I already posted my main 2020 in Review and Looking Ahead to 2021 posts a while ago — only on my new blog (separate post to come) –, but I held back on my 2020 reading statistics until the year was well and truly over. And for all my good intentions when posting my mid-year summary back in early July 2020, the second half of the year continued pretty much in the same vein as the first half had begun; i.e., my statistics for the whole year are still a variation on the theme of Fifty Ways to Leave Your Lover, or, 17 charts showing that 2020 was a year of reading Golden Age mysteries written by women (and following other Anglo-/ UK-centric reading proclivities); i.e. comfort reading galore … it was just that kind of year, I guess.
As a result, my Golden Age Mysteries / Detection Club reading project progressed very nicely. Luckily, as I said in my main 2020 in Review post, I also managed to add a number of new countries to my Around the World challenge, and the gender balance is solidly in favor of women authors: I read almost 2 1/2 books by women for every book written by a man — in fact, I even reread more books by women than the total number of books by men. So there was at least some progress in other areas, too. And I liked or even loved most of the books I read in 2020 — including most of the new-to-me books –, which of course was another huge plus; in a year where reading was my go-to source of comfort, at that: most of my ratings were 4 stars or higher and thus, above the rating that marks “average” in my personal scale (3.5 stars).
Still, in 2021 I’m going to make a fresh attempt to refocus on my Around the World reading project, in furtherance of which I’ve also created a Diversity Bingo that I’ll try to get through in the space of this one year (though if it takes longer, it takes longer); and I’ll also try to include more books from my Freedom and Future Library in my yearly reading again.
And now, without any further ado:
Greatest New Author Discoveries of 2020
Classics and LitFic Bernardine Evaristo
Olivia Manning
Historical Fiction Dorothy Dunnett
Jean-François Parot
Paul Doherty
Golden and Silver Age Mysteries Josephine Bell
Moray Dalton
Molly Thynne
Christianna Brand
Anthony Gilbert
Raymond Postgate
Patricia Moyes
My Life in Book Titles
This is a meme I’ve seen on quite a few blogs towards the end of 2020; it was created by Annabel at Annabookbel. You’re to answer the prompts, using only books you have read in 2020; without, if possible, repeating a book title. I thought I’d include it in my yearly roundup — and to up the ante a little bit further, I decided to use only books I read for the first time in 2020.
In high school I wasUnspeakable (John Bercow)
People might be surprised by (my incarnation as) Lioness Rampant (Tamora Pierce)
I will never beThe Horse You Came in On (Martha Grimes), nor Resorting to Murder (Martin Edwards, ed.; Various Authors)
My life in lockdown was like (a) Tour de Force (Christianna Brand) and (a) Tragedy at Law (Cyril Hare)
My fantasy job isThe Thinking Machine at Work (Jacques Futrelle)
At the end of a long day I need to be Homegoing (Yaa Gyasi) (to my) Pilgrim’s Rest (Patricia Wentworth)
I hate being (around) Serpents in Eden (Martin Edwards, ed.; Various Authors)
Wish I hadThe Lost Tools of Learning (Dorothy L. Sayers)
My family reunions are (often with) Thirteen Guests (J. Jefferson Farjeon)
At a party you’d find me withMy Friend Mr. Campion (Margery Allingham), Lady Molly of Scotland Yard (Emmuska Orczy), and other Bodies from the Library (Tony Medawar, ed.; Various Authors)
I’ve never been toGoodwood (Holly Throsby), Cherringham (Matthew Costello, Neil Richards), or At the Villa Rose (A.E.W. Mason)
A happy day includesA Small Place (Jamaica Kincaid) (of my own): My Beloved World (Sonia Sotomayor)
Motto(s) I live by: To Love and Be Wise (Josephine Tey); and We Should All Be Feminists (Chimamanda Ngozi Adichie)
On my bucket list isShakespeare’s Local (Pete Brown)
In my next life, I want to haveThe Grand Tour (Matthew Pritchard, ed.; Agatha Christie)
The Stats
Number of books started: 273 Number of books finished: 271 DNF: 2 Average Rating (overall): 3.9 Average Rating w/o Favorite Annual Xmas Rereads: 3.8
Note: The above chart includes my 6 annual Christmas rereads, which have a habit of slightly skewing my overall rating figures upwards; without these books, the number of 5-star books is reduced by 5 and the number of 4.5-star books is reduced by 1.
