mystery

Peril at End House

perilPeril at End House is my latest read Agatha Christie novel. I read The Mystery of the Blue Train earlier this year, but I did not write a review. That is the sort of novel that does not really need to be looked into any further. Christie’s personal troubles during that novel do seem to have spilled over into her writing of it – it is not a very good novel. There really is not much I can add to what has already been said about it dozens and dozens of times. However, Peril at End House was very good and seems to represent Christie back to form.

Peril at End House was published in 1932 and it is the sixth novel featuring Hercule Poirot. The story takes place in Cornwall, which is a place I have never been, but suspect would be nice to visit. In other words, I am immediately more kind to a novel that is set in a location I am interested in. Hastings is in this novel, too. He was sort of written out of the novels for awhile, so the fact that he is in this one makes me a happy reader.

There is an involved and heavily-populated storyline here. Lots of characters, it seems, which means a lot of suspects.  But I think a strong argument can be made that a large part of the novel depicts the relationship between Poirot and Hastings. I hesitate to say that in 2017. Makes it sound untoward. Poirot is very insufferable in this novel – to those that find him annoying. No matter how obnoxious or arrogant he is, Poirot never seems to get on my nerves. However, I can see how he vexes others, including Hastings. The interactions between Poirot and Hastings are often the best parts of the novel. I do feel bad for Hastings – whenever he gets the upper hand on Poirot, Poirot quickly redirects their attention to something else instead of conceding defeat.

Hastings is so naive and harmless, sometimes I wonder how readers are not more annoyed by him than Poirot?

“You would say that! It would appeal, I know, to your romantic but slightly mediocre mind. Buried treasure – yes, you would enjoy that idea.”

Poirot is tough on him, but only because Christie is trying to be tough on the reader. Hastings sometimes represents that reader that wants their stories to be as fantastic and outrageous as possible. On one hand a reader seeking for wild entertainment and romantic elements – on the other, Poirot seeking methodological deductions. Describing Hastings to another character (in front of Hastings), Poirot says:

“He is, to begin with, reluctant to see evil anywhere, and when he does see it his righteous indignation is so great that he is incapable of dissembling.  Altogether a rare and beautiful nature. No, mon ami, I will not permit you to contradict me. It is as I say.”

That does describe Hastings perfectly and succinctly and it is significant to note that Poirot calls this both “rare” and “beautiful.”  Its also aggravating and appalling. But Poirot seems to enjoy having this personality around him, even though it frustrates him. Just as, we know very well, Hastings is sometimes thoroughly frustrated with Poirot.

The situation in the resort town St Loo is that it seems someone is trying to kill “Nick” Buckley. Buckley is a rather rambunctious young lady who has ownership of End House, a dilapidated old home around which the resort area has developed. Buckley is called “Nick” as reference to her grandfather, who owned End House, and their close relationship.

Nick has a number of guests, friends and acquaintances, that seem to revolve around her home. The lives of these folk has a rather bohemian feel to it, they are all in this little town drawn there because of some connection to Nick, but yet, it does not seem that they are really there because of her, either.  There is a feeling of lazy, youthful socialites.  This is the most difficult part of the novel for me:  why are all these people here? It feels like some weird parasitical group-up with these people.

Christie pulls off something like what she did in The Murder of Roger Ackroyd, but not exactly. It works, though, because it does suit the character’s temperament, making it seem genuine and obvious. In reality, Christie is really skilled at making the reader fall for whatever she wants them to. The reader will follow Christie like a lemming and then be surprised whenever Christie pulls the curtain aside.

Overall, the storyline is interesting, the characters are really well written and distinct, and Poirot is totally obnoxious. It is not the greatest mystery ever written, but it is a charming read.

4 stars

The Carter of La Providence

The Carter of La ProvidenceThe Carter of La Providence (also known as The Crime at Lock 14 and Le Charretier de la Providence) by Georges Simenon is one of the Inspector Maigret novels. I believe it was the second one.  It definitely is the second one I have read and I have mixed feelings about it. It was first published in 1931 in Belgium.

Having grown up on an island and amidst rivers and lakes, having wiled away many an afternoon watching boats come through locks, I did appreciate the setting of this story. But I like the setting much more than the story itself. Simenon also made the weather lousy.  So, not only is the story set on the Marne Canal in Northern France, it is raining, muddy, and generally dismal. A perfect location for the bulky, sulking main character:  Inspector Maigret.

There were two or three patches of sky where the sunlight still lingered, but the rain was coming down more and more heavily. -pg 49

Maigret is as expected – rock-solid.  He ponders a lot and does not share one bit of what he is thinking.  He seems demanding and grumpy.  Maigret interrupts people when they talk, stomps around in the mud, and thinks heavy thoughts. So, if murder was not grim enough, when Maigret is added to the storyline, things get heavy.  Why do I like Maigret? Well, probably because unlike Poirot or Lord Wimsey, Maigret is the noir figure. Unlike Whimsey’s hyperactivity and Poirot’s “little gray cells,” Maigret seems to use brute force to conquer mysteries.  But not physically.  It is as if Maigret confronts mental challenges with a bull-like resistance and then overpowers them. From Maigret, I can see derivatives in Stuart Kaminsky’s Inspector Porfiry Petrovich Rostnikov and Philip Kerr’s Bernie Gunther characters.

