Category: Books & Novels

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Books & Novels General Fiction History & Biographies (Books) Westerns

BLOODY SEASON

Written by Loren D. Estleman

SUMMARY:

Bantam Books released the original 231-page hardcover in 1988.  Told partially out of sequence, Bloody Season is a fictionalized retelling of events surrounding the fateful shootout in Tombstone, Arizona the afternoon of October 26, 1881.  Popularly dubbed ‘The Gunfight at the O.K. Corral,’ personal elements from the participants’ lives, their spouses, and relevant associates are threaded into the narrative.

Part 1: “Fly’s Alley” depicts the day of the fatal showdown.  Subsequently, the fallout leads to the Earp Brothers (Wyatt, Virgil, & Morgan) and ‘Doc’ John Holliday facing legal consequences in a Tombstone courtroom.  Part 2 is “The Transaction,” goes back several months to an attempted stagecoach robbery and a double-murder.  Not only are at least three of the Clanton gang’s associates implicated, so is Holliday, in this botched hold-up.  Wyatt’s shady deal with informant Ike Clanton to capture the killers ultimately blows up in both of their faces.  This section comes full circle to the morning of the shootout, as “Fly’s Alley” sequentially occurs next.

Part 3 is “San Pedro,” as the controversial acquittal of Holliday and the Earps sets in motion a deadly game of retribution.  The near-assassination of Virgil and later Morgan’s brutal homicide precipitates the climatic Part Four: “The Pallbearers.”  Despite Sheriff Johnny Behan’s motley posse threatening pursuit, Wyatt leads his ‘vendetta ride’ targeting the Clantons and their outlaw associates, including “Curly” Bill Brocius and enigmatic John Ringo.  The book concludes the saga with historic details about the later lives and fates of the various survivors.              

Notes: This title is available in both hardcover and paperback editions.  As an advisory, Estleman’s raw dialogue includes two recurring racial slurs (the ‘n-word’ is one of them) – suffice to say, these slurs don’t improve his storytelling.

REVIEW:

Make no mistake: Loren D. Estleman pitches this ultra-familiar tale as high-caliber historical fiction rather than rehashed Old West pulp.  Unlike the Hollywood romanticism that films like Tombstone and Wyatt Earp convey, Bloody Season doesn’t glamorize anything — it spells out dirty frontier machismo.  Estleman’s intriguing prose describes various shootouts, ambushes, etc. in near-poetic fashion vs.  mere shoot-em-up recreations.  As with Virgil Earp’s near-murder, readers might pause before realizing what has now just transpired.  Once the author pours on the grisly medical jargon, the imagery becomes cringe-worthy at times. 

Besides the port-mortem sequences, this aspect is best found in Estleman’s talent for conjuring up vivid sensory details – as author Elmore Leonard’s appraisal aptly puts it: “you’re there.  It’s so real that you can even smell the horses!”  Working off a palate of various shades of gray, Estleman’s grittiness surpasses the genre standards of Zane Grey and Louis L’Amour.  Yet, reminiscent of Larry McMurtry’s knack for storytelling depth, he also ensures that correct history meshes well with entertainment value. 

Case in point: there’s seemingly insignificant dialogue about a calico bonnet vs. a lace bonnet from Virgil Earp’s wife, Allie, in the minutes after his near-assassination in December 1881.  Though she likely didn’t make this statement at that exact time, it corresponds with her reminiscences about an argument she once had with Virgil, as quoted in Frank Waters’ The Earp Brothers of Tombstone.  Hence, as acknowledged in his post-script, Estleman makes an effort at plausibly honoring the known speech patterns/statements of these historical figures.  His narrative also wisely sticks to focused plotting vs. delving into too much detail re: local politics and name-dropping too many cronies. 

As he does in Tombstone and Wyatt Earp, ‘Doc’ Holliday’s cantankerous presence predictably steals the show.  It’s no wonder why Estleman saves revealing Holliday’s destiny for last in the finale.  As for Wyatt Earp, Estleman’s semi-generic take isn’t that of a stalwart legend-in-the-making.  Instead, Estleman’s Wyatt comes off, like Virgil and Morgan, as all too believably mortal, in spite of his fearlessly superhuman luck. 

Estleman further incorporates biographical depth for his expansive cast, including ‘Big Nose’ Kate Fisher, Josephine ‘Sadie’ Marcus, and John Ringo, fleshing them out as people vs. shallow-as-cardboard supporting players.  Hence, the Earp wives and Kate Fisher receive their just due as the long-suffering heart and backbone of the Earp-Holliday faction.

Ultimately, the author’s due diligence matters; it’s what really makes Bloody Season a satisfying read.  Aside from some nasty dialogue, it’s an ideal compromise between the history section and Westerns at the bookstore. 

ADDITIONAL FEATURES:

Included in Chapter 20 is a glimpse at present-day Tombstone, as if it’s haunted by legend.  It isn’t lost on Estleman how the town, in search of the almighty tourist dollar, shamelessly thrives on its old infamy.  Estleman’s 1986 post-script is insightful, as he acknowledges that his novel is indeed “fiction based on fact.” Further,he makes clear that Bloody Season isn’t meant as hero worship; rather, he calls it an effort to reach the Old West that Wyatt Earp and his contemporaries inhabited.     

BRIAN’S ODD MOON RATING:                           8 Stars

Categories
Books & Novels History & Biographies (Books) Movies & Television (Books) THREE STOOGES-Related

I STOOGED TO CONQUER: THE AUTOBIOGRAPHY OF THE LEADER OF THE THREE STOOGES

Written by Moe Howard

SUMMARY:

Moe Howard’s posthumous memoir was first published in 1977 by Citadel Press as “Moe Howard & the 3 Stooges.”  This updated 241-page edition was released by Chicago Review Press in 2013.  Besides the sly title change (to one Moe evidently preferred), this update swaps out and/or shrinks several photos from the first book.  As before, all photos are in black-and-white.  Also, Moe’s daughter, Joan Howard Maurer, provides a foreword, as she had helped complete the manuscript following his death in mid-1975.