Note: “F / M (mixed)” refers to anthologies with contributions by both male and female authors, as well as to books jointly written by male and female authors. — “N / A” in the protagonist gender chart refers to Martha Wells’s Murderbot, who is deliberately created as gender-neutral.
Note: “Multi-ethnic” either refers to several persons (authors / protagonists) of different genders, or to one person of mixed ethnicity.
Sooo, that’s another bingo game behind us already! Many thanks to our game hosts for successfully moving the game from BookLikes to a new venue and organizing one heck of a game despite that venue’s built-in limitations. I had a great time and would only have wished I could have participated more throughout the game (particularly in October).
As I had expected, RL started to run major interference by mid-September; and while initially I was at least still able to continue reading (even though I no longer had any time to compose update posts here on WP), by the beginning of October, even reading was essentially a no-go. Just as well that I had powered through my remaining books by that time … otherwise, this would likely have been the first year in which I hadn’t made it all the way to blackout.
Anyway — here’s my blacked-out bingo card — gained after having had to wait for Doomsday (to be called … on the game’s very last day, at that: could there possibly have been a better conclusion to this year’s game?), with my “virgin” card below and my final spreadsheet at the end of this post:
Book 2 in Novik’s series of books updating classical fairy tales (though not, actually, a sequel to Uprooted — this one very much stands on its own ground): essentially, a blend of Rumpelstiltskin, Baba Yaga, and the English / British version of the elf lore, set in a fictional Eastern European country that is, however, very clearly inspired by Russia — down to the use of proper names, titles, and other terms, which are either downright Russian or a sort of pan-Slavic bowdlerization of Russian, Polish, or other Slavic terms.
Novik almost lost me during the initial scene-setting, which struck me as overly elaborate and wordy (she’s clearly her own greatest fan where it comes to the use of descriptive language or, for that matter, even “showing” instead of “telling”); but once the story got going, I was happy enough to come along for the ride, and there were enough innovative elements to keep me interested throughout. It was probably a good thing that both the source material and the setting were entirely fictional, though (even if heavily borrowing from Russian and pan-Slavic elements), because I’m almost certain that if Novik had aimed for an existing historical setting (as she does in her Temeraire series), she’d have had me wincing at some point or other. — I may go on to read Uprooted or another fairy tale-based book by her eventually, but it’s not a priority, and after this first taste of her writing, I am even less eager to go anywhere near Temeraire.
The Medieval Murderers: The Lost Prophecies
This was a reread, which this time around I liked quite a bit better than when I first read it a few years ago. The Medieval Murderers series of round robins are the perfect books for the “Relics and Curiosities” Halloween Bingo category, as their very concept consists in following one (supposedly cursed or unlucky) item through history, from its first use or appearance at some point in the (typically: early) Middle Ages to the present day (or beyond); so they have become sort of my go-to series for this bingo square. Yet, in this particular instance I was sorely tempted to change my mind and assign the book to either the “Doomsday” or the “Dystopian Hellscape” square, as it ends with a scary-and-believable-as-hell doomsday scenario set in a post-climate-catastrophe future, with half the world (e.g., all of Africa and India) essentially burnt up and turned into a scorching, uninhabitable desert, and the better part of the rest half-submerged by the world’s oceans after the melting of the polar ice caps. (It’s also a showcase for not extrapolating too noticeably from the political order at the time of writing, though, as it was written pre-Brexit and more or less takes Britain’s continued membership in the EU as a given … oh well.)
Like in all the books in the series, the individual sections of The Lost Prophecies (which concerns a book of doomsday prophesies compiled by a 6th century Irish monk) can, at heart, stand on their own, even though there are occasional cross-references; particularly, of course, to the “dangerous book”‘s mysterious origins. Individually and collectively, the book’s various parts take the reader on a journey from 6th century Ireland to medieval Devon, late medieval Cambridge, the Tartar Steppe, rural England in Shakespeare’s times, and, as mentioned above, the doomsday world of the “dangerous book”‘s final prophecies. As is to be expected in a round robin — and as is typically the case in this series, too — not all of the individual mystery sections are equally strong, and I’ve found my previous likes and dislikes essentially confirmed upon this reread, even if, as I said, I liked the book quite a bit better as a whole this time around.