Unfortunately, Maigret kept a little too much to himself this time around. I feel that because the reader was not privy to most of Maigret’s deductions, it made Maigret’s movements seem very random.  Further, the actual resolution seemed a bit too convoluted. Or something. Its just not a resolution that I found reasonable.

Also, the basic ingredients of the story did not appeal to me. Old weird people on a “pleasure boat” seemingly idle, drunken, and pointless sicken me. Bohemian leeches, hang-ons, bored socialites… none of these people are ones that I want to have anything to do with. Still, I admit that they add to the heaviness of the setting; the novel feels full of sluggish muddy elements. A character is describing one of the yacht-riders to Maigret:

“A dead weight.  A beautiful woman who is incapable of existing except on a couch, smoking cigarettes and drinking sweet liqueurs.  She started the day she first came on board and has been doing it ever since. . . . Oh sorry:  she also plays cards. I think it’s the only thing that really interests her.” – pg. 56

This is good writing. From this description I can really picture this creature. I was not around in the 1920s/1930s, but it seems like this sort of character was everywhere.  I imagine such a person to be something like a flapper-chick who has gone rotten and just oozes over chaise-lounges and smokes endlessly.

The resolution seemed a little less resolving – and maybe that is Simenon’s fault.  He set up some wonderful red herring-suspects and he gave us a truly weird character swirled in the middle of the muddy locks to wonder about. But the solution seemed almost unrelated or cobbled together.  I just didn’t like it. Came too quickly, from out of nowhere, and did not go in a more expected direction, I guess.

Overall, it’s not really a good read. However the unique setting and the brooding Maigret manage to make the story worthwhile. I want to read more Maigret, but this one is unnecessary. Its a shame because…. locks….

2 stars

Death at Crane’s Court

death-at-cranes-courtDeath at Crane’s Court by Ellis Dillon (1920 – 1994) was first published in 1953.  I read the Perennial Mystery Library edition of 1988 with cover by Bradley Clark. This is the first novel I have read by Dillon – not too surprising a fact since Dillon is only known for very few mystery novels. I would definitely read more of her works, though.  She was born in Galway, Ireland and several of her novels take place there.

In this particular novel, however, the setting did not play a major rôle whatsoever.  I actually would have preferred if it had more significance. I was hoping for a more culturally-flavored story, I think

Crane’s Court is a “hotel” (older meaning of the term) near Galway. The hotel has a new owner and he arrives via train with one of the new residents of the hotel. The new owner is found murdered not much more than a month after his arrival and the suspects are multiple since the majority of the residents are: hunters/sportsmen, senile and crazed, invalids/infirm.

Everyone, it seems has motive, opportunity, and is in agreement regarding their negative feelings toward the new owner:  John Burden.  The story begins following the travels of George Arrow to his new home at Crane’s Court. And as plain and easy-going as George is as a character, the novel is really stolen completely by the enigmatic and vociferous Professor Daly.

Issues that face the detective, Inspector Mike Kenny, are the facts that the residents of the hotel are members of a past-age wherein many would have been upper class and therefore not subservient to lawmen and the public justice. They all still dress for dinner. The location of teatime in the facility is a major item of contention. In other cases, the senile and/or crazed residents are treated with just as much privilege as their peers. But, rather than living in a familial and warm community, there is a great deal of competition, distrust, pettiness within Crane’s Court. Some of this is due to eccentricities of old age, some of this is due to social status.

I wanted to like this novel a whole lot more than I did. There are a number of red herrings, but the clues are slim. All of the characters are recklessly unique and some of them are charming. But throughout, I felt any one of them could turn and reveal their hidden maniacal side. I was never sure when each character really was cleared of suspicion.

And it is not a fair-play novel. For the most part the reader follows Inspector Kenny around as he questions the residents and suspects, but the reader is not privy to any of his conclusions or argumentation. Toward the end of the book, the real surprise is almost how much work Kenny has done “off-stage.”  In fact, a lot seems to happen off stage and maybe filling in some of these gaps would have made a more rounded novel.

At the end, if I am being bluntly honest, I am not sure I think the guilty character is perfectly convincing – although it is all explained sufficiently. And I don’t think I really like any of the characters. I mean, they would be fine to read a short novel about, but I do not think I would turn my back on any of them.

This novel would not disappoint any vintage readers or mystery readers. I think it actually falls closer to a four-star rating, but I always rate low when books are in the middle unless there is just some overwhelming reason to do otherwise. The Professor could have been one of those reasons – he is definitely the most engaging of the group. I found him, sometimes, to be a little creepy and weird (the glib are disconcerting).

3 stars

Death of an Old Girl

death-of-an-old-girlI enjoy vintage mystery novels quite a bit. I finally got around to picking up Elizabeth Lemarchand’s Death of an Old Girl at the end of 2016.  It was first published in 1967 – so I do not know how “vintage” that really is – but it is the first in her relatively famous “Pollard and Toye” series. Tom Pollard and Gregory Toye are two Scotland Yard detectives.  The series runs, at least, seventeen novels. It is the first Lemarchand (1906 – 2000) I have read.