Moe recounts his immigrant family’s humble life in turn-of-the-century Brooklyn, including anecdotes of his and older brother Shemp’s shared penchant for troublemaking.  In addition to revealing why he first got his trademark bowl cut, Moe discusses his stints as a child film actor and working professionally onstage in his teens. 

From starting in vaudeville with Shemp to working for childhood friend Ted Healy, Moe describes the Stooges’ evolution from Healy’s low-paid sidekicks to achieving their own stardom at Columbia Pictures for a quarter-century and beyond.  With gradual changes in the trio’s line-up (including why younger brother Jerome, aka ‘Curly,’ replaced Shemp and later vice-versa), Moe’s narrative continues through to early 1975, including his activities in retirement. 

REVIEW:

It’s an undemanding read for those who prefer a loose overview vs. detailed accounts.  Moe shares several terrific anecdotes, but there’s scant details re: his fellow Stooges outside of work. 

Other than briefly explaining why the trio twice broke up with Healy, Moe rarely dishes dirt, so to speak.  Presumably, this classy gesture is meant to guard his family and friends’ privacy, so other biographical sources are necessary for a fuller account of the Stooges’ show biz history – for instance, The Three Stooges Scrapbook (co-authored by Moe’s daughter) would be an ideal supplement.  Still, Moe’s humble memoir proves a fun and endearing experience for Stooge fans, preferably for ages 12+. 

Parental Notes: Young readers might need clarification of some vaudeville terminology – specifically, the difference between ‘whiteface’ and ‘blackface’ acts.  Also, the ‘n-word’ twice appears in an early 1930’s racist incident Moe describes.  Specifically, Moe is quoting a Jacksonville, FL theater manager, who angrily fires them for Moe’s friendly interaction with an African-American passerby.

ADDITIONAL FEATURES:

From the Stooges’ films, stage work, promos, and Moe’s home life, there’s innumerable photos. Joan Howard Maurer’s insightful and poignant foreword expresses more of her dad’s sentimentality than he himself was willing to admit.  She also acknowledges that a few details in the book’s original text are incorrect.  For instance, she specifies the year (1928, not 1925) and location re: when Ted Healy first recruited Larry Fine into the act at a Chicago nightclub. 

Like its previous version, the book includes an afterword acknowledging Moe’s passing before his memoir was completed.  There’s also a full Stooges filmography and an index.    

Note: Moe’s text claims that, he, too, was present when first meeting Larry, but other reliable sources (i.e. The Three Stooges Scrapbook) state that Shemp was there with Healy (without Moe).     

BRIAN’S ODD MOON RATING:                        7 Stars

Categories
Agatha Christie-Related Books & Novels Mystery & Suspense

HERCULE POIROT: THE MURDER OF ROGER ACKROYD

Written by Agatha Christie

SUMMARY:

Agatha Christie’s novel was first released in 1926.  Penguin Books published this 358-page paperback reprint in 2004.  The mystery surrounding Ackroyd’s brazen homicide and its subsequent investigation is related through the local physician’s narrative. 

In the secluded English village of King’s Abbot, Mr. Farrars suddenly passes away.  One year later, his rich widow inexplicably commits suicide.  Then, another wealthy resident, Roger Ackroyd, is found stabbed to death in his own study, with several potential witnesses present in his manor home.  Egged on by his busybody sister, Dr. James Sheppard becomes a police consultant probing his friend Ackroyd’s death.  The prime suspect is the missing Capt. Ralph Paton, who is the victim’s estranged step-nephew and Sheppard’s personal friend. 

Sheppard soon finds that his reclusive next-door neighbor isn’t some eccentric hairdresser, now retired, as he had presumed.   King’s Abbot’s peculiar celebrity is really Hercule Poirot, who takes up the case at the behest of Ackroyd’s baffled niece. 

In Holmes-and-Watson-like fashion, Sheppard becomes Poirot’s new ally sleuthing the matter.  Hence, they encounter conflicting clues re: who had the means, opportunity, and a cold-blooded motive to kill Ackroyd.  Is the culprit a greedy family heir?  Or maybe a trusted friend? Is it possibly a resentful household servant?  Could it be an outside intruder?  Only Poirot may have the necessary insights to thwart a potentially perfect crime.

Note: Re: series continuity, the ‘retired’ Poirot is established here as a legendary private detective in England — though Roger Ackroyd is only the fourth book (and Capt. Hastings’ move to Argentina occurred only the year before).  Still, this novel’s loose time frame could readily occur after several of Poirot’s later exploits.

REVIEW:

The Murder of Roger Ackroyd readily confirms its reputation as a genre classic, especially for its fresh take on the parlor room murder concept.  Considering how Christie drops fair hints, the novel’s whodunnit twist finish is ingeniously conceived.  This gimmick is ample compensation for a few tedious chapters found in its mid-section. 

Further, Christie realistically develops her characters throughout Dr. Sheppard’s narrative vs. merely pushing them as an assortment of blah caricatures.  The result is an intriguing read that doesn’t include racist overtones, like some of Christie’s other works. 

In lieu of a detailed plot/character analysis, three vital elements should be addressed:   

  1. Aside from a semi-funny encounter meeting Sheppard, Poirot doesn’t return until the 100-page mark.  Waiting indefinitely to summon Poirot is a risk Christie occasionally utilizes – i.e. The Hollow’s disappointing tedium comes to mind. In this instance, however, her creative gambit works, as far as giving Ackroyd and an array of suspects ample time to make themselves interesting.  The way suspicion pivots in multiple directions is indicative of how masterful Christie already was at her craft.    
  2. While the culprit’s motive is revealed, readers are left to ponder much of the decision-making behind the crime: i.e. why is one particular character deemed an expendable pawn?  This element works, in terms of not explaining every last twist, including what Poirot himself may be holding back.
  3. Short of technological advances in the internet age (and modern criminal forensics), this century-old plot could believably transpire anytime between the 1920’s through likely the 80’s.  Even the dialogue isn’t stilted – Christie’s literary style, in this instance, is likably contemporary.  Unlike her 1950’s-1960’s novels needlessly pushing social commentaries re: hippies, communism, promiscuity, etc., Roger Ackroyd concentrates on the narrator’s here-and-now.  It’s a welcome sign of Christie’s best storytelling.  