A.S. Byatt: Ragnarok
Ultimately, I decided to go with Byatt’s take on Ragnarök for the “Doomsday” Halloween Bingo square, because let’s face it, doomsday doesn’t get anymore terrifying than in Norse mythology — and I am glad that Byatt, for one, didn’t try to humanize the Norse deities, as so many other authors do in their attempt to make them understandable to modern readers. (You can easily do that to the gods of Greek mythology — and honestly, that’s one of the reasons why as a child I found them, and Greek mythology as a whole, much easier to understand than Norse mythology; but try to assign human characteristics and motivations to Thor or Loki and you’re instantly missing their intrinsic nature.) By the same token, I found it intriguing that Byatt herself — as the “thin child” through whose eyes we are witnessing Ragnarök here is, as she herself confirms in the book’s afterword, an only thinly-veiled edition of Byatt’s younger self — was drawn so much to the Norse version of doomsday in her younger years. Of couse, what with WWII persistently threatening to destroy her own world, on the one hand it’s easily understandable that she would turn to the kind of storytelling that centers on precisely this sort of catastrophe; on the other hand, the thoroughly alien and hard-to-grasp Norse deities don’t seem to be the very first, logical point of identification coming to mind. All the more thought, however, Byatt clearly put into her approach to Ragnarök, and all the more the whole thing is to the benefit of the reader … even if, like myself, that reader still comes away preferring Greek to Norse mythology.
Sharyn McCrumb: The Ballad of Tom Dooley
Just as the Medieval Murderers series has, over the years, become my go-to series for “Relics and Curiosities”, Sharyn McCrumb’s Ballad series is my go-to series for the Southern Gothic bingo square. I’ve enjoyed all of the books from that series that I’ve read so far; none more than The Ballad of Frankie Silver. This particular entry, while not a complete let-down, was thus a bit unexpected as it is the first time that I could not empathize with one of the major POV characters (which, I find more and more, is kind of crucial to my enjoyment of a book); not least because I thought her character unnecessarily clichéd. And although McCrumb insists that — like in her other Ballad novels — the essential story is based on historic fact, she seems to have given in to conjecture here more than she usually does, which is something that I find problematic at least if, like here, it involves people who have actually lived, and have been a part of the events described, though not necessarily (or at least not demonstrably) in the way set forth by the author. — Research and faithful narration aside, however, McCrumb can still write rings around many another writer, and her scene-setting and ear for dialogue (both interior and exterior) is as flawless as ever here.
Additional separate post HERE — Macavity, Mr. Mistoffelees & Co. in all their feline glory still very much deserve a post of their own!
Michael Jecks: The Malice of Unnatural Death
I’ve been a fan of Michael Jecks’s Knights Templar series for a number of years now, and although he pretty much grabbed me with the opening scene of that series’s very first book (and never mind that that particular book did come across as more of a typical “early” book later on), I keep enjoying how much better the series gets the further it progresses. I am not reading it in order (though I’ve read enough books at this point to have a fairly solid grasp of the two main characters’ overall story arch) — so far this hasn’t greatly bothered me, but I may find it more difficult to go back to some of the earlier books after having read this particular installment, which, never mind its occasionally gut-wrenching scenes, is a veritable page-turner and darned near perfectly crafted in virtually every respect. It’s also the perfect Halloween (bingo) read, in that it combines a (medieval) mystery — set in Exeter and the main characters’ nearby Dartmoor home — with apparent elements of the supernatural; concerning, as it does, the activities of a necromancer — an assassin claiming to be in league with the devil and using powers bestowed on him by the devil in order to carry out his murders (in the dead of winter, at that). All told, this was definitely one of the highlights of my bingo reads this year.
Ellis Peters: The Devil’s Novice
Another (re-re-)reread and, not just in its medieval setting, the perfect follow-up to Michael Jecks’s The Malice of Unnatural Death: The story of a young man professing an earnest desire to become a novice at Shrewsbury’s abbey of St. Peter and St. Paul and yet, soon revealing in his sleep that he is haunted by demons that will need to be exorcised before any decision about his future can be made — not just the decision whether he is meant for the cloister at all.
This is one of my favorite installments in Ellis Peters’s Brother Cadfael series; I’ve revisited both the book and the screen adaptation starring Derek Jacobi numerous times … and I confess that petty li’l me always gets an extra kick out of seeing the odious Brother Jerome brought down a peg or three here when he is temporarily rendered incapable of speech. (And I feel secure in the knowledge that not merely Cadfael but Abbot Radulfus shares that sentiment, so I don’t feel the least bit guilty about it, either.)