The two novels that I read prior to this one were horrible disappointments. One and two stars were earned respectively. From the first page of this novel, I foresaw a good reading experience.  There was something immediately vintage and British about this novel and I could easily see the writing was a higher caliber than my previous reads.

The setting gave me some pause – I was concerned that a vintage girl’s private school in England could be a terribly boring setting. However, I also assumed that for her first mystery, Lemarchand was writing about something with which she had a good deal of familiarity. Let me reassure readers that although this is not the most exciting of settings, it is handled very nicely and does not become boring.

It is the end of semester and the school, Meldon, is having their annual get-together wherein the “old girls” are invited for supper and a meeting and, more or less, to gossip and reminisce. Most of the “old girls” enjoyed their time at Meldon and continue to look upon the school fondly.  Unfortunately, not all of the “old girls” are as welcoming to change and the future.  There is one in particular, Beatrice Baynes, who takes a keen interest in snooping around and keeping herself insinuated in every decision at the school. She even lives in her large mansion just on the road outside of the school’s gates.

Baynes is tolerated because the school is respectful and mannered, but also because Baynes is a heavy monetary contributor. Unfortunately, her financial contributions cannot be accepted without accepting her staunch suggestions and opinions about the running and maintenance of the school.  She also is the murder victim.

The cleaning lady finds Baynes’ body stuffed behind the puppet theatre stand in the art studio.Very undignified and also a strange location for Baynes to be found generally.

The Scotland Yard detectives get involved and the story really begins to focus on their investigation.  Now, there have been many police procedurals written in the mystery genre.  I have to believe, though, that this is one of the more thorough and detailed ones. Lemarchand literally takes every step with us. We make suspect lists and timelines together. We interview suspects and witnesses with nearly excruciating detail.  Yes, the story does get a bit boring – unless you are a big fan of investigations and deductions.  Now, if you are a fan of mysteries that are actually thrillers – this is not going to interest you at all and you will be angry reading it.

There are also a number of subplots that run alongside the main storyline.  Some of these help to develop our red herrings and suspicious persons.  The subplots involve boisterous wealthy people, romantic interests, whimsical young teachers, caretakers and groundsmen, and even family connections.  When the book blurb on the back cover shares that there are a lot of people who disliked Baynes and wanted her dead – that is not even the half of it.

Some of the supporting characters are likeable, some are detestable. All of them are realistic and convincing.  I think this is what really helps keep everyone guessing at who the criminal is right until the very end.  There is no character who stands out as more suspicious or obvious than the rest. Also, there are some supporting characters who are surprisingly introduced in such a subtle way that when they begin to take an active role in the investigation, it hardly seems remarkable that they were not there all along.

The two detectives from the Yard are fine. I do think they are the most diligent and detail-oriented detectives that I have ever read about.  I do not feel, though, that I have much else to say about that. I hope that in further novels in the series their personalities will develop and I can have more remarks about them.

There is a bit of wit and banter – all good-natured and fun-loving – between the policemen. It isn’t heavy-handed sarcasm and it brought little bits of lightness to an exceedingly detailed investigation. Made the whole thing not so droll and tedious.

You can’t commit murder without taking risks,” replied Inspector Beakbane. “It often holds me back.” pg. 135

Now because the book is such a detailed examination, it makes it seem longer than it is. And that means slower reading. And that means people with short-attention spans who seek thrills and chills will dislike it. I felt this was a nice comfy, intellectual mystery. I also appreciated the motive of the criminal and felt that the crime was tidied up nicely. If Lemarchand was still alive I would gladly tell her that I truly can see the effort that she used writing this novel and that I appreciate her attention to detail.

I will definitely read the next in the series and I am glad that I read this one. I am giving it a four-star rating especially for “apparent author effort.”

4 stars

The Inspector and Mrs. Jeffries

Inspector and JeffriesNeeding a light, quick, easy read to balance some of my other activities – Kwando training, Iron Palm training, Jurgen Habermas efforts…. I grabbed this first book in Emily Brightwell’s (Cheryl Lanham) long Mrs. Jeffries series. Currently, there are thirty-four novels in the series. The Inspector and Mrs. Jeffries was released in 1993.

This is not a deep read fit for the Vienna Circle. It is a little entertaining novel set in Victorian England.  “The Inspector” is tasked with solving a murder in which a neighborhood doctor is found poisoned. The Inspector’s household, led by his head housekeeper, all get into solving the crime behind the scenes.

The whole novelty of the series is that the Inspector is a bit of a daft dolt and his widowed housekeeper, Mrs. Jeffries, is actually the true detective.  She prefers to stay in the background and work the cases unbeknownst to the Inspector.  Jeffries uses a little deceit and encouragement to get the Inspector to share his thoughts on his cases and to get him to follow up on her investigations.

At the end of the day, the truth is, Mrs. Jeffries is bossy and a bit grating – even if her intentions are good.  The Inspector is unbelievably idiotic and for that, quite frustrating.  However, these characters are also just endearing enough to make reading them entertaining and worthwhile.