The novel’s impact is even more remarkable accepting how the solution’s contrivances would only happen in fiction.   Suffice to say, Christie ensures that the innovative finale is worth the price of admission.  Roger Ackroyd isn’t a flashy Poirot caper, like Murder on the Orient Express or Death on the Nile.  Yet, it’s among the finest British mysteries because this benchmark in detective fiction does better than what countless imitators only aspire to.   

Note: The novel inspired 1928’s stage play, Alibi – the first-ever adaptation of Christie’s work. 

ADDITIONAL FEATURES:

The first page is a quick Christie bio.  There’s a listing of the publisher’s Christie titles.  A  table-of-contents-is included.  The back cover lists Poirot’s titles in order.   

BRIAN’S ODD MOON RATING:                         9 Stars

Note: For another Poirot stunner, highly recommended is his literary series finale: Curtain, which brings the Belgian sleuth’s exploits full circle.  

Categories
Books & Novels General Fiction Humor (Books) Mystery & Suspense

BIG TROUBLE

Written by Dave Barry

SUMMARY:

First published in 1999, G.P. Putnam’s Sons 292-page paperback reprint was released in 2017. 

Set in Coconut Grove (a posh Miami, Florida neighborhood), this wacky heist caper’s ensemble cast includes: a down-on-his-luck ex-journalist (Eliot) and his teenage son (Matt); two moronic, small-time hustlers (Snake & Eddie); a dim-witted yet good-natured loser (Puggy); a gentle Latina maid (Nina); two nonchalant Russian arms dealers; a pair of error-prone hitmen out of New Jersey (Henry & Leonard); one sleazy arms courier (Arthur); Arthur’s neglected wife, Anna, and her teenage daughter (Jenny); three bewildered Miami cops, two hard-nosed FBI agents, and one famished dog (Roger) feuding with a venomous toad. 

Just throw in a secret nuclear weapon concealed in a suitcase, as everyone converges in a late-night dash to the airport … and the book’s title makes sense.   

REVIEW:

For starters, Big Trouble lifts plenty from Elmore Leonard’s playbook re: R-rated guy humor.  Case in point: the novel’s zany tone parodies South Florida’s pro-gun culture, shady conglomerates scoring hefty government contracts, international terrorism, bargain-basement crooks, and even airport security (or lack thereof).  It’s no surprise that, as a potential audience, women might find Big Trouble’s oozing of tongue-in-cheek machismo a instant turn-off. 

In his acknowledgement, Dave Barry readily admits that his foray into outrageous, fast-paced South Florida crime fiction was inspired by writers like Leonard and Carl Hiaasen. Make no mistake: Big Trouble delivers plenty of foul-mouthed, hilariously unpredictable antics in crowd-pleasing fashion. However, the sole caveat is a home invasion sequence where a misogynistic plot anomaly turns unnecessarily vile — let’s just say the icky scene seems more reminiscent of Quentin Tarantino than Dave Barry. Aside from this detour into exploitative trash, the story’s blend of world-weary cynicism and seedy humor is well-played. 

Big Trouble’s best element counteracting its chauvinism is how the likable female characters (Monica, Anna, & Jenny) are more competent than the guys, as they bravely step up to action, when necessary. For instance, cop Monica Ramirez’s take-charge heroism merits the story’s MVP honors; in that regard, Barry ought to reward her with a spin-off novel.

While not all of Big Trouble’s males are inebriated, trigger-happy buffoons, there’s enough testosterone-laden guys to cover a gamut of genre caricatures. Even so, there’s some intriguing bait-and-switching at work — some characters implied as pivotal early on are then superseded by others, who make a far bigger impact down the home stretch. Without divulging spoilers, at least one seemingly minor character takes stunning risks in the climax trying to help save the day. Plausible or not, such twists are worth the wait once the plot’s main scheme kicks into motion.

The bottom line is that Barry’s zippy comedic wit makes Big Trouble a guilty pleasure worth indulging. Even some unlikely late twists don’t hamper a suspenseful, straight-up finale worthy of Hollywood blockbusters. An extra helping of irony and even some sentimentality tinge the epilogue, as Barry opts for a classy, low-key finish. Big Trouble won’t ever be mistaken as a masterpiece, but it’s still a welcome diversion from channel surfing and the bleakness of daily news.

Note: There’s a same-named, 2002 big-screen film adaptation starring Tim Allen, Rene Russo, Dennis Farina, & Stanley Tucci that bombed — both critically and at the box office. That really isn’t a surprise so much; Big Trouble’s snarky humor is a hit-or-miss proposition (no pun intended) where a reader’s imagination best visualizes this loose parody of crime noir.

ADDITIONAL FEATURES:

Barry offers an acknowledgment/warning, as he concedes that the characters didn’t abide by his request to refrain from naughty dialogue.  To his credit, he clearly states that Big Trouble isn’t meant for kids.  The author’s other fiction and non-fiction titles are listed.  The back inside cover is Barry’s brief synopsis.

BRIAN’S ODD MOON RATING:                   7 Stars

     

Categories
Agatha Christie-Related Books & Novels Mystery & Suspense

HERCULE POIROT: THE LABORS OF HERCULES

Written by Agatha Christie

SUMMARY:

First published in 1947, William Morrow/HarperCollins released this 314-page paperback edition in 2011.  Like Sherlock Holmes before him, the legendary Hercule Poirot contemplates a quiet retirement to the British countryside.  Inspired by his mythical predecessor, Poirot handpicks a dozen cases during the coming months that serve as contemporary parallels to the original herculean ‘Labors.’  An elderly Poirot deems such a gauntlet a worthy challenge to finish his career, but is he really retiring?  

