweet Mystery listed it as one of his “five Christies to read before they’re spoiled for you”.
Continue reading “Death on the Nile – Agatha Christie (1937)”
I figure I only get so many of these – esteemed mystery writers with an extensive backlog of widely praised works. There are plenty of authors who turned out 5-20 titles, but how often do you get up into the 30-70 range? Yeah, there are a few names I could list, but the only ones in the pack where I’ve really gotten excited are John Dickson Carr, Ellery Queen, and now, Agatha Christie.
Perhaps it seems odd that I’ve never read any of Christie’s work. I suppose I have my upbringing to blame for that. As a child of the 80s, Agatha Christie was a household name. That’s not to say “cool”, but one of those authors that everyone knows. So why did I never try her out? Well, I’m going to paint with a broad brush and probably sound like an idiot, but here we go…
Continue reading “To be Read – Agatha Christie edition”