The case in this novel was a murder-by-poison. Blackmail and other deceits were part of the story. A number of characters were set up as possibly having motive and opportunity. But, overall, since the deceased was very much disliked, it was hard to care about the case. It is far more interesting watching Jeffries engage the rest of the household in her investigative capers.

It is a basic easy reader. Nothing more, nothing less.

2 stars

Why Shoot a Butler?

Why Shoot a ButlerThis year I have mainly read vintage science fiction novels. While that remains my preferred genre, I do like to read just about everything else as well. However, I admit, the other genres usually do not entertain me or engage me as successfully as the science fiction. So, giving space and aliens and the future of humanity a break, I spent some time in the household library digging out non-science fiction novels. Georgette Heyer’s (1902 – 1974) Why Shoot a Butler? was one of those. I believe it was first published in 1933. I believe it is Heyer’s second true-detective story, however she did write several other novels prior to this one.

Anyway, I enjoyed this novel as expected. It took me a moment to get used to the writing style and the diction of the characters. For one thing, the characters are all very sarcastic and until you get used to their remarks, it can be odd. The main character is introduced to the reader as he is en route to a country manor house, surly because he will arrive late for supper.  Heyer is upfront about Frank Amberley; she shares with us at several points that he can be abrasive and unlikable. Well, I never disliked him – but I never came to side with him, either. He is pompous and arrogant. Nevertheless, he is the detective in this story (his actual occupation is that of a barrister.) And he stumbles upon the murdered butler in chapter one.

Anyone who enjoys settings in the English countryside with manor homes and game preserves and little cottages will probably appreciate Heyer’s work here. There does seem to be a dizzying amount of twisting, half-paved country roads.  Still, she does not give in to long descriptions detailing the lawns, gardens, rooms, and decor of the area. Maybe, just maybe, I could have read a few more lines about all of this. Not much more, mind you.

It is good that the title is a question. This is not, as they say, a “fair-play” novel. I don’t mind that at all. Heaven knows I am not getting paid to be detective! I want to be entertained, not play Inspector! I am given to understand that some readers dislike not having an honest shot at solving mystery novel crimes. The title is a question and throughout there will be a lot of questions. Heyer provides a sketchy crime and a number of possible suspects. More than anything, however, the motive is hidden from the reader, and I could see that being somewhat frustrating.

“Why did he come snooping up here? Don’t say because he was tight, because I shall be sick if I hear that again.  If I went bursting into a strange house and tried to shoot up the place and then said I was tight by way of excuse, would you be satisfied with that? Like hell you would! That chap wanted to shoot up someone to start with.  Then he had four or five drinks and thought: By Jove, I’ll go straight off and do it.  Don’t tell me that just because a fellow’s three sheets in the wind it’s the natural reaction for him to get hold of a gun, stagger off several miles to a house he’s never been near before, and turn it into a shooting gallery. It’s childish.”  – pg. 109, Chapter Seven

This sort of sentiment is probably going to be felt by the reader, too. It always seems like events keep happening but we don’t have any idea why they should keep happening other than there is a reason out there somewhere.

Also, while I do not think there is a significant amount of gunplay, it did amuse me that Frank Amberley seems to be quite often coming upon handguns and depositing them in his coat pockets. Heyer never bothers to tell us what he does with them; I think it safe to assume he does something sane and reasonable. But it is fun to imagine this fellow walking around with every pocket containing a handgun.

Most readers seem to like Heyer’s characters – she seems to be well-known for creating likeable, interesting, and curious characters. In this novel the characters are somewhat face-value, no one undergoes a grand change in personality or development. They are all unique in their way, except for the police force.  All of the policemen are absolute bumbling idiots and are constantly being mocked for it. My favorite character in the novel is Lady Matthews who is Amberley’s aunt.

“Can’t talk in a public lounge, dear child.  So unwise. They always do it in bad thrillers, and it invariably leads to disaster.” – pg. 224, Chapter Fifteen

The majority of the novel contains a lot of back-and-forth movement. Driving, riding, pedaling, and walking back and forth to the three or four main locations. Honestly, it gets a bit dizzying and annoying. The dénouement is overly long – I stopped caring long before the characters stopped talking about the events. Sure, I guess it explains everything, but in a drawn out way that is unnecessary.

Recommended for fans of English countryside mysteries and vintage mysteries. I would gladly read Heyer again. I will miss Lady Matthews, though…

3 stars

City of Glass (The New York Trilogy Part I)

The New York Trilogy - Paul Auster; Penguin, 1990

The New York Trilogy – Paul Auster; Penguin, 1990

I was uncertain if it would be best for me to write a review on each individual part of Paul Auster’s The New York Trilogy or if I should just write one big glopping whole. I decided to write individual reviews because a single review would probably be too long for a blog post and it remains true to the manner in which Auster originally published these works. City of Glass was originally published in 1985 and there has been a great deal of critical work regarding it proliferated. Everyone from Derrida-fans to Lacan-fans to Raymond Chandler-fans has felt the need to dig into the text. Deconstruct the text. Analyze the text. Etc. You know what I mean. I do not know that I have much in the way of original theory to add to all that has been said, but I can still share my thoughts.