His self-imposed ‘Labors’ are:

  1. The Nemean Lion: Looking into a Pekinese dog-napping ring, Poirot’s memories of an old homicide case infers  that history is apt to repeat itself.    
  2. The Lernean Hydra: Salacious village gossip haunts Poirot’s new client: a mild-mannered physician … and his prospective next spouse re: the death of his first wife. 
  3. The Arcadian Deer: Sympathizing with a lovestruck young mechanic, the Belgian sleuth seeks out an elusive woman known only as ‘Nita.’ 
  4. The Erymanthian Boar: In Switzerland, Poirot finds himself among the few trapped inside a posh mountain resort with a ruthless thief’s gang.
  5. The Augean Stables: At the British Prime Minister’s behest, Poirot counter-punches a sleazy tabloid intent on exposing a humiliating government corruption scandal to the public.
  6. The Stymphalean Birds: A rising young politician on a Central European vacation unwittingly becomes involved in a murder-and-blackmail scheme.       
  7. The Cretan Bull: A young woman seeks Poirot’s insight probing her fiancé’s apparent insanity amidst a series of grisly overnight attacks. 
  8. The Horses of Diomedes: Poirot backtracks an illicit source of cocaine circulating amongst a faction of wealthy and young London socialites. 
  9. The Girdle of Hippolyta: The Belgian private eye tackles dual crimes: a teenage student’s baffling abduction during a class trip and an international art heist. 
  10. The Flock of Geryon: In a sequel to The Nemean Lion, Poirot recruits a recent acquaintance to go undercover investigating a religious cult. 
  11. The Apples of the Hesperides:  Poirot is hired to recover a lost historical artifact: a jeweled goblet with a dark history dating back to the Borgias.  
  12. The Capture of Cerberus: A Hell-themed London nightclub (as does a familiar Russian countess) beckons Poirot, in a sordid jewel theft case.

Notes: Representing Poirot’s supporting cast are appearances by Miss Lemon, valet George, and Scotland Yard’s Inspector Japp. 

REVIEW:

Despite overplaying her ‘Labors’ theme at times, Christie’s premise still holds up well.  Her content includes wistful romance (The Arcadian Deer), some grisly suspense (The Erymanthian Boar and The Cretan Bull), satirical humor (The Nemean Lion and especially The Augean Stables), and, of course, a few reliable crime capers (The Lernean Hydra and The Girdle of Hippolyta).  Pitching more unusual challenges for Poirot, The Apples of the Hesperides and definitely The Capture of Cerberus convey sufficient surprises to keep readers tuned in. 

Only three installments are unremarkable.  Re: The Stymphalen Birds, Poirot’s ultra-convenient arrival is never explained.  In that sense, the Birds might just as well have been a Parker Pyne tale.  The story is okay, but its witless young politician is practically a caricature.  The Flock of Geryon’s premise makes better sense, but it relies too much on criminal dirt that Poirot and Inspector Japp expediently dig up that readers couldn’t have known. 

The weakest tale, however, is the preachy Horses of Diomedes, as Christie overindulges lecturing on the evils of cocaine and drug dealing.  Too many clues evidently occur off-screen, as Poirot’s deductive revelations aren’t fair game, at least from the minimal context Christie provides.  Horses should have been a Poirot novel’s sub-plot by allowing more time for it to sufficiently unfold.

Otherwise, Poirot is on his game, as these tales (free of racist undertones found in some Christie works) are ideal for bedtime.  Even if The Labors isn’t a genre masterpiece, Poirot’s casework is still above-average.  The book’s best is likely the delightful Augean Stables, aside from its too many references to the mythical Stables.  Not only is the ending LOL hilarious, the Stables’ amusing realism still holds true in the 21st Century re: the follies of 24/7 media obsession and scandal-mongering. 

For its tongue-in-cheek jibes re: Hell, The Capture of Cerberus is another near-gem.  If anything, it’s an intriguing second (and possibly last) chance for Poirot to mingle with his flamboyant equivalent of Irene Adler.  Considering its reliable entertainment value, The Labors of Hercules is recommended for armchair sleuths, ages 15 and up.  

ADDITIONAL FEATURES:

The first page is Christie’s biographical summary.  Along with an obligatory table of contents, Christie dedicates her book to Edmund Cook. 

BRIAN’S ODD MOON RATING:                         8 Stars

Notes: Another worthwhile Poirot short story collection is Poirot Investigates.  Similarly, Christie penned Partners in Crime (the second Tommy & Tuppence novel), Miss Marple’s The Tuesday Night Murders, Harley Quin’s The Mysterious Mr. Quin, and Parker Pyne Investigates.   

Categories
Comic Books & Graphic Novels Independent Publishers (Comic Books & Graphic Novels) Mystery & Suspense Sherlock Holmes-Related

SHERLOCK HOLMES # 1 (2009 DYNAMITE Entertainment)

Written by Leah Moore & John Reppion

Art by Aaron Campbell; Tony Aviña; & Simon Bowland

Cover Art by John Cassady

SUMMARY:

In late 2009, Dynamite Entertainment’s opener for this five-part mini-series is released.  It’s entitled “The Trial of Sherlock Holmes, Part One: A Smoking Gun.”  In October 1895, a warehouse’s massive explosion rocks London’s East End.  It’s a grim warning shot of urban terrorism by an unknown bomber.  While an admiring Baron Albrect Lothair’s visit to England intrigues Holmes, retired Scotland Yard Assistant Commissioner Samuel Henry’s predicament is Holmes & Dr. Watson’s immediate priority. 

Suffering from tuberculosis, the ailing Sir Henry has been targeted for death by the shadowy terrorist(s) for an unknown motive.  Unless the ex-Assistant Commissioner willingly consents to being murdered inside his own home at a specified time, additional bombs will be detonated across London.  As Sir Henry’s bodyguards the following night, even the combined forces of the legendary detective duo and Scotland Yard’s best can’t thwart a shocking locked-room outcome.      

REVIEW:

In spite of rave industry reviews from Jeph Loeb, Ed Brubaker, & J. Michael Straczynski on the back cover, this first issue has potential — but it’s not some instant masterpiece.  Dynamite’s visual inspiration is apparently Peter Cushing’s Holmes, as recreating his British hawk-like approach makes good creative sense. 

Much of the time the production values are above-average, including a few stellar panels (i.e. the explosion on Page 2).  However, the artwork is muddled in some places, making it harder to distinguish characters from one another (i.e. Inspector Lestrade from Watson).  Still, as with the cover image, the artwork succeeds well enough in delivering the goods.