Alice Hoffman: The River King
This was, incredibly, my first taste of Hoffman’s writing — in hindsight, I’m wondering whether I should have started with her Practical Magic books after all (but then again, I might be wondering about the same thing in reverse — i.e., whether I should have started with this book — if I had). Either way, I was a bit more underwhelmed than I had expected to be — with this book, at any rate: I”ve always been much less certain that the Practical Magic books are for me, and am even less certain about that now.
This is a murder mystery with supernatural elements set in a New England prep school: I found the main characters and the setting well enough executed, but I suppose I’m just too prosaically-minded to see what the supernatural elements added to the (by and large sordid, but hardly original) story — and Hoffman’s writing at times has a downright manipulative quality that I found more and more jarring the further I progressed in the book. I also have a serious bone to pick with the ending, which doesn’t seem to hold out much hope for the victims of bullying in this (the real, not the supernatural) world — in a book that clearly aims to send a message, that is just about the last sort of message I’d want to see.
Colin Dexter: The Dead of Jericho
Another comfort (re)read (well, its been that kind of year … and fall): It was more or less “six of this, half a dozen of the other” whether I’d use this book for the “Film at 11” bingo square and something from Ellis Peters’s Brother Cadfael series for “Read by Flashlight or Candlelight” or vice versa, but I ultimately decided to go with the more obvious focus on the book as actually written here, simply because this book’s screen adaptation is one of the Morse TV episodes I care somewhat less for than the series as a whole. The reason is that the screenwriters’ fiddling with the plot (which is present, to some extent, in all episodes of the TV series) in this instance creates a structure that is several degrees more serpentine than the already fairly convoluted plot of the actual book — which in turn, for a number of reasons isn’t my absolute favorite in the series, either, but as a writing exercise it’s still superior to the screenplay. (No reflection on the cast: John Thaw, Kevin Whately, and Gemma Jones are all in great form.)
Another reason for my decision to pick this book for this particular square was that the audio version is narrated by Samuel West, who does an absolutely phantastic job, as he does for the entire series.
In keeping with the theme of this square, I made this listening experience as comfortable and laid-back as possible; starting while having a bath and finishing in bed — with my obligatory black(ish) Halloween bingo good luck cat by my side. — Thanks again to Lora who agreed to flip this square for my original card’s “Stone Cold Horror” … I’d never have found a horror novel set in winter on my shelves (nor been inclined to read it even if I’d found one, this year being what it is)! You’ve got to admit … this was the much more “feel good” version:
Patricia Highsmith: Ripley Under Ground
This year’s Halloween Bingo buddy read — thanks again to Christine, BrokenTune and Lillelara for the fun of reading this book together! Somehow, that seems to be the way Patricia Highsmith’s books are enjoyed best … Though I have to say, while I struggled with Strangers on a Train, I’m getting a complete and total kick out of Tom Ripley. I mean, sure, he’s a psychopath, and it was slightly even more fun to watch him turn into the monster that he actually is in the first book … but it was still eye-rolling good fun to watch his antics in the arts world. (He also seems to be one of the notable exceptions to the fact that, as a rule, I have to be able to empathize with at least one of a book’s POV characters, see above. Which is a rule that of course also applies to Highsmith’s books — hence, in part, my response to Strangers on a Train — and c’mon on, you can’t seriously root for a psychopath … or can you?!)
Wilkie Collins: The Woman in White
Thank God for writers like Wilkie Collins, who always provide(s) me with enough options to fill at least one horror-related bingo square without having to reach for a spell card … and still read something generally classified as “horror” (or “gothic”) without actually being scared out of my wits and unable to sleep afterwards. In The Woman in White, it’s all in the psychology: At heart, this is more mystery than what we’d call “horror” today — chiefly concerning, as it does, the identity of the eponymous “Woman in White” and the goings-on in a house that, it turns out, she used to call her home — but one character (the odious Count Fosco) alone provides enough of a creep factor to satisfy the definition as “gothic” three times over, and most of the other tropes of the genre are present as well (mysterious lonely country estate, women in peril, doomed love, fire, etc.) — For those who may have struggled with Collins’s The Moonstone: This is similar in structure in that it, too, has several narrators, but none of them have quite as many idiosyncrasies as does Betteredge, in particular, in The Moonstone; and I also found The Woman in White somewhat more tightly plotted.