This work is metafiction, I guess. Or postmodern. Or post-postmodern. It has been interpreted a hundred different ways. There are Freudian interpretations and ones that rely on Maurice Blanchot, etc. What is this book about? Is it a metafictional account exploring identity? Literature? Intertextual relationships? Cityscape architecture? Can one remain thoroughly neutral regarding this work and just comment on it – without, that is, seeming simple?  Well, sure, I guess it is all of the aforementioned. One of my biggest complaints about works that are so-called metafiction is that they always seem forced. Always, these works seem exaggeratedly wrangled to fit into a category dubbed “edgy” or “counter-cultural” by the intellectual debutantes or the created media industry.  If you force a work to match some presupposed concept, how can you then tell me that it escapes the boundaries that are supposedly “artificial” and imposed by the Establishment? Etc. Anyway, this story, while slightly forced into being metafiction, isn’t terrible. It is obvious and rather experimental-feeling, but I have read worse examples of the pseudo-genre.

First point:  I believe that this novel being situated in NYC is significant. Readers who are familiar with NYC (I am from NY) will have a better relationship with the context than readers who live in Iowa and have never left Iowa.  If I am asked why I believe this, I know I ought to be able to support my claim, but like many things in NYC, I can only say that “it is simply an understanding that is earned through experience.” Auster’s writing is spare and even. The fact that he spends several paragraphs just describing routes through the City, naming streets, pinpointing directions, is a fact that should not be dismissed.

Second point:  The plot, as in most metafiction, is secondary to all of the other elements of the story.  So, readers who are enthused to read this novel need to understand that this is not a plot-driven story like most traditional fiction.  The plot is vague and unimportant. There isn’t a set up, climax, resolution. There isn’t, really, an “ah-hah!” moment. Any details given are not about the plot. Therefore, there are a whole heap of readers out there who will dislike this novel and/or misunderstand it.

Those points being stated, I want to assure readers that if you like metafiction, you will probably enjoy this novel. Just like the best examples of the pseudo-genre, it has that noticeable ouroboros structure. Or, if you like, it feels like it is devolving and evolving – being deconstructed and then reconstructed throughout. This is what turns off most of the general readership; the layered, self-referential style that the novel uses.

In the first paragraph we read:  “In the beginning, there was simply the event and its consequences.”  And this is largely how this novel will operate.  Backstory and careful development of the background are absent – because they are not the important part of this style of writing. We meet the main character (and even calling him that is arguable, I realize) in the second paragraph:

As for Quinn, there is little that need detain us. Who he was, where he came from, and what he did are of no great importance. We know, for example, that he was thirty-five years old. We know that he had once been married, had once been a father, and that both his wife and son were now dead.  We also know that he wrote books.  To be precise, we know that he wrote mystery novels.” – pg. 12

Basically, this is information will remain the extent of our knowledge of Quinn. Quinn writes mystery novels (think serial/house name style detective novels) under the pseudonym William Wilson. By page 12, Quinn adopts another persona (but mainly the name), viz. Paul Auster [sic].  To keep it clear at the start:  Daniel Quinn is a mystery novelist. He writes under the name William Wilson. In the first chapter of Paul Auster’s work City of Glass, the main character, Quinn, assumes the name Paul Auster.   There are several other name-changes and references that occur, but I do not want to spoil the book for readers. Needless to say, this is partially why it is so often said that this book’s theme is one of identity.

Auster [real author] wants to shake the reader’s reality up. So, like PKD and Italo Calvino, the linear and the standard are tossed out. Auster wants you on unsteady ground and wants the reader to question WHO is the character, WHO is the author, WHO is real, WHO is just a nickname?  The everlasting job of postmodernism:  to deconstruct, shatter, and disturb conceptions of reality/identity.

It was a woman who opened the apartment door.  For some reason, Quinn had not been expecting this, and it threw him off track.  Already, things were happening too fast.  Before he had a chance to absorb the woman’s presence, to describe her to himself and form his impressions, she was talking to him, forcing him to respond.  Therefore, even in those first moments, he had lost ground, was starting to fall behind himself.  Later, when he had time to reflect on these events, he would manage to piece together his encounter with the woman.  But that was the work of memory, and remembered things, he knew, had a tendency to subvert the things remembered. As a consequence, he could never be sure of any of it. – pg. 15

This paragraph, early in the book, is my favorite paragraph.  It is magnificent, really. I could talk about it for a long time. It is totally packed with concepts and ideas, feelings and memories, etc. If the writing of the whole novel was on this level, I would have unreservedly given it five-stars. This paragraph resonated with me on a personal level as-well-as on an intellectual, conceptual level. I love the phrases: “he had lost ground” and “was starting to fall behind himself.”  I really like the comments on memory versus things remembered. And above all, I appreciate “Already, things were happening too fast” – because this refers to both the plot and the actual structure of Auster’s novel.