Including a welcome late twist, the plotting conveys a semi-intriguing premise that might well keep Doyle fans tuned in.  The question is whether or not there’s really enough going on “A Smoking Gun” to snare casual readers into following Holmes’ unusual dilemma.  If anything, this issue makes a good sampler for the complete “Trial” compiled in Dynamite’s Sherlock Holmes, Volume 1 trade paperback (released in July 2010).         

ADDITIONAL CONTENT:

There’s a single-page “Dynamite Dispatches” column.  The back inside cover is a full-page cover reveal for Issue # 2.  

BRIAN’S ODD MOON RATING:                     7 Stars

Categories
Agatha Christie-Related Anthologies Books & Novels Fantasy, Horror, & Science Fiction Mystery & Suspense

THE LAST SÉANCE: TALES OF THE SUPERNATURAL

Written by Agatha Christie

SUMMARY:

Released in 2019 by William Morrow (a HarperCollins imprint), this 362-page paperback anthology compiles twenty Agatha Christie short stories mostly attuned to paranormal/horror themes.  Among them is the obscure “The Wife of the Kenite,” appearing in its first U.S. publication.  The specific stories (and their historical debuts) are:

  1. The Last Séance (magazine: (U.S.) 1926) and (U.K.) 1927)/anthology: (U.K.) 1933 and (U.S.) 1961). A frail French medium is pressured into initiating one final contact between an enigmatic client and her young child’s restless spirit.  
  2. In A Glass Darkly (magazine: (U.K.) 1934/anthology: (U.S.) 1939 and (U.K.) 1979).  A war veteran’s premonition of a woman’s brutal homicide has unsettling consequences.
  3. S.O.S.: (magazine: (U.K.) 1926 and (U.S.) 1947/anthology: (U.K.) 1933 and (U.S.) 1948).  Stranded in the remote English countryside, a motorist grows increasingly suspicious of  his overnight host family. 
  4. Hercule Poirot: The Adventure of the Egyptian Tomb (magazine: 1923 (U.K.) and 1924 (U.S.)/anthology: 1924 (U.K.) and 1925 (U.S.).  Poirot & Captain Hastings probe a series of deaths linked to an archaeological expedition in the Egyptian desert.   
  5. The Fourth Man (magazine: (U.K.) 1925 and (U.S.) 1947/anthology: (U.K.) 1925 and (U.S.) 1948).  Aboard an overnight British commuter train, four passengers discuss a bizarre split-personality case linked to two deaths. 
  6. Miss Marple: The Idol House of Astarte (magazine: (U.K.) 1928 and (U.S.) 1928/anthology: (U.K.) 1932 and (U.S.) 1933). Miss Marple contemplates an aristocrat’s mysterious death years ago during a costume party.     
  7. The Gipsy (anthology: (U.K.) 1933 (U.S.) 1971).  In a gothic love story, an alluring gypsy and her enigmatic warnings impact the romances of two sisters. 
  8. Philomel Cottage (magazine: (U.K.) 1924/anthology: (U.K.) 1934 and (U.S.) 1948).  In a quiet village, a newlywed British couple’s bliss is tainted by suspicions of the husband’s possibly dark past.
  9. The Lamp (anthology: (U.K.) 1933 and (U.S.) 1971). A family gradually realizes that their new home is haunted by the spirit of a lonely little boy.
  10. Hercule Poirot: The Dream (magazine: (U.K.) 1938 and (U.S.) 1937/anthology: (U.S.) 1939 and (U.K.) 1960).  An eccentric tycoon consults Poirot re: a recurring nightmarish premonition. 
  11. Wireless (magazine: (U.K. and U.S.) 1926/anthology: (U.K.) 1933 and (U.S.) 1948).  A frail, elderly widow becomes convinced that her late husband’s ghost is summoning her through the radio.
  12. The Wife of the Kenite (magazine: (Australia) 1922/anthology: (U.K.) 2018 and (U.S.) 2019).  Grim biblical irony catches up to a German war criminal hiding out in the farm country outside Johannesburg. 
  13. The Mystery of the Blue Jar (magazine: (U.K. and U.S.) 1924/anthology: (U.K.) 1933 and (U.S.) 1948).  A young golfer seeks professional help upon repeatedly hearing ghostly pleas for help.
  14. The Strange Case of Sir Arthur Carmichael (anthology: (U.K.) 1933 and (U.S.) 1971).  Two doctors are bewildered by a young man’s unexplained metamorphosis.
  15. Miss Marple: The Blue Geranium (magazine: (U.K.) 1929 and (U.S.) 1930/anthology: (U.K.) 1932 and (U.S.) 1933).  Miss Marple hears about a hypochondriac wife’s strange demise foretold months before by a gypsy fortune teller.
  16. The Call of Wings (anthology: (U.K.) 1933 and (U.S.) 1971).  A wealthy businessman experiences an odd epiphany through his dreams. 
  17. Hercule Poirot: The Flock of Geryon (magazine: (U.K.) 1940 and (U.S.) 1940/anthology: (U.K. and U.S.) 1947).  Among his ongoing Labours, Poirot relies upon an unlikely ally to go undercover probing a religious cult.
  18. The Red Signal (magazine: (U.K.) 1924 and (U.S.) 1947/anthology: (U.K.) 1933 and (U.S.) 1948).  A dinner party’s séance is the prelude to a vengeful homicide.
  19. The Dressmaker’s Doll (magazine: (Canada & U.K.) 1958 and (U.S.) 1959/anthology: (U.S.) 1961 and (U.K.) 1979). An upscale London dress shop’s proprietors are perplexed by a doll seemingly haunting their boutique.
  20. The Hound of Death (anthology: (U.K.) 1933 and (U.S.) 1971).  In a secluded English village, a visitor is leery of the local doctor’s interest in a Belgian refugee’s catastrophic psychic visions.      

Notes: Both Poirot tales were faithfully adapted for the David Suchet TV series.  The title of “The Blue Geranium” was used for (and partially inspired) a Marple 5th Season TV episode starring Julia McKenzie.  Also, “The Red Signal,” “The Fourth Man,” “In a Glass Darkly,” and “The Mystery of the Blue Jar” were filmed in 1982 for British TV’s short-lived Agatha Christie Hour.