W. Stanley Moss: Ill Meet by Moonlight
The book I’ve wanted to read ever since I visited Anógia village, high up in the Cretan Mount Ida (or Psiloritis) massif, several years ago: The first-hand account of the WWII abduction of German Major General Heinrich Kreipe near his home in Heraklion, after which Kreipe was marched all the way up the mountain and, ultimately back down again to the southern coast of Crete and, from there, into English captivity in Egypt for the entire rest of the war. I’ve posted about this before, so by way of background I’ll let that other post say all that is necessary … for purposes of this update, let me just add that “the book itself” is a ripping great read and then some; not just because it’s all true (what need for fiction if reality can write this sort of story?!), but also because Moss’s narrative style is tremendously engaging; affable and charming, understated, and straightforward at the same time. — And for anybody wondering just how fast friends he and Patrick Leigh Fermor (only incidentally his commanding officer in the venture) really were, I’ll give you just one excerpt; straight from Moss’s diary, which forms the backbone of the text, in this particular instance, from their first day in the cave (!) where their little group awaited the arrival of “Paddy” Leigh Fermor and the rest of their contingent:
“To remain here for a few days in comparative idleness will not be unpleasant. I have with me the books which Paddy and I selected in Cairo to take with us, and among them there is something to suit every mood. My literary companions are Cellini, Donne, Sir Thomas Browne, Tolstoi, and Marco Polo, while in a lighter vein there are Les Fleurs du Mal, Les Yeux d’Elsa, and Alice in Wonderland. Then there are The Oxford Book of Verse and the collected Shakespeare which Billy MacLean gave us on our last night in Tara [before starting on the mission] …”
Only a person whom Patrick Leigh Fermor considered a true brother in spirit would find it perfectly normal — even indispensable — to bring (a) any books at all, (b) so many books, and (c) these books of all the books in the world on a potentially deadly mission in enemy territory (as Crete was for the Brits in WWII) … not to mention, consider Baudelaire’s controversial masterpiece and Louis Aragon’s patriotic wartime poems to his muse Elsa something “in a lighter vein.” (And, of course, this is only one of several passages in the book that literally had me do a double take.)
N.B.: I’ve since found out that above and beyond the passage quoted in my other post, Leigh Fermor actually did end up writing his own full, book-length account of that particular mission, too … guess what went straight into my online shopping basket once I’d made that discovery.
J.J. Connington: Nordenholt’s Million
This was a book I instantly knew I’d be saving for Halloween Bingo after I’d read its back cover blurb. And it proved chillingly topical for our times — it sort of describes the combined effect of Brexit (and Trump in the U.S.), venture capitalism, and a rampant, out-of-control biological pest coming together. (As a minor but significant tangent, also throw in religious fundamentalism.)
In the book’s case the pest is a bacterium that destroys the chemical compounds in which plants ingest nitrogen; in other words, it’s a killer with the capability of destroying the world’s entire food reserve (not just plant-based — animals directly or indirectly (via their prey) feed off plants, too, after all) in the space of less than a year. In the crisis brought about by the bacterium’s spread, a businessman / venture capitalist “relieves” the inept government of the reins of power — first behind the scenes, ultimately overtly — and puts in place a scheme where 90% of the British population (and 99+ % of the world’s population) are condemned to starve, while the remaining 10% of Brits — all of them, of course carefully selected — are put to use in creating a new, utopian society, which alone is in possession of nitrogenated soil and can grow plants. (When religious fundamentalism takes hold in that community of the “select few”, the leader of the cult is first publicly unmasked as a fraud and then, literally only seconds later, shot dead in full view of the crowd he has amassed.)
I was shocked to see that this book was published in 1923; after having read the first chapters, I’d have expected at the very least that Connington had seen Hitler’s “Enabling Law” and use of the press for propaganda purposes in action, but no … and yet, he foretells them with a frightening degree of accuracy, only on the basis of the British system (which, yes, you’ve guessed it, in the book does include adjourning parliament to avoid inconvenient questions. And yes, at the moment when the crisis hits, the future dictator is an MP himself, too … by way of a sort of lateral activity, with the ultimate aim of furthering his venture capitalist interests). The way in which Connington pretty much foretells everything we saw with Hitler, and everything we’re now seeing with the combined effects of Trump, Brexit, a venture capital-based economic system AND the pandemic is scary to the nth degree … I’m glad he only ever put his ideas into this book and didn’t, himself, set about putting them into practice.
