This book considers her treatment of crime both as illustrating Agatha Christie's novels are not just an image of an ideal world of comfort and order. This book considers her treatment of crime both as illustrating a fundamentally evil human nature and as provoking ingenuity, enterprise, collaboration and enhanced tolerance.
Two key factors appear: the illusion which she thinks inherent in human understanding and which is exploited by the cynical and self-interested, and the love of power which taints family and society, which can provoke and motivate murder, and yet which is the basis of energetic action - for good or for evil. Against these stands the activity of the detectives: but is this activity rational or intuitive? Is it innocent, or does it have some complicity with the power and illusion it seeks to combat? Get A Copy. More Details Other Editions 4.
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All Languages. More filters. Sort order. Catherine rated it liked it May 01, Sarah-jane Lowes rated it it was amazing Mar 25, Bri rated it really liked it Nov 29, Jamie Bernthal rated it it was ok May 03, Linda rated it it was amazing Aug 29, Shantanu rated it liked it Jun 07, Carolyn Raship marked it as to-read Mar 10, Rebecca marked it as to-read Aug 25, Maxim marked it as to-read Feb 11, Muhamad Saleh marked it as to-read Apr 11, Asmaa Samir marked it as to-read Jul 23, Rachael marked it as to-read Nov 10, Sheri marked it as to-read Jan 16, Her crime fiction is superb, her plotting a marvel of inventiveness.
She is also a very modern writer; a better one, many would say, than Christie. I had the idea that she would put a clever spin on the Christie template, rather than tamely fitting into it, and indeed The Monogram Murders tells a story of passion, revenge and guilt that could form the powerful basis for a contemporary Hannah novel. At the same time, however, she is required to act as a medium, to create the illusion that a much-loved voice can be heard once more.
So her book also conforms to the familiar image of a Christie. The set-up is stunning: three corpses are discovered in different rooms of the same London hotel, each with a monogrammed cufflink placed in their mouths.
The murders take place in , although the motive proceeds from events some 16 years earlier. This is an echo of the novel Five Little Pigs , in my view Christie's best, which reinvestigates a crime that happened in Meanwhile, Hannah's Poirot does all the right things: chucks in French phrases, assembles his suspects in large rooms and basks comfortably in his own omniscience.
Yet he is, somehow, oddly lifeless. As conceived by Christie he is not a "character" as such, more an impressionistic sketch, but he has absolute vitality on the page; and he has the quality of connection with the reader, which is at the heart of his creator's mysterious gift. The failure to ignite him typifies the difficulty with The Monogram Murders.
This study shows how she sought to reconcile her attachment to the Victorian past with her recognition of a new society that undermined established order and . R.A YORK was educated at Emmanuel College Cambridge, UK and University College London. In he joined the University of Ulster, UK, eventually.
For all its approximation to an Agatha Christie, the book actually bears very little resemblance to one. The book will sell anyway. But why is it so hard, even for such an excellent writer, to conjure an apparently lesser talent back to life, and replicate that pulsating readability? All I can say is: try doing what she did. It is insanely difficult, partly because she makes it look easy.
The Monogram Murders makes the reader only too aware that it is not easy at all. The plot is ingenious, and the clues — for instance, an object painted over in a picture — are reminiscent of Christie. What is not there, crucially, is her sublime simplicity.
Showing Curtain , the final Poirot adventure, is a mildly interesting present-day hunt for a serial killer. London: Routledge, The Penguin Complete Sherlock Holmes. The male amnesiac is a staple character of noir mystery. Lucy enters, and is delighted by the news. Devereux, D.
Loose ends proliferate, then are busily snipped away by metaphorical secateurs. The convolutions are visible, the exposition long and linear.
In a Christie — where brevity is the soul of sharpness — everything is distilled within a spare, deceptive geometry. Plot, theme and character become a single unity. Nobody else really does that.