REVIEW:

As one can surmise, there isn’t light-hearted relief exploring Christie’s interests in supernatural and/or macabre fare.  With few exceptions, this anthology is reminiscent of The Twilight Zone, The Outer Limits, and Tales from The Crypt. 

Of this assortment, only “The Strange Case of Sir Arthur Carmichael” is marred by racist stereotyping, which frankly ruins an otherwise intriguing story.  In terms of horror content, there’s more implied gore than expected – particularly, in the title story and the rare “Wife of the Kenite.”  Even long-time Christie fans shouldn’t be blamed for skipping a tale or two that could be construed as perhaps too grisly.    

The Last Séance’s line-up of familiar fare and far more obscure tales at least holds steady in a literary middle ground.  In that regard, there’s aren’t any indisputable masterpieces, but none are exceedingly awful, either.  What fluctuates is the quality of detail.  Case in point: “The Dressmaker’s Doll” and the much-shorter (and underrated)“Lamp” both effectively convey ghost stories with sufficient depth. 

In contrast, the characters inhabiting “The Last Séance” are so vaguely written that readers are left scratching to fill in the blanks (i.e. the identity of the black-veiled client — frankly, Christie could have tried a little harder).  There’s also a likelihood of contemporary audiences sensing imminent plot twists in, for instance, “The Red Signal” and “Wireless,” mostly because they’ve since become genre clichés.  Still, Christie’s storytelling tricks make up much of the difference.     

The one inexplicable aspect of this anthology pertains to what’s not included.  Shockingly, there are no Harley Quin tales  — i.e. reprinting “The Harlequin’s Tea Set” would have made perfect sense.  Poirot’s unremarkable “The Flock of Geryon” could have been easily replaced by the appropriately wicked Poirot tale: “Tragedy at Marsdon Manor.” The same applies to a different challenge amongst Poirot’s Labours of Hercules: “The Cretan Bull,” as it’s in a similar vein as the “Arthur Carmichael” tale. 

Among Christie’s lesser-known material, the only odd exclusion is “The House of Dreams,” as its morose, cerebral themes certainly fits this anthology’s vibe. Had the publisher sought a lightweight tale for more variety, “The Lonely God” would have worked. The only caveat with that tale is that Christie’s mushy dialogue diminishes a decent romantic premise.

If anything, this collection sports dual appeal: not only should most Christie fans appreciate it, The Last Séance is a solid prelude to the horror genre that Stephen King’s generation inherited decades later.  Though the bulk of these stories are innocuous by today’s standards, a few are definitely mature audience-only reads. 

ADDITIONAL FEATURES:

There is a table of contents.  The bibliography spells out each story’s source/historical debut(s).       

BRIAN’S ODD MOON RATING:             7½ Stars

Notes: Also available in this same anthology format is Midwinter Murder: Fireside Tales from the Queen of Mystery. For a full-length Christie novel pertaining to the supernatural, The Pale Horse is a worthwhile read.   

Categories
Agatha Christie-Related Anthologies Books & Novels Mystery & Suspense

MIDWINTER MURDER: FIRESIDE TALES FROM THE QUEEN OF MYSTERY

SUMMARY:

Released in 2020 by William Morrow (a HarperCollins imprint), this 305-page paperback anthology collects a dozen Agatha Christie tales set during the holiday season.  Anchored by one of her best-known novellas, nearly all of Christie’s fictional detectives are represented.  The specific stories (and their historical debuts) are:

  1. Three Blind Mice (radio play: 1947/U.S. magazine form: 1948/U.S. anthology: 1950). Trapped inside by a blizzard with their guests, a British couple’s fledgling post-war inn unknowingly hosts a vengeful killer. Note: Its stage version is entitled “The Mousetrap.” 

2. Hercule Poirot: The Chocolate Box (U.K. magazine form: 1924/U.S. magazine form: 1925/anthology debut: 1925 (U.S.) and 1974 (U.K.).  On a cold and stormy night, Poirot confides in Captain Hastings his most humbling defeat in a homicide case dating back to his career as a Belgian policeman.

3. Miss Marple: A Christmas Tragedy (magazine form: 1930/anthology debut: 1932 (U.K.) and 1933 (U.S.).  During a night with friends, Jane Marple recalls her efforts years before trying to thwart a young wife’s seemingly inevitable homicide.

4. Harley Quin: The Coming of Mr. Quin (U.K. magazine form: 1924/U.S. magazine form: 1925/anthology debut: 1930). It’s New Year’s Eve/early New Year’s Day, as Mr. Satterthwaite first encounters the ethereal Harley Quin. Over drinks, a small group of friends reconsider an enigmatic suicide from a decade ago in that very same manor house.

5. Tommy & Tuppence: The Clergyman’s Daughter/The Red House (U.K. magazine form: 1923/anthology debut: 1929).  As rookie private detectives, married couple Tommy & Tuppence Beresford probe a young woman’s evidently haunted house for answers.  

6. Hercule Poirot: The Plymouth Express (U.K. magazine form: 1923/U.S. magazine form: 1924/U.S. anthology debut: 1951/U.K anthology debut: 1974). Hastings narrates Poirot’s efforts to solve a cold-blooded robbery-homicide committed aboard an English commuter train.     

7. Parker Pyne: Problem at Pollensa Bay (U.K. magazine form: 1935/U.S. magazine form: 1936/U.S. anthology debut: 1939/U.K. anthology debut: 1991).  Pyne’s incognito vacation in Majorca is disrupted by a mother’s interference in her adult son’s fledgling love life.

8. Miss Marple: Sanctuary (U.K. magazine form: 1935/U.S. magazine form: 1936/U.S. anthology debut: 1939/U.K. anthology debut: 1991).  Jane Marple’s adult goddaughter, Bunch, needs her help deciphering a mysterious stranger’s dying plea upon seeking refuge in a rural vicarage.

9. Hercule Poirot: The Mystery of Hunter’s Lodge (U.K. magazine form: 1923/U.S. magazine form: 1924/anthology debut: 1924 (U.K.) and 1925 (U.S.).  With Poirot immobilized by the flu, Hastings teams with Inspector Japp to probe a wealthy uncle’s homicide at a secluded manor home.