This novel is also, heavily, about language/linguistics.  The whole “detective story” revolves around the theory of a pure, pre-Tower of Babel language. A divine language, so to speak. The chapters that elucidate this part of the story are interesting and creepy, and definitely show us another layer of this wrap-around novel.  For those who like word play (who doesn’t?), I particularly enjoyed a quote on page 90 wherein another character is speaking to Quinn:

“Hmmm. Very interesting. I see many possibilities for this word, this Quinn, this . . . quintessence. . .  of quiddity. Quick, for example. And quill. And quack. And quirk. Hmmm. Rhymes with grin. Not to speak of kin. Hmmm. Very interesting. And win. And fin. And din. And gin. And pin. And tin. And bin. Hmmmm. Even rhymes with djinn.  Hmmm. And if you say it right, with been.  Hmmm. Yes, very interesting. I like your name enormously, Mr. Quinn.  It flies off in so many little directions at once.” – pg. 90

There is also a very famous deconstruction/re-construction involving the classic novel (and character) Don Quixote. It is worthwhile and interesting reading, but it is also one of the more frequently commented on parts of Auster’s novel. I was able to appreciate it, but I am not sure I was thoroughly impressed. Interested readers, though, should probably pay it more mind than I did.

Well, there is a lot more to this novel and not, all at once. I mean to say, there are usages/re-usages of names and elements and so forth. Found objects, red notebooks, baseball. Subtle twists and turns and even quite a dose of existential angst (Cp. chapter 12).  A lot more could be extrapolated from the text and commented on.  However, I find the work lacking the heart and soul needed to make this sort of entry fully established. Done correctly (Nabokov and Calvino) these works are unbelievably masterful.  Done poorly, they end up like parlor tricks (e.g. S. King’s The Colorado Kid).  Luckily, Auster does not kill the work, so I would rank it between the two groups I just mentioned. And then, in his defense, we haven’t quite finished the story – it is The New York Trilogy, so there may be a re-evaluation needed. But fragmentary deconstruction is not illicit in this case, I think.

4 stars

The Old Man in the Corner

The Old Man in the Corner - Baroness Orczy

The Old Man in the Corner – Baroness Orczy

I’ve had an exceedingly busy October. It started on the first with epic “1,000 year rain/floods” and then this past weekend I took part in the 30th Anniversary of my kung fu school.  In between the 1st and the 24th, there was mainly chaos, pandemonium, and a definite lack of sleep. Nevertheless, I was able to read this book, which I think is actually one that has slipped the memory of many contemporary readers.  I am glad I read it and I am giving it a generally favorable review here.

Having mentioned that I have been a wee bit busy, let me be honest and say I do not know the publishing history of this book. I suppose I could have bothered to do better with researching that, but I just did not. So, I am not sure if this is the first bunch of stories featuring the title character or the second. Also, there is something on the internet about the author reworking these stories – I have no idea about the extent of said reworkings.  None of that, however, truly matters when reading this book.

The author, Baroness Emma Orczy is certainly better known as the author of The Scarlet Pimpernel.  Now, I can tell you that this work was originally a play (1903) that the author also rewrote into a novel (1905).  I feel like “back in the day” (so, think 1950s – 1970s) this story was read a lot more and a lot more readers were familiar with it. I feel its popularity has waned quite a bit. I say all of this, but then must be obnoxious and admit that I have not read it, either.

  • The Fenchurch Street Mystery – 3 stars
  • The Robbery in Phillimore Terrace – 4 stars
  • The York Mystery – 4 stars
  • The Mysterious Death on the Underground Railway – 2 stars
  • The Liverpool Mystery – 3 stars
  • The Edinburgh Mystery – 2 stars
  • The Theft at the English Provident Bank – 4 stars
  • The Dublin Mystery – 4 stars
  • An Unparalleled Outrage (The Brighton Mystery) – 4 stars
  • The Regent’s Park Murder – 4 stars
  • The De Genneville Peerage (The Birmingham Mystery) – 3 stars
  • The Mysterious Death in Percy Street – 3 stars

Now, I hesitate to consider this a “collection” of short stories because the author has written them to be somewhat seamless. As if the structure of the collection is presenting a fluid timeline. I suppose one could read these stories in any order, but I don’t see any reason for doing that.

The entire work starts with a few sentences that basically explain and contextualize the rest of the book. Straightaway we meet the title character, known to us as “The Man in the Corner” and his interlocutor, Polly Burton.

The man in the corner pushed aside his glass, and leant across the table.

“Mysteries!” he commented.  “There is no such thing as a mystery in connection with any crime, provided intelligence is brought to bear upon its investigation.”

Very much astonished Polly Burton looked over the top of her newspaper, and fixed a pair of very severe, coldly inquiring brown eyes upon him.

That is how, more or less, every story begins.  The man in the corner comes across as cantankerous and slightly overbearing. Polly comes across as shrewd, strong-willed, and keen. Together, they make for an interesting scene, if you imagine it.

The structure of each story is the same:  the man randomly blurts out an assertion/comment regarding a relatively famous crime that has been committed.  His statements pique the interest of Polly Burton, who is a young journalist.  The man then retells the story of the crime and the investigation/court case associated with the crime.  Polly is a journalist for the Evening Observer, but the newspaper she is reading (in quote above) is the Daily Telegraph. Polly is decidedly proud of her status as a member of the British Press.

After Polly affixes the man with a icy glare, she authoritatively states that: “And yet, this article will tell you that, even within the last year, no fewer than six crimes have completely baffled the police, and the perpetrators of them are still at large.”

