Post by Salzmank on Jan 16, 2018 18:16:35 GMT
I suppose I’ve more or less been on a “little-known” kick, but here’s a new one: what would you consider your favorite little-known Christie books? That is to say, not a Murder on the Orient Express or an And Then There Were None (or even a Five Little Pigs) but a One, Two, Buckle My Shoe—something like that. (Naturally, though, “little-known” is subjective—or, as I’ve phrased it before, “the million-dollar question.”) My own offhand choices:
The Pale Horse (1961)
One of her best (I rated it very highly above) and, I suspect, her tribute to John Dickson Carr. Likeable protagonist and spooky witchcraft background, along with a very ingenious central gambit to disguise the identity of the murderer. Mrs. Oliver (alone here, without Poirot) is, for once, amusing rather than annoying, and she provides a central clue.
The Seven Dials Mystery (1929)
A Wodehousian romp with murders thrown in, a first-class problem, and a shocking least-likely suspect with some connection to Ackroyd. Why isn’t this one better-known?
The Sittaford Mystery (1931)
Not as good as the two previous, perhaps—opening and ending are great, but the middle section is a bit of a slog—but the plot is one of her most ingenious; surprising similarities to The Pale Horse, written thirty years later.
Murder is Easy (1939)
Would be one of her finest jobs were it not for the dearth of cluing. Still, one of her best-written and fastest-paced books.
One, Two, Buckle My Shoe (1940)
Her finest iteration of a trick she used a few times, but so well-disguised that it seems novel. Writing is rather stilted, not up to her usual quality, but the plot’s brilliant (the impersonation! the clues! the trick with the Birlstone Gambit!), and there’s that magnificent scene in the church.
Towards Zero (1944)
Would make a great play—the build-up to a murder rather than its aftermath. (A trick she did use in a play, Verdict, though less successfully.) The murderer’s plan and alibi are excellent; this person’s identity, less so. Still, remarkably well-written and -characterized, à la Ten Little Indians. I prefer stolid Supt. Battle to Poirot or Marple. (For that matter, I also prefer Tommy and Tuppence, and Insp. Lejeune in The Pale Horse.) Note similarities to After the Funeral.
Endless Night (1967)
Proto-Rendell (which is why I was always surprised that Rendell disliked Christie so much), also somewhat proto-Halter. Utterly brilliant character portrait of the likeable, roguish narrator, as his carefree life descends into horror. One of her very best—interesting similarities to Death on the Nile, as Nick Fuller noted.
The Mysterious Mr. Quin (1930)
Her best short-story collection, with some particularly fine characters in Mr. Satterthwaite and Mr. Quin (who may be only an aspect of Satterthwaite’s mind?). Christie’s first attempts at romance, here mixed with mystery—very effective indeed, with the right amount of the supernatural, and uncharacteristically lyrical.
Why Didn’t They Ask Evans? (1934)
Ironically enough, the best Tommy and Tuppence book has neither Tommy nor Tuppence but, rather, their identical twins, Bobby Jones and Frankie Derwent. This book is sheer ‘20s lark (inexplicably published in the ‘30s)—the sort of thing that Barzun called “how jolly all this murdering is!” Good, solid fun.
After the Funeral (1953)
One of her smartest jobs. Nigh-impossible to guess the identity of the very surprising villain, yet all the clues—many some of Christie’s best—are there. Poirot doesn’t do much detective work, unfortunately, but sends out a private eye to do it for him—Christie’s boredom with him, or what? Effectively gloomy atmospherics. Stylistic similarities with Taken at the Flood, but a better detective story.
OK, whew, that was ten of ‘em! My honorable mention here is Curtain, which has one of her greatest plots but is, sadly, rather dull in the telling (and under-characterized). I recommend reading it because it is the last of the Poirots, and that plot is ingenious, but it’s not much fun.
The Pale Horse (1961)
One of her best (I rated it very highly above) and, I suspect, her tribute to John Dickson Carr. Likeable protagonist and spooky witchcraft background, along with a very ingenious central gambit to disguise the identity of the murderer. Mrs. Oliver (alone here, without Poirot) is, for once, amusing rather than annoying, and she provides a central clue.
The Seven Dials Mystery (1929)
A Wodehousian romp with murders thrown in, a first-class problem, and a shocking least-likely suspect with some connection to Ackroyd. Why isn’t this one better-known?
The Sittaford Mystery (1931)
Not as good as the two previous, perhaps—opening and ending are great, but the middle section is a bit of a slog—but the plot is one of her most ingenious; surprising similarities to The Pale Horse, written thirty years later.
Murder is Easy (1939)
Would be one of her finest jobs were it not for the dearth of cluing. Still, one of her best-written and fastest-paced books.
One, Two, Buckle My Shoe (1940)
Her finest iteration of a trick she used a few times, but so well-disguised that it seems novel. Writing is rather stilted, not up to her usual quality, but the plot’s brilliant (the impersonation! the clues! the trick with the Birlstone Gambit!), and there’s that magnificent scene in the church.
Towards Zero (1944)
Would make a great play—the build-up to a murder rather than its aftermath. (A trick she did use in a play, Verdict, though less successfully.) The murderer’s plan and alibi are excellent; this person’s identity, less so. Still, remarkably well-written and -characterized, à la Ten Little Indians. I prefer stolid Supt. Battle to Poirot or Marple. (For that matter, I also prefer Tommy and Tuppence, and Insp. Lejeune in The Pale Horse.) Note similarities to After the Funeral.
Endless Night (1967)
Proto-Rendell (which is why I was always surprised that Rendell disliked Christie so much), also somewhat proto-Halter. Utterly brilliant character portrait of the likeable, roguish narrator, as his carefree life descends into horror. One of her very best—interesting similarities to Death on the Nile, as Nick Fuller noted.
The Mysterious Mr. Quin (1930)
Her best short-story collection, with some particularly fine characters in Mr. Satterthwaite and Mr. Quin (who may be only an aspect of Satterthwaite’s mind?). Christie’s first attempts at romance, here mixed with mystery—very effective indeed, with the right amount of the supernatural, and uncharacteristically lyrical.
Why Didn’t They Ask Evans? (1934)
Ironically enough, the best Tommy and Tuppence book has neither Tommy nor Tuppence but, rather, their identical twins, Bobby Jones and Frankie Derwent. This book is sheer ‘20s lark (inexplicably published in the ‘30s)—the sort of thing that Barzun called “how jolly all this murdering is!” Good, solid fun.
One of her smartest jobs. Nigh-impossible to guess the identity of the very surprising villain, yet all the clues—many some of Christie’s best—are there. Poirot doesn’t do much detective work, unfortunately, but sends out a private eye to do it for him—Christie’s boredom with him, or what? Effectively gloomy atmospherics. Stylistic similarities with Taken at the Flood, but a better detective story.
OK, whew, that was ten of ‘em! My honorable mention here is Curtain, which has one of her greatest plots but is, sadly, rather dull in the telling (and under-characterized). I recommend reading it because it is the last of the Poirots, and that plot is ingenious, but it’s not much fun.