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3.68 AVERAGE
3.68 AVERAGE
Posiblemente una de la mejores novelas de Agatha Christie. Nos sigue demostrando porque es la Reina del Crimen, porque supo jugar y cambiar el género mismo. Escrita en unas sorprendente seis semanas, Agatha aquí es como una gran maestro de su arte, creando una obra maestra ya muy avanzada en su carrera.
Started this book early this morning over breakfast, and I could not put it down! I was so intrigued by Gipsy's Acre. The whole story I knew something terrible would happen to the narrator, Mike. Boy, I had no idea! Terrible things happened, and as much as I anticipated it, the last third of the book was entirely unexpected! Another book that shows Agatha Christie's genius for the genre.
Somewhat of a departure from her other mystery stories, thrilling, sometimes creepy, and absolutely wonderful.
dark
mysterious
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
An odd little mystery that doesn't start until the very end of the novel. The book reads more like a gothic novel than a who-dun-it: a cursed homestead, an old gypsy foretelling doom, the sweet and innocent young woman in a plight, a ghost in the shadow of a fir tree, the guilt-stricken murderer gone mad (made me think of the Tell-Tale Heart there in the end!).
I've got to remember that Christie's murderer is always the last person you think to suspect. That is her MO every time. She woos you with a plausible narrative and pulls the rug out from under your feet in the end every time. I'd be much better at predicting the endings if I would just remember that!
I've got to remember that Christie's murderer is always the last person you think to suspect. That is her MO every time. She woos you with a plausible narrative and pulls the rug out from under your feet in the end every time. I'd be much better at predicting the endings if I would just remember that!
The murder part is not that complicated, Agatha is just trying to tell rich girls to stay away from poor guys again, like Evil Under the Sun and Death on the Nile
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
N/A
Loveable characters:
Yes
Diverse cast of characters:
N/A
I'm shocked, shocked I tell you! Jaw droppingly, gaspingly shocked. This was a solid three, maybe four star read, until the ending, which I did NOT see coming!
Death on the Nile x The Murder of Roger Ackroyd. Very quick and engaging
The inaugural Agatha Christie Collection’s 41st instalment is the critically acclaimed Endless Night. Widely viewed as one of Christie’s best, it centres around the narrator and his new wife Ellie building and living in a house on the supposedly cursed Gipsy’s Acre. Being a Christie, tragedy soon falls.
One of Christie’s more mature pieces, the story develops a number of themes around the topic of social class, affluence and worldview. A lot of comment is passed on the suitability of a marriage between working and upper class people and the idea of keeping to one’s “station” in life.
The structure was very atypical. Unusually, the inevitable death didn’t come until very late on and was in fact resolved before long had passed. There were none of the usual Poirot-esque questionings, nor dramatic revelations of the murderer being in this very room. The change of format is well thought out and suitable on this occasion, though Christie should have spent more time developing the characters throughout the build-up. None of the main characters were particularly rounded or interesting, and when the death came, there was no time to be shocked or saddened.
The dénouement, however, makes up for the shortfalls. The climax is very carefully crafted, with particular emphasis on the killer’s emotional state post-reveal. An area Christie doesn’t often explore, she very eerily allows us to peek into the mind of an utter psychopath that gives a chilling finale to the tale.
Comparisons will no doubt be made with The Murder of Roger Ackroyd, and it is possibly because of the runaway success of Ackroyd that Endless Night is found wanting. Although it is a creepier, harsher tale, it lacks the characterisation and complexity that Ackroyd has so much of. It feels less developed and the twist, though similar, less astonishing. A slight tense change makes the narrator less participative and the reader less engaged, not observing what unfolds but learning what has unfolded. Endless Night is a poor man’s Ackroyd for sure.
The other parallel is the treatment of the American lawyers, which is reminiscent of Christie’s other runaway success from the series’ early days ten years ago. Death on the Nile shows the group in a very similar light, and Endless Night develops that much further. Perhaps there is too much emphasis on this, and less on the relational aspects which would have driven a stronger narrative.
Following some of the poorer output from The Agatha Christie Collection of late, Endless Night does, to its credit, restore some of its credibility and is a decent offering in its own right. It’s just unfortunate that much of it has been done before, been done better, and leaves Endless as something of a poorer rehash. A clever, well crafted, convincing poorer rehash, granted, but a poorer rehash nonetheless.
One of Christie’s more mature pieces, the story develops a number of themes around the topic of social class, affluence and worldview. A lot of comment is passed on the suitability of a marriage between working and upper class people and the idea of keeping to one’s “station” in life.
The structure was very atypical. Unusually, the inevitable death didn’t come until very late on and was in fact resolved before long had passed. There were none of the usual Poirot-esque questionings, nor dramatic revelations of the murderer being in this very room. The change of format is well thought out and suitable on this occasion, though Christie should have spent more time developing the characters throughout the build-up. None of the main characters were particularly rounded or interesting, and when the death came, there was no time to be shocked or saddened.
The dénouement, however, makes up for the shortfalls. The climax is very carefully crafted, with particular emphasis on the killer’s emotional state post-reveal. An area Christie doesn’t often explore, she very eerily allows us to peek into the mind of an utter psychopath that gives a chilling finale to the tale.
Comparisons will no doubt be made with The Murder of Roger Ackroyd, and it is possibly because of the runaway success of Ackroyd that Endless Night is found wanting. Although it is a creepier, harsher tale, it lacks the characterisation and complexity that Ackroyd has so much of. It feels less developed and the twist, though similar, less astonishing. A slight tense change makes the narrator less participative and the reader less engaged, not observing what unfolds but learning what has unfolded. Endless Night is a poor man’s Ackroyd for sure.
The other parallel is the treatment of the American lawyers, which is reminiscent of Christie’s other runaway success from the series’ early days ten years ago. Death on the Nile shows the group in a very similar light, and Endless Night develops that much further. Perhaps there is too much emphasis on this, and less on the relational aspects which would have driven a stronger narrative.
Following some of the poorer output from The Agatha Christie Collection of late, Endless Night does, to its credit, restore some of its credibility and is a decent offering in its own right. It’s just unfortunate that much of it has been done before, been done better, and leaves Endless as something of a poorer rehash. A clever, well crafted, convincing poorer rehash, granted, but a poorer rehash nonetheless.