“Pardon me,” he said gently, “I never for a moment ventured to suggest that there were no mysteries to the police; I merely remarked that there were none where intelligence was brought to bear upon the investigation of crime.”

So, of course, Polly attempts to test this arrogant old man’s assertions.  She suggests the Fenchurch Street Mystery, and thus begins the push and pull nature of their conversations.  One of them puts forth a particular “mystery,” and the old man relates the details of the case. By the middle of the book, Polly is less hostile toward the old man, and eagerly anticipates his arrival and his discussion.

All of the mysteries are roughly the same in presentation. A case baffles the police because something does not quite add up. The crimes are Edwardian (circa. 1900 – 1915) and generally involve the middle and upper class. Some are more interesting than others, of course, but overall they are decent reads.  The old man leads Polly to a conclusion wherein it seems like the perpetrator of the crime is revealed, although not all the time does he actually name the criminal. And his “evidence” or proof is not always tangible.  His deductions are generally logical and reasonable, but not to the extent that it is watertight and defensible.

Still, before hard-core mystery lovers attack the author, let me just say that these are entertaining reads.  The context and characters are unique and she deserves praise for her setting and presentation of the stories. Also, Polly (though we do not get to learn enough of her) is not a pushover and deserves her own spin-off series, I think.  If you want to play with logic, go get Asimov and Lewis Carroll and Spinoza and wedge, tilde, instantiate yourself giddy.  Orczy does just fine providing us a fun read with interesting little story twists and points of view. The quirky nervous habit that the old man has of tying knots in string is fantastic for its symbolism and psychology. Well done, Orczy.

The setting of these stories kept interesting me. They take place in a branch of the Aerated Bread Company (often simply referred to as an ABC – which, yes, has different connotations here in USA South.)  I was curious, so I did research this part of the book.  The Aerated Bread Co. was founded in 1862 by Dr. John Dauglish and hinged on a new process of bread-making.  Two years later, the company opened teashops, starting with a location in the Fenchurch Street Railway Station (Cp. the first mystery story in the book).  Dauglish was a graduate of Edinburgh university and passed away in 1866.  His efforts and experiments in bread-making are interesting, though outside the scope of this review. Similarly, the relevance of teashops is also a good study. Sadly, the company was bought out in 1955 and that gobbler corporation closed the business in the 1980s.

Overall, I really like the presentation and setting of these stories. I really want spinoff series for both Polly and the old man. I am tickled by many of the details throughout and I had fun reading these. Recommended for people who have busy Octobers and anyone seeking Edwardian-era things.

3 stars
average: 3.25

Pietr the Latvian

Pietr the Latvian - Penguin Classics, 2013

Pietr the Latvian – Penguin Classics, 2013

I finished Pietr the Latvian by Georges Simenon (1903 – 1989).  This novel is the first of the Inspector Jules Maigret novels and it goes by a variety of titles.  It was allegedly written in 1929, serialized in 1930, and then published as a book in 1931. Anything I have skimmed regarding this novel is certain to include a caveat to the effect that (a.) this is not Simenon’s best work; (b.) this is not the ultimate basis of the Maigret character; (c.) Maigret’s characterization was heavily influenced by the real Inspector Marcel Guillaume.  Such statements seem more important than they are. I do not see how a reader needs to be warned and petitioned for mercy before they actually read the book. Also, those facts do not seem entirely germane to the value of this particular novel.  I read this book – and this is the book that I will review.

Anyway, the next time someone asks me for an example of noir, I think I may suggest this novel.  It matches quite well with the judgment that I have made regarding the definition of noir.  I think a lot of people simply suggest gangster novels, crime novels, or gothic-esque novels.  However, this novel really exemplifies what I mean by noir.

The writing style of this novel is exceedingly spare and pared-down.  Absolutely no long-winded descriptions or grandiose pontifications on minor aspects of any element of the novel.  There are no chapter-long ruminations on any relevant (or irrelevant) topics.  In fact, there are definitely some points where I felt a little bit lost or perplexed. Maybe a hair more detail would have been okay.  Or maybe my difficulty was based on the age of the novel and the fact that I read a translation.  Not that this ruins much of anything at all, I am just being honest and considering readers approaching this novel as they would any other.

We meet Maigret straightaway in chapter one.  He is in his office with the pipe, which becomes as essential to him as his limbs, and the fire-blazing stove.  Maigret is reading telegrams and files regarding the movements and description of Pietr the Latvian.  Maigret is on the move fairly soon afterwards and what we need to know about him, Simenon tells us directly.  Simenon tells us that Maigret is a hulking, sombre dude.  He intimidates others, he does not make unnecessary speeches, etc.  We do not get to know Maigret’s internal monologue or thought pattern.  Readers will not watch Maigret link each and every facet of this case together like some sort of jigsaw puzzle.

At first Maigret meant nothing to me.  Just a bland and somewhat predictable detective.  However, in chapter eight, the character really grew on me and I found myself much more concerned for his well-being and pursuits.  All of a sudden, and maybe without a lot of finesse, Simenon gave us a more developed Maigret personality. It was rather obvious, but I don’t always need the convoluted approach, either.