10. Harley Quin: The World’s End (U.S. magazine form: 1926/U.K. magazine form: 1927/anthology debut: 1930).  Accompanying his duchess friend to Corsica, Mr. Satterthwaite finds that a young woman’s fate may be at stake.

11. The Manhood of Edward Robinson (U.K. magazine form: 1924/U.K. anthology debut: 1934/U.S. anthology debut: 1971).  On Christmas Eve, a henpecked, blue-collar fiancé enjoys the adventure of being mistaken for a suave jewel thief.

12. Hercule Poirot: Christmas Adventure (U.K. magazine debut: 1923/U.K. anthology debut: 1997/U.S. anthology debut: 2020).  In this obscure tale’s official U.S. debut, the Belgian sleuth’s old-fashioned British holiday is complicated by a mysterious ruby and potential homicide.      

Notes: Not only is Christie the undisputed ‘Queen of Mystery,’ she is equally masterful at recycling – no matter how confusing it gets.  1. “The Plymouth Express” was later expanded as the 1928 Poirot novel, Mystery of the Blue Train.  2. Similarly, Christie reworked “Christmas Adventure” into the 1960 Poirot novella, “Adventure of the Christmas Pudding.”  Its well-known alternate title is “Theft of the Royal Ruby.”  3. “Problem at Pollensa Bay” was first a Poirot tale before Christie substituted in Parker Pyne. 4. Left intact, “Three Blind Mice” was initially a radio mystery that became a short story/novella before its conversion into a world-famous stage play.

REVIEW:

Packaged in a first-class manner, these timeless Christie stories make an ideal sampler for those first discovering her literary magic … as well as long-time fans enjoying her storytelling in smaller doses.  Notably, there’s a balance of content, as this anthology’s short stories bounce amongst Christie’s best-known characters.

Think of it as a pendulum: darker tales (i.e. “The Mystery of Hunter’s Lodge,” “A Christmas Tragedy,” and “The Plymouth Express”) are matched by lighter, practically humorous fare from Tommy & Tuppence, Parker Pyne, and “The Manhood of Edward Robinson.”  Poirot’s early Christmas tale also fits this latter category. 

Harley Quin provides supernatural-flavored melodrama, and Miss Marple’s well-played “Sanctuary,” at the right moment, delivers serene poignancy.  Deftly spicing its mystery with humor, “Three Blind Mice” is ripe for re-discovery as either a TV or film adaptation.  Gift-wrapping this package is “The Chocolate Box,” as even Poirot’s legendary ‘little grey cells’ aren’t always infallible in this prequel/flashback. 

Refreshingly, none of these tales aren’t tainted by blatant racism that occasionally surfaces in Christie’s work.  Deciding which of these twelve comprise, say its Top 4, is strictly a matter of preference – given the loose seasonal theme, all of Christie’s detectives shine bright enough.  “Three Blind Mice” and “The Manhood of Edward Robinson” are frankly can’t-miss prospects for this collection’s cozy ambiance.  

Still, “The World’s End,” and, to a larger degree, “Christmas Adventure,” can be fairly argued as this book’s two weakest.  Mostly a bore, “The World’s End” finally comes to life in its last few pages.  Despite an overly convenient plot twist, the wrap-up courtesy of Satterthwaite and Quin is nicely conveyed to readers.

“Christmas Adventure,” however, serves up an undercooked Poirot entrée – not only are the guest characters left far too vague, there’s insufficient explanation re: why Poirot already knows where to conduct his stakeout.  Poirot’s condescendingly sexist remark just before the finish coming out of nowhere only further sours this holiday caper.  Christie’s belated do-over — the 1960 novella — easily surpasses this earlier draft.  Most significantly, she takes the necessary time to concoct a satisfying mystery and fully develop her expanded cast.   

Considering its abundance of re-readable entertainment, Midwinter Murder is recommended for any armchair detective, ages 13 and up.

ADDITIONAL FEATURES:

Entitled “Christmas at Abney Hall,” the four-page ‘introduction’ has Christie waxing nostalgically over her childhood holiday memories.  This material is an excerpt from Christie’s 1977 An Autobiography.  The bibliography spells out each story’s source/historical debut(s).  The last page is a fast paragraph on Christie’s career.     

BRIAN’S ODD MOON RATING:                   8½ Stars

Notes: Also available in this same anthology format is The Last Séance: Tales of the Supernatural showcasing another favorite theme in Christie’s storytelling.  Additional wintry mayhem novels by Christie include 1938’s Hercule Poirot’s Christmas and 1931’s The Sittaford Mystery (aka Murder at Hazelmoor).  

Categories
Agatha Christie-Related Books & Novels Mystery & Suspense

HERCULE POIROT: THE HOLLOW

Written by Agatha Christie

SUMMARY:

First published in 1946, this 299-page Harper Books paperback edition was released in 2011.  Its alternate title is Murder After Hours. 

At an English countryside home dubbed ‘The Hollow,’ retired hosts Sir Henry & Lucy Angkatell welcome six adult guests for a weekend house party.  Their guests are: introverted in their own ways, cousins Edward and David Angkatell; another Angkatell cousin: sculptor Henrietta Savernake; Lucy’s young relative: delightfully down-to-earth Midge Hardcastle; and a married London couple: Dr. John and Gerda Christow.

Self-absorbed John is torn between an overly subservient wife and artist Henrietta – his compassionate mistress.  Yet, the philandering doctor isn’t not the only one stunned that his old flame, narcissistic actress Veronica Cray, has now moved in next door.  Experiencing an epiphany of sorts, John makes a fateful decision. 

With tensions already slow-brewing, homicide shatters The Hollow’s calm.  Sir Henry’s acquaintance (and his other new neighbor), Hercule Poirot, may be the only one who can set things right.  It’s conveyed that Sir Henry had first met Poirot in Baghdad, presumably during 1936’s Murder in Mesopotamia.

Advisory Note: The ‘n’-word appears on page 34.  Why the publisher didn’t/couldn’t edit this word out is anybody’s guess. 