Connnington was, incidentally, a chemist by training, so he clearly knew what he was writing about as far as the scientific elements are concerned. In fact, he was even prescient enough to foresee the use of nuclear energy — it’s the energy on which his future, utopian cities are ultimately run. (They also consist of buildings made of other materials than stone or concrete, not unlike the building materials that are actually used today.)
If, in the final analysis, I only ended up rating the book 3 1/2 stars after all, this is based on essentially three reasons, and all of them only truly materialize in the final part(s) of the book — though some of these issues already start cropping up about halfway through:
(1) In terms of social clichés and perceptions, Connington was, alas, very much a man of his times. There’s no sugarcoating the fact that the book contains some glaringly racist passages (and it’s not unconscious racism, either — he clearly meant every word); and, similarly, his take on women and women’s role in society is … well, let’s say, at the very least problematic. There’s a distinct element of misogyny; even if it’s not quite as blatant as the racism (and he may even have believed he was doing something “advanced” in expressly giving one particular woman more of an active voice / role in building that utopian society).
(2) Connington, like a fair number of his contemporaries, was in favor of euthanasia — which is a fact I only know because I’ve read Martin Edwards’s two books about Golden Age crime fiction; but even if I hadn’t known this going in, it would have been hard to miss here. However terrifying the first half of the book, the more the narrative progresses, the more it becomes clear that the author himself doesn’t, fundamentally, seem to see anything wrong with starting from a “clean slate”, as it were, of hand-picked superior human material (although even he does seem to balk at the more horrific aspects of achieving such a “clean slate”). I haven’t read anything else by Connington yet — except for one mystery short story, that is — and I’m willing to grant that, had he foreseen the extent to which the Nazis took their particular version of a “clean slate”, he, too, would have been horrified. (He died shortly after WWII; maybe some of his final literary output can provide some guidance as to his thinking once the world had begun to learn about the unspeakable horrors wreaked by the Nazis.) Still, it’s an unnecessarily jarring feature.
(3) The utopian society ultimately emerging from all the turmoil is presented only in the sketchiest of terms, in great contrast to the description of the destruction of the world as it had been known until then. Granted, this wasn’t Connington’s focus, but the ending of the book still feels rushed; and I found it hard to envision how, even after the discovery of nuclear energy (for which not one but several scientists knowingly and selflessly sacrifice their own lives … really, Mr. Connington??), the whole thing is supposed to have worked out … especially without the least further social turmoil. As Connington himself shows, human society doesn’t work like that — and it’s not just the “dumb, gullible masses” (whoever they are) who won’t be pacified by the “bread and games” approach forever.
Still, I am glad that I have read this book — and there were times when, in the first half especially, I very much felt like quoting huge passages verbatim and yelling at people: “Listen to this — and this is from a book published in 1923, for crying out loud!”
Julie Smith (ed.) & Various Authors: New Orleans Noir
This year’s final bingo book: an anthology of mystery short stories set in New Orleans, by some of the Big Easy’s best-known crime writers. As is usually the case with such compilations, some of the entries struck more of a chord with me than others, but taken together, they definitely conveyed an image of how the city just might see itself — or at least, some of of its seamier sides. In a way, it also proved as fitting a final Halloween Bingo book as Nordenholt’s Million (which I had initially expected to finish last): what I hadn’t known when I picked this anthology — but instantly learned from the introduction — was that this book was put together in support of post-Hurricane Katrina disaster aid. And in a year largely dominated by a global pandemic, that seems as apt a way to conclude my Halloween Bingo reads as having to wait for the Doomsday square to be called in order to be able to record my full “called and read” card blackout.
Answer all prompts.
Answer honestly.
Tag 1-13 people.
Link back to this post. ( For me it was SnoopyDoo!)
Remember to credit the creator. (Anthony @ Keep Reading Forward)<
Have fun!
Witch
A Magical Character or Book
Terry Pratchett’s witches, particularly Granny Weatherwax. And DEATH (preferably in his Hogfather incarnation). No contest.
