The Local Gossip: The Moving Finger 2.0

Image from here

"You see," he said, "crude, childish spite though it is, sooner or later one of these letters will hit the mark. And then, God knows what may happen! I'm afraid, too, of the effect upon the slow, suspicious, uneducated mind. If they see a thing written, they believe its true. All sorts of complications may arise."
-The Moving Finger, p. 15

The Sum of It:

Brother and sister duo Jerry and Joanna have absconded from the city to the quaint village of Lymstock, where Jerry is meant to follow his doctor's orders of rest and relaxation as he heals from injuries suffered when an airplane he was flying crashed. They're renting a fusty little house from an equally fusty old lady, and Joanna, sophisticated city girl though she is, and her brother are trying to take an interest in local goings on #villagelife. 

Shortly after they arrive, however, they receive a so-called "poison pen letter," pieced together from letters cut out of a book, accusing them of being a risque couple as opposed to a perfectly innocent brother and sister, and calling Joanna some rather nasty names. They laugh it off, but find that they are only the most recent of many villagers who have received such letters making vicious but typically unfounded and untrue allegations against the recipients. When one of the recipients is found dead, her letter nearby and an apparent suicide note at her side, the police decide to track down the sender once and for all, as the letters have now begun to result in real injury. However, the case escalates when the dead woman's maid is found quite clearly murdered, having been bludgeoned in the head. Jerry and the police work to track down the letter writer and presumed killer, but run into frustration time and again. Meanwhile Jerry develops a bit of a crush on the dead woman's awkward daughter, and EVENTUALLY, like 3/4 of the way through the book, Miss Marple turns up, asks a few questions, and essentially solves the case. Quite like Miss Marple, really!

The YOA Treatment:

When Audrey read this one during the first go-around, she was adamant that I needed to read it someday, and now that I've finally gotten around to it, I can certainly see why. This book, written during Agatha's prime, is funny and clever, a page turner with a pleasant narrator in Jerry. The village of Lymstock is perfectly painted, and one can just imagine the fluffy old ladies gossiping about the most recent poison pen letter outside the adorable local grocer. Even though Miss Marple honestly barely figures in the story at all, I found this to be one of my favorite Christie reads. 

One of the most enjoyable characters in my opinion was Megan, the awkward young lady Jerry finds himself quite taken with. She's terribly self aware, and makes funny observations about the provincial opinions of the people in town and her own family's inability to figure out what to do with her #notagirlnotyetawoman. I very much enjoyed the scenes when Jerry and Megan take a day trip into the city so he can buy her some clothes befitting a lovely young woman rather than an awkward girl, and they escape themselves and the village for a sophisticated dinner and dance. Even though I have seen the (very good) adaptation several times, I wasn't quite sure who the killer was, and found myself quite satisfied by the build up and reveal. I often enjoy the light, fun mysteries more than the heavier ones, but this one seemed to have a nice balance that would suit any Christie reader, and I'm certain I'll find myself recommending it to many friends!

- E. 

Ahhhhh, Witchy Woman: By the Pricking of My Thumbs | 1968

Image found on Pinterest, a perfectly creepy cover!

"I daresay people have liked murderers," said Tuppence very reasonably. "It's like swindlers and confidence tricksmen who always look so honest and seem so honest. I daresay murderers all seem very nice and particularly softhearted. That sort of thing."
-By the Pricking of My Thumbs p. 210

The Sum of It: 

TOMMY AND TUPPENCE ARE BACK!!!!!!! Yesssssssssssssssssss. Ok summarizing. 

Tommy and Tuppence (though referred to throughout as elderly #projecting) seem like they are maybe in their 50's at this point. Though they may be older, with grown-up children and grandchildren out in the world, their minds are still just as sharp and the banter is still #TOPNOTCH (phew!) As they're having breakfast one day, Tommy starts thinking he should probably go visit his old Aunt Ada at the little old ladies home where she's been living for the past couple years. Though Aunt Ada genuinely despises Tuppence, she decides to go along with Tommy anyway for solidarity and also because if being mean to her brings Aunt Ada some joy, then Tuppence doesn't grudge her that :). Upon arrival Aunt Ada immediately denies she knows Tuppence and kicks her out of the room, so Tuppence goes down to sit in the little sunroom, where she joins a "fluffy" old lady with a pretty face and white hair, who's drinking milk. The old lady chats a bit and then asks Tuppence, "Was it your poor child?" Tuppence is like huh what and the lady starts talking about a poor child buried behind the fireplace. Mercifully Tommy comes in to rescue her from this real awkward situation and back home they go. 