Maigret worked like any other policeman. Like everyone else, he used the amazing tools that men like Bertillon, Reiss and Locard have given the police – anthropometry, the principle of the trace, and so forth – and that have turned detection into forensic science.  But what he sought, what he waited and watched out for, was the crack in the wall.  In other words, the instant when the human being comes out from behind the opponent. – pg. 38 Chapter 5

The novel contains a lot of characters and what seems like half-built plotlines and/or clues.  I do not know if this is because it is an early novel or because Simenon chooses not to get bogged down in every little detail and history.  While this can be confusing, it is also the source of a lot of the noir-feel.  Being a non-omniscient reader has its plusses and in a crime novel, it worked really well.

The dialogue format is probably the thing that will take the most work for readers.  Simenon does not write out every syllable of conversation – it is as if he almost uses just symbolic logic/keywords.  I can see this being annoying and a bit too bare for many readers.  On the other hand, I can think of plenty of readers who would be relieved that the actual speech of characters is reduced to necessary nouns.  Either way, I think this, too, makes the novel noir.

Regarding the actual crime – it is difficult to say how many there are.  Maigret gets the case due to a specific crime, but there is a lot more going on than just one incident.  And this is very relevant. The character whose role I really was not entirely clear about was Mortimer-Levingston. Throughout the novel he seemed very random.  Now, the ending of this novel was unexpected and definitely far from some cozy-mystery novel. I think the last few chapters bespeak a lot about the character Maigret and also the kinds of stories that Simenon was going to try to write.

This is a good novel and there is a lot of value in reading it and knowing about it. It is not a great novel. It is a worthy read and one does want to read more stories about Maigret.

3 stars

A Man Lay Dead

A Man Lay Dead - Ngaio Marsh; Jove 1980

A Man Lay Dead – Ngaio Marsh; Jove 1980

I have not read/reviewed nearly enough books this year. In fact, this is the first review since late January. I moved – and all of my books are still packed in boxes in a room that is also packed tightly. It has been frustrating. However, I did read this Ngaio Marsh novel in February – finally getting around to reviewing it now in April.  A Man Lay Dead is the first (of thirty-two) Roderick Alleyn mystery.  It was first published in 1934. I read the Jove Mysteries 1980 edition.

I have been attempting to read a lot more of the classic detective mystery novels lately. And maybe even some of the not-so classics.  Many of these early stories involve the character archetype of the “gentleman detective/burglar.”  This includes Hercule Poirot, Lord Peter Whimsey, Sherlock Holmes, Albert Campion, and Arsene Lupin.  The star detective of this Marsh novel falls under this category.  I have a hit-or-miss sort of opinion of these sorts of characters.  I love Lupin. I love Poirot and Whimsey.  Campion and Alleyn irritate me and I find them pompous and unlikeable. Of course, let’s be honest, I have not really read very many books in any of these series.

The novel that I read before A Man Lay Dead was Margery Allingham’s The Crime at Black Dudley, which was published in 1929. The lesson to be learned between these two novels is clearly:  avoid house parties. So, apparently, no matter the decade (1930s or 1990s, etc.) house parties have a strong tendency to turn ugly.

This short novel has sixteen chapters, all of them generally focusing on the true main character, Nigel Bathgate.  He, and several others, have been invited to a weekend at Frantock. The group is attending another of Sir Hubert Handesley’s parties.  En route to the destination, Bathgate inquires of his distant cousin (Charles Rankin) who will be attending the party.  Rankin says “the usuals,” which includes the Wildes and Angela North and Rosamund Grant. Also, a Doctor Foma Tokareff – a Russian doctor whom Handesley knows from his “Embassy days in Petrograd.”

Not unlike Allingham’s novel, this house party decides to play with a particular rare and interesting dagger.  I am not sure what the authors were thinking utilizing this prop.  Do people really go to house parties and fanny around with daggers?  Does anyone really think that this is a good idea and will end well?  Have they considered Scrabble or Yahtzee?  Anyway, no reader should be surprised that there is a murder – yes, the dagger was used. Second lesson:  If you simply must attend a house party and someone hauls out a dagger – for God’s sake, leave the house immediately.

Alleyn shows up to investigate the murder.  He is cryptic and mysterious and annoyingly arrogant.  He begins his investigation by interrogating the members of the house.  However, his interrogation is certainly unique – he suggests they have a “mock trial” through which he will learn the details of the night’s events.  Nigel Bathgate is the most cooperative and interested member of the party.  At some point he seems like he wants Alleyn to think highly of him.  At other points, he is clearly not comfortable with revealing all of his thoughts to the detective. Angela North is a fiery young girl, who is not cowed by Alleyn, nor impressed by Bathgate, though she does take a shine to him.

Alleyn does not do all the work himself. He comes with a team of helpers (to do the grunt work).  Eventually, the storyline moves beyond the Frantock property and there are adventures involving Russian spies and gangs and foreign agents.

Overall, a lot better than Allingham’s showing.  Still, Nigel is the star and he is the one I enjoyed.  Alleyn was average and blah at best.  I am slightly put off with the “Russians are villains” trope, though. I do think I will read more of Marsh’s novels.  Everyone who wants to read 1920s and 1930s detective novels should add this to their list.

3 stars