Books: The Literary Reflection, XIV

This set covers a long period of time, but it's time to get it out there. Once again, these are the books which either didn't go well, or aren't quite substantial enough to warrant a post of their own. It's not necessarily a bad thing to be in 'The Literary Reflection'!


'The Thin Man' (1934) by Dashiell Hammett
Oh, 'The Thin Man', a novel that is equal in stature to its film adaptation, but which has very little going on beyond the obviously brilliant prose. Therein lies the problem: It's wonderful but slight. Some people wouldn't even call that a problem, but for me it hinders re-readability, especially when the film also exists. The book is superior in structure, lacking the horrific preamble tacked on to its screen equivalent, but it doesn't have William Powell or the possibly diving Myrna Loy. They both have the great dialogue, though. Oh, Hammett, you were a wonder!


'Star Trek: The Wrath Of Khan' (1982) by Vonda N McIntyre
Ah, more 'Star Trek' and more novelizations. I've always been a bit shy of this novelization for some reason, preferring those for the other original cast movies, but that long string of illness (still ongoing, lingeringly) allowed plenty of opportunities and so it came into the rotation. 'Wrath Of Khan' tries to tread a tricky path, following the plot of one of the best movies made, while adding things which were wholly absent in that screen version. We get added background stories for Saavik and Peter Preston, motivation and character for Khan's chief henchman Joaquim, character arcs for some of the other Genesis scientists, and some other details which change the tone of the story markedly. This is definitely one of those instances where a well-written adaptation still doesn't live up to the original, as some of the subtext becomes explicit text and loses potency. It's good, but definitely alternative instead of complementary. Watch the movie instead.


'The Murder Of Roger Ackroyd' (1926) by Agatha Christie
This is one of the most famous Agatha Christie mysteries, and one of her Poirot stories. You see, every so often, Christie went off and employed what was then called a 'gimmick', and this is one of the finest, creating a legacy in all following mystery stories. As a result, this is both famous, for the high quality of writing, and infamous for the central trick. It's so good that I have given it as a gift on several occasions, and often consider throwing it at students as a reading practice! Unusually for a Christie, it can be reread without becoming tedious. Well done.


'The Vatican Rip' (Lovejoy) (1981) by Jonathan Gash
This is where we part company with the 'Lovejoy' series of novels, as this more gloomy and sweary than usual example finally pushes me over the edge. I suppose it's okay as an entry into the series, and has unique features, but it's just too much. In combination with the ongoing inconsistencies, it's just a stinky mess to wade through. Oh, for a ray of sunlight in that dreary world. Knocking off the Vatican? Ha! Not likely at all.


'Captain Cut-Throat' (1955) by John Dickson Carr
There is more exposition than you might expect in this Napoleonic-era thriller, but there are some thrilling moments too. Your liking for this will will on what you expect from such a story, and whether you can accept a non-mystery from the king of the intricate mysteries. My own inclination is to like it quite a lot, but to be a little annoyed at the long spells of explanatory dialogue. On the other hand, it was read pretty speedily, which is a recommendation in itself. Non-military stories in this era are pretty rare, and espionage tales are almost unheard of. The closest other book in the collection is probably 'A Tale Of Two Cities', which is set in pre-Napoleonic France and Britain, but is close enough for jazz.

A brief synopsis? A top British agent is captured in France, and blackmailed by the French secret service into trying to identify and capture the invisible assassin who is killing French sentries and causing panic. Mixed into this are the agent's estranged wife, a beautiful enemy femme fatale, and two cavalry troopers with possible secrets of their own. Hanging over them all is the shadow of the Emperor, and the French spymaster Fouche, who may know more than all of them. Is Captain Cut-Throat a real person, or just a trap? Does our hero have more cards up his sleeve than we're aware of? You will have to read it to find out. Recommended.


O.