Only once they get there, Tuppence can't stop thinking about that old lady, Mrs. Lancaster, and her weird line of conversation. A few weeks later, Tommy's Aunt Ada dies, and when they go back to the old ladies home to sort her things, Tuppence intends to talk to Mrs. Lancaster again, because she's worried Mrs. L knows something about some child who was killed or some crime and might be in danger. HOWEVER when they get there they learn Mrs. L was recently disappeared from the home by some relative named Mrs. Johnson, who gave a false address. They also learn that Mrs. L gave Aunt Ada a painting of a pretty house by a canal and a little bridge, and Tuppence immediately realizes she saw the house once on a train journey, and decides that it's the only clue to find out where poor Mrs. L might be so Tuppence can make sure she's safe. When Tommy goes off on a business trip, Tuppence decides to figure out where the little house is, and hopefully Mrs. L, and heads off on a little trip of her own. Only, once she actually stumbles upon the pretty house and the little village nearby, Tuppence quickly realizes she's become mixed up in a mystery much bigger than the one she came to solve. The only question is whether anyone can save her from the danger she's stumbled upon!?

The YOA Treatment: 

I knew I was a big fan of Tommy and Tuppence in their early days, but given how dated the last couple novels of Agatha's felt, I was a little worried about how their charming repartee and page-turning plots might fare as their characters got older. But the GREAT news is that in my opinion, it felt like nothing had changed. Tuppence is still the same plucky adventurer she was when we first met her in London just after WWI. Tommy is still gruffly admiring of his wife's cunning, and clever and resourceful on his own. It was super delightful to see them again, and follow along with their action-packed adventures #CAPER!

We've also been waiting for this one since reading The Pale Horse, where Agatha first stumbled on the little plot device of a random old lady asking "Was it your poor child?" and going on about a baby buried behind a fireplace. In that book, it was just a throwaway anecdote, but clearly Agatha found it creepily inspiring and mulled over it for a few years before developing it into a full-blown plot, which served this tale quite well. 

Unlike some of the less action driven stories of late, the pace of this one moved along easily, and the twists along the way didn't feel manufactured, but instead felt clever and fun. Each of the newly introduced side characters felt fully fleshed out and familiar, filling their roles in a little country village, as opposed to the stilted design and flat nature of many of the "modern," city-based young people in some of the other recent novels #villagelife. It felt like a true return to form, and I really can't imagine why Agatha didn't write more Tommy & Tuppence books, because she is so very good at them! 

- E. 

Truth Will Out: The Murder of Roger Ackroyd | 1925

(image from here)

"What one does not tell to Papa Poirot he finds out." -The Murder of Roger Ackroyd, p. 217

Dear Readers. Please hold on to your hats this week, because we read The Murder of Roger Ackroyd and we have a lot to talk about.

First, a quick note, you may notice that we have been jumping around a bit chronologically with our reads. In an effort to split up Agatha's books (and pick out a few for the two of us to read at the same time), we have gotten ourselves a bit out of order, strictly speaking. However, rest assured we do have a plan to read them all, and we shouldn't get too far ahead of ourselves.

Alright - back to business.

The Sum of It:

Hercule Poirot is back! But he is not here to swoop in and save the day, no. Flush with cash from a recent case (perhaps solving a "baffling murder mystery" involving a Russian Grand Duchess disguised as a commoner mentioned in chapter 11?), Poirot has RETIRED to the country to engage in the relaxing task (?) of growing vegetable marrows (yes.) But where Poirot is, murder cannot be far behind. Devoid of his usual Hastings for company (#Argentineorbust #wishyouwerehere), Poirot teams up with his neighbor and local physician (and this book's narrator!), Dr. James Sheppard, to find out just WHO KILLED ROGER ACKROYD?!

Ackroyd was a local richie big wig, eligible bachelor, and step dad to total hottie Ralph Paton, who is about to (reluctantly) announce his engagement to his (no blood relation!) cousin, Flora Ackroyd. Of course, before his death, Roger Ackroyd is overheard arguing with someone about money, nearly everyone who benefits from his will got that money just in the nick of time, and just as the police move in to investigate, Ralph Paton goes missing. Let's add to this the fact that Roger Ackroyd was just about to find out who blackmailed his lady love, Mrs. Ferrars, literally to death. It's essential that Poirot and the police determine who saw Roger Ackroyd last, when exactly the crime was committed, who a mysterious Canadian stranger is, and what color someone's boots are.

Poirot enlists everyone's help in attempting to solve the murder, but senses reluctance.

"'Each of you has something to hide. Come now, am I right?' His glance, challenging and accusing, swept around the table. And every pair of eyes dropped before his. Yes, mine as well. 'I am answered,' said Poirot, with a curious laugh. He got up from his seat. 'I appeal to you all. Tell me the truth -- the whole truth.' There was silence. 'Will no one speak?' He gave the same short laugh again. 'C`est dommage,' he said, and went out."

Little do these people realize that it is nooooo good keeping secrets from Papa Poirot, because he'll just find out anyways. We really cannot say more here without spoilers, but suffice it to say, you're going to be guessing and guessing until the end of this one!

