Tag Archives: Agatha Christie

Conforming to a Hot Topic World

Many weeks ago, I was in a small group that considered how we might tell we were conforming to the world (Romans 12:2). I suggested one way would be to notice where and how we self-censor, which is a touchy subject for the 21st century social media user.

On one hand, social media encourages us to say outrageous things and to share our opinion on every topic we can articulate into at least a gif. And Christians may recognize this danger and their own ignorance and regularly avoid hosing down the Internet. That’s good.

On the other hand, social media has enabled small groups of people to pose as massive mobs to shout down, dox, and ruin the lives of anyone they target, so we may avoid commenting on select hot button topics to avoid getting caught by such a mob. That’s the self-censoring I’m talking about. It makes me uneasy to talk about it even now.

I’ve argued with myself over whether I should state one of my opinions, well-founded and potentially life-changing as they usually are. I wonder if I shouldn’t stick to posts on books and writing in order to stay in my lane, as it were. But sometimes I just retweet a link or someone else’s opinion because it’s important and I want to amplify the reach. If I hold back because the topic is too hot, is that conforming to the world?

Here’s a troubling video on the censoring publishers are doing to select authors poke the bear by not conforming to unspoken expectations.

Also, a woman with experience in college diversity efforts couldn’t overcome the mindset of her own office. “Orthodoxy superseded all else: collegiality, professionalism, the truth.”

A proper feature: Esquire magazine has published its own feature of author Brandon Sanderson, and with over 5,000 words, it’s what you’d expect from a feature article. It’s good and interesting, pulls in some relevant criticism, and remains positive overall.

More sensitive: New Agatha Christie novels have been submitted to sensitivity readers and thus altered for modern, ahem, sensibilities. The copyright holder, Agatha Christie Limited, has the author’s great grandson at the helm and, I suppose, responsible for this.

Publishing among friends: Publisher Richard Charkin has written about his years in the British book business. “In fact, agent-editor ‘negotiations’ makes it sound more adversarial than it actually was. Editors and agents were usually friends, and had often worked together previously. All too often this led to an unhelpful tendency among some editors to see “management” as the enemy, and they would readily side with their authors and agents against the company that employed them.”

Renting Books to Impress Visitors, Terry Teachout, and Sigrid Undset

Last week, an independent bookstore in Chicago splashed up attention for many Twitter users with a tweet complaining about a customer who wanted to rent rather than buy some expensive books. Rebecca George, a co-owner of Volumes Bookcafe in Chicago’s Wicker Park, wrote in Jan 9 tweet: “Turns out one of our biggest sales last month was for the person to stage their home for the holidays and now they want to return them all. Please don’t do this to a small business, people. That one sale was a third of our rent.”

The books were eye-catching art and cook book, no doubt published to show off the reader’s good taste. The most modest book in the set was entitled Authenticity: The Vain Attempt at Finding the Real You. (I’m sorry. I made that up.)

The tweet has been seen almost seven million times and picked up by news outlets, making January a very good month for sales by good-hearted book-buyers showing their sympathy.

What else is online?

Reading Good Books: An essential freedom that builds character more than we know. “American kids, more than ever, are stratified into those who read—those who have regular access to books—and those who don’t. I’m not talking here about basic literacy, but being open to the human good that is the enjoyment of literature.”

Kristin Lavransdatter at 100. Sigrid Undset wrote a “medieval romance in the twentieth century (published between 1920 and 1922), [and] she somehow reverses a thousand years of morbidity, bringing a long dead genre back to life. . . . Kristin Lavransdatter is really just a love story—but one of the most savagely honest love stories ever written.”

Mystery: All About Agatha is a podcast that has read all of Agatha Christie’s novels, discussed them, and ranked them against each other. I look forward to looking up All Hallow’s Eve to see if they place it within the worst five.

Writing: Backstory brings characters to life, making them appear as real people, except when it floods the reader with irrelevant details. So it’s a very good, except when it isn’t.

Terry Teachout: The New York art critic died last year on Jan. 13. Patrick Kurp calls that fact “comparably difficult to believe. It’s like saying France no longer exists. Seldom in my experience was so prominent and successful a writer so generous with his success.”

And Titus Techera talks about the conversations he had with Terry about film noir and its relation to men in post-war America.

Photo by Hatice Yardım on Unsplash

Don’t Bob for Apples in Hallowe’en Party

I picked up Agatha Christie’s Hallowe’en Party recently, because it’s the season for it, and I found the most interesting part of it on the dedication page.

To P. G. Wodehouse

whose books and stories have brightened my life for many years. Also, to show my pleasure in his having been kind enough to tell me he enjoyed my books.

It’s too bad this story isn’t a real zinger. Even a bold or ambitious effort that doesn’t quite pay off would have been good. But Hallowe’en Party is a somewhat fluffy tale that needs content editing.

A thirteen-year-old girl is drowned in a large bucket of water for apple bobbing during a Halloween party. Who would do such a thing? Perhaps it was a disturbed boy–they’re everywhere nowadays. But the girl did boast of seeing a murder a few years ago. Is it possible someone felt threatened and silenced her?

Many pages are spent rehashing mundane details that don’t advance the plot or open cans of red herring. How many characters need to complain about disturbed individuals who should be cared for in psychiatric wards or the dreadful mental health of modern children? “I don’t need to tell you,” they say repeatedly just before telling you the same thing you heard a few pages back.

Add to this Poirot pulling local history out of the air at a few points and his occasional observation on how remarkable this common something is. And why is he wearing apparently sensible shoes when he climbs into the quarry garden on page 85 and not again for the rest of the book, even though he continues to walk all around the place? He says he wears tight, patent leather shoes that hurt his feet because he thinks they present him properly. How did he ever put on the sensible shoes if he can’t do it again later?

My initial guess of the murderer at a third of the way into it proved true. That was unsurprising but good; any other explanation would have ruined the book.

Crime Fiction Returning to Cozies

A hundred years ago, Agatha Christie wrote her first novel, which featured her Belgian detective Hercule Poirot. Today,  Sophie Hannah is writing Poirot’s cases and the crime genre as a whole is returning to the type of story Christie helped popularize. The Guardian asks:

Why does crime’s golden era continue to exert such a pull? Hannah says it’s largely down to our desire to be entertained.

“I think the resurgence in the popularity of golden age crime fiction is partly down to the fact that we do, at some level, like to have that satisfaction of having a story told to us in a very overtly story-like way,” she says. “Inherent in golden age crime writing is the message: ‘This is a great story and you will have fun reading it’.”

Too Fun to Quibble

Sherlock Holmes on Baker StreetMartin Edwards follows his nose from one clue to another within The Detection Club, a London dinner society of British detective fiction writers such as Agatha Christie, Dorothy Sayers, and R. Austin Freeman.

Edwards crams many facts into this work, but his primary goal is “to refute the charge of ‘cozy’ that has hung over the Golden Age writers since a rebellious Englishman named Raymond Chandler moved to California and took to the pages of the Atlantic Monthly to denounce the whole project of British detective fiction in a famous 1944 essay called ‘The Simple Art of Murder.'”

Joseph Bottum concludes, “Of course, the actual argument of The Golden Age of Murder is almost beside the point. The book is too enjoyable, too enthusiastic, to live or die by the success of its thesis.” (via Prufrock)