REVIEW:

Of Christie’s Poirot masterpieces, the moody Hollow surely isn’t among them.  Make no mistake: this soap opera-ish whodunnit is a tough slog – spending the first eight or nine chapters alone with this cast is plenty.  Though Christie works hard imbuing The Hollow’s characters with realistic depth, making this blasé group actually readable, however, is another matter. Among them, only the vibrant Midge comes off as someone actually worth rooting for. 

For instance, there’s the implausibility exactly why three women: Gerta, Henrietta, and an over-the-top Veronica all orbit one domineering physician like he’s the almighty sun.  Plagued by bouts of self-pity, 40-year old ‘golden boy’ John is a domineering egotist; yet, his selfish persona becomes surprisingly multi-layered.  One might conclude the doctor is somewhat humble, as compared to his long-lost ex-girlfriend, Veronica – a ridiculous cliché of spoiled starlets. 

Beyond the plot’s lethargic tempo, the insurmountable obstacle Christie pitches to readers is this: why should anyone even care about this group of players (short of the victim’s young children), once the homicide occurs?  Deserving some pity is the shrewd Inspector Grange as the local cop officially probing this muddle of motives.  It’s like Grange grasps the plot’s blah circumstances from the get-go, which mostly renders The Hollow’s crime a non-mystery. 

Considering that Poirot’s entrance is delayed until a full third into the novel is indicative of how dreary The Hollow really is.  Even the dapper Belgian sleuth’s literary magic (and a savvy display of compassion come the ever-bleak end) isn’t nearly enough this time.  The book’s mid-section improves in spots, but a consistently low-energy vibe doesn’t muster much hope for a satisfying finish.       

Beyond the ever-insightful Henrietta’s presence, only a decent romance is left to help Poirot distract readers from a below-average storyline.  Inexplicably, Christie even sabotages this middling sub-plot — with a melodramatic scene where the heroine must thwart her beloved’s attempted suicide by gassing himself in an oven.  By that point, it’s tempting to consider chucking The Hollow across the room.  In hindsight, this disappointing Poirot’s sole benefit is offering a potential cure for insomnia.   

ADDITIONAL FEATURES:

The first page is a Christie mini-biography.  There’s a full listing of Christie’s published novels (plus two memoirs).    

BRIAN’S ODD MOON RATING:                   3 Stars

Categories
Agatha Christie-Related Books & Novels Mystery & Suspense

HERCULE POIROT: HERCULE POIROT’S CHRISTMAS

Written by Agatha Christie

SUMMARY:

First published in 1939, the book has also been known as Murder for Christmas and Holiday for Murder.  This 272-page William Morrow/HarperCollins paperback reprint was released in 2011.  Instead of chapters, the murder-mystery is divided into seven days: December 22-28. 

In the English countryside, Christmas time at Gorston Hall welcomes home the estranged Lee family.  Elderly (and long-widowed) patriarch Simeon Lee and his eldest son and daughter-in-law, Alfred and Lydia, greet fellows sons and daughters-in-law, David & Hilda, and George and Magdalene. 

The family’s trouble-making son, Harry, also returns after a twenty-year absence.  Joining them are Simeon’s only grandchild, Pilar Estravados, and a family friend’s son from South Africa.  Among the house staff on site are elderly butler Tressilian and Simeon’s personal valet, Horbury.

Soon, after the crotchety Simeon taunts imminent changes to his will, a brutal Christmas Eve robbery-homicide occurs inside a locked room at Gorston Hall.  Could the killer’s motive have been swiping Simeon’s stash of uncut South African diamonds?  Local cops Colonel Johnson and Superintendent Sugden collaborate with the indomitable Belgian sleuth Hercule Poirot to resolve this shockingly ‘perfect’ crime.  They best work fast before a desperate culprit strikes again.       

REVIEW:

After an entertaining first read, one may understandably conclude ‘well, Christie’s done it again!  I never saw that coming.’  In fairness, though, several clues are less than subtle.  Subsequent reads remove luster off Christie’s holiday homicide, as at least one pertinent hint is definitely overplayed.  She also packs too many Lee family members into this plot, as it’s cumbersome to keep track of all who’s who, between the brothers and various wives. 

Placing the South African friend (Stephen Farr), too, at the crime scene doesn’t add much beyond reinforcing a contrived déjà vu-related sub-plot.  Most significantly, what’s disappointing is that, upon further examination, the culprit’s motive is left as substantively weak.  Hence, the real ‘why’ behind this ingenious scheme is merely left to a reader’s conjecture.   

Comparatively, David Suchet’s 1994 Poirot TV movie version is well-cast and simplifies the plotting, as necessary.  Among the improvements is a more believable method of placing the fussy Poirot inside Gorston Hall.  Beyond substituting Chief Inspector Japp in for the forgettable Col. Johnson, the TV version also smartly consolidates the supporting cast to a more manageable number.  The decrepit Simeon is even more so an unlikable scoundrel, which fits the storyline better.  Most importantly, there’s finally an explanation behind the culprit’s motive. 

Yet, unlike this novel, the TV movie’s unforced error is tacking on a prologue that practically telegraphs the killer’s identity from the get-go.  If the prologue’s finish had conveyed as a dream-like flashback later on, it would have made far more dramatic sense for the climax.  It also would made a satisfying supplement, as Christie only alludes to Simeon’s murky youth (and likely misdeeds) in the novel.  Still, the book and movie will mesh well enough together for fans.

Despite some intriguing twists, Hercule Poirot’s Christmas doesn’t merit as a Top 10 Christie classic.  Yet, it’s still (at least, most of the time) an above-average Poirot mystery novel.

ADDITIONAL FEATURES:

The first page is a quick Christie career retrospective.  There’s also five pages of Christie-related ads.

BRIAN’S ODD MOON RATING:                   7 Stars

Note: Poirot’s other Christmas caper: the novella “The Adventure of the Christmas Pudding” (aka “The Theft of the Royal Ruby”) is recommended.  Dating back to the mid-1920’s this novella’s earliest and most obscure incarnation, the blandly-titled “Christmas Adventure,” however, is an unsatisfying draft.