The YOA Treatment:

The Murder of Roger Ackroyd is considered a turning point for Agatha. This plot of this book (and, in particular, it's conclusion) is markedly spectacular and a step up from previous novels. Before we get into the meat of our thoughts, here are a few sparkling details that we found particularly wonderful:

• Without his usual pal, Hastings, Poirot adorably becomes besties with Dr. Sheppard, who proves to be a worthy understudy, having (just like Hastings) back luck in speculation choices (Porcupine Oilfields? I mean, come on...) and perhaps a "penchant for auburn hair?"
• Chapter 16 has us longing for a night of Mah Jong partying (or maybe mostly the coffee, cake, sandwiches, and tea that come with it #hearteyesemoji).
• In looking for clues, Poirot goes all Idris-Elba-as-Luther and identifies a goose quill which is used in North America for "sniffing snow," i.e., cocaine, without batting an eye because he's just that urbane. 
• Agatha's writing in this one feels more mature and confident than in some of her other, earlier books. It kind of seems like this is the point where she started taking herself a bit more seriously as a writer. 
• Though there are lovely ladies in this book, they are much less the focus of the story than in others. That might be one reason why this one feels a little less romantic and a little more mysterious (though we love the romantic ones too!)
• We know that despite being a crime writer, Agatha wasn't crazy about gory violence, hence the very common use of poison or strangling in her books. In this book, though, she went with stabbing via a fancy dagger, so that's a bit out of the ordinary.
• This book is also more about the crime and less about Poirot himself, in part because the narrator doesn't know Poirot as well as Hastings did, which keeps your attention more locked on the mystery at hand. 
• Obvi in this one Poirot is retired, and he talks a lot about how old he is and how this might be his last case, etc. etc. While Papa Poirot is given to hyperbole, this could also just be a sign that Agatha had no idea at this point just how many more Poirot stories the world would demand!

And here is where we are going to have some spoilers so PLEASE BE ADVISED SPOILERS AFTER THIS POINT (until the very end, where there are mild spoilers in quiz answers!)

The idea of a novel's narrator being much more involved in a crime than they initially let on is one that, when done well, is so very effective. The absolute brilliance of Roger Ackroyd is darling Dr. Sheppard doing just that throughout the book, and yet, as a reader, you are never explicitly lied to. Going into this read knowing the outcome, both of us watched the narration like a hawk (as Emily said) just to see if we could catch Agatha in a fib. In the Apologia that is chapter 27, Dr. Sheppard touts (as we imagine Agatha was as well) his lack of outright lying, using clever language like "I did what little had to be done" to blind the reader to his actual role in the story. Despite never giving away the actual solution to the crime, Agatha wasn't afraid to hint at the truth throughout the book, even though the hints might stare you right in the face before disappearing in your mind.

One thing that struck us as a bit odd/grim is Poirot's advice to the murderer after he has notified him that his identity is known. Without giving literally everything away, Poirot suggests to the murderer that there might be another way to handle his guilt, besides going to jail. In future stories, Agatha and Poirot both demonstrate a pretty strong value for life, especially given his Catholicism. This conclusion seems a bit out of character for both, though that could have more to do with the fact that Agatha hadn't realized yet fully who Poirot was than anything else. It could also, however, be more of an insight into Poirot's character and world view. While he is often sweet and compassionate, he also pulls no punches when it comes to his understanding of human nature, and no rose colored glasses shield his view of what people are capable of.

Most of the books we've read and written about so far have been, despite the general topic of murder, rather light and chock full of banter, love stories, and capers. This story is a first glimpse into a darker type of tale, perhaps influenced by Agatha's own growth through life experience, and further revealing Agatha's depth and talent as a writer.

______________________

AS PROMISED! Here are the answers to The Murder of Roger Ackroyd quiz from last week:

(*Mild spoilers below, when put together with questions from last week*)

Characters:

1.) Inspector Raglan

2.) Flora Ackroyd

3.) Sherlock Holmes and Dr. Watson

4.) The motto of the mongoose family, "Go and find out," from Rudyard Kipling's The Jungle Book.

5.) Major Blunt was a big game hunter.

6.) Roger Ackroyd discovered that Mrs. Ferrars killed her first husband.

7.) The person who murdered Roger Ackroyd

8.) Captain Ralph Paton

9.) Mrs. Cecil Ackroyd

10.) Major Blunt

Circumstances:

1.) Fernly Park

2.) Mah Jong

3.) King's Abbot

4.) Three Boars

5.) Larches

6.) A hairdresser

7.) At a mental hospital in Cranchester

8.) Until the next morning

9.) Blue

10.) Dog and Whistle

Leave us a comment below and let us know how you did on the quiz! AND, of course, about all your Roger Ackroyd thoughts and feelings.

-A. & E.