Werewolf
The Perfect Book to Read at Night
Any- and everything by Agatha Christie.
Vampire – A Book that Sucked the Life Out of You – and Frankenstein – A Book that Truly Shocked You
Joint honors in both categories to two novels chronicling civil war and genocide in two African countries, Chimamanda Ngozi Adichie’s Half of a Yellow Sun (Nigeria / Biafra) and Aminatta Forna’s The Memory of Love (Sierra Leone). Both of them are, in their own way, the literary equivalent of a gut punch that leaves you gasping for air in huge, big gulps. And both are, for that and many other reasons (characters, writing, the whole package) unforgettable in all the right ways.
The Devil
A Dark, Evil Character
Umm … the original blood sucker? (I don’t much go in for the sparkly variety.) And, of course, Tom Riddle aka Voldemort … and the dementors. Those creatures are vile.
Zombie
A Book that Made You “Hungry” for More
Dorothy L. Sayers’s Peter Wimsey & Harriet Vane tetralogy, particularly Gaudy Night. While I can totally see that (and why) for Sayers there really was no easy follow-up to Busman’s Honeymoon, I’d still have loved to see how she herself would have framed Peter and Harriet’s married life and continuing investigations … instead of having to rely on another author’s attempts to pick the bones of Sayers’s sketchy drafts.
Gargoyle
A Character that You Would Protect at All Cost
Hmm. This one was difficult, because one of the things that I like about my favorite characters — and pretty much any and all of them, and across all genres — is that they are perfectly capable of taking care of themselves, even in the face of adversity. But I guess if you’re up against evil incarnate and you’re looking at the one group / fellowship of people who actually stand at least a minute chance of facing up to it, a little extra protection can’t go awray.
Along the same lines, Harry Potter, Dumbledore’s Army, and most of the teachers at Hogwarts.
Ghost
A Book that Still Haunts You
I could easily have used Chimamanda Ngozi Adichie’s Half of a Yellow Sun and Aminatta Forna’s The Memory of Love for this category all over again — as well as Margaret Atwood’s The Handmaid’s Tale (see below) and, to a minimally lesser extent its sequel, The Testaments. I didn’t want to do that, so I decided to go with Clea Koff’s The Bone Woman — not just for its content as such, though, but because I have seen cases related to the very ones that she describes up, close and personal … and short of actually being the victim of human rights violations yourself, there are few things as devastating and haunting as working with victims, or otherwise being involved in the aftermath.
Demon
A Book that Really Scared You
I reread Margaret Atwood’s The Handmaid’s Tale last year before moving on to The Testaments, and it scared the living daylights out of me; possibly even more than when I read it for the first time many years ago — not least because events in the past couple of years have shown just how realistic Atwood’s dystopia is, and how little it takes for society to slide down that particular slippery slope.
Skeleton
A Character You Have a Bone to Pick With
You mean other than each and every TSTL character ever created?
OK, let’s go with the two protagonists of what I’ve come to dub my fall 2017 headless chicken parade — Giordano Bruno in S.J. Parris’s Heresy (essentially for not bearing any demonstrable likeness to the historical Giordano Bruno, who would probably have sneared at his fictional alter ego in this particular book / series), and Albert Campion in Margery Allingham’s Traitor’s Purse, for losing not only his memory but also the better part of his essential character makeup as a result of being coshed over the head.
Mummy
A Book You Would Preserve Throughout Time
Well, the likes of Hamlet, Pride & Prejudice and Sherlock Holmes have already made their point as far as “timeless” is concerned, so it feels kind of pointless to pick a classic here.
That being said, I hope one day the time will come for people to scratch their heads and wonder what all the fuss was about, but right now — there hasn’t been a book in a long time that challenged stereotypes (gender, race, class, writing styles, younameit) in the way that Bernardine Evaristo’s Girl, Woman, Other has. It’s the reality check we all urgently needed, and a book that can’t ever possibly have too many readers … now and for the foreseeable future.
Creepy Doll
A Cover too Scary to Look At
That of Stephen King’s Pet Sematary — because I really do NOT want to think about the possibility of my pets ever turning into zombies, revenants or the like, or otherwise taking on similarly murderous qualities. And that is precisely what this cover makes me do.
The Monster Mash
It’s Fun to Be with Friends on Halloween!
Tag Your Friends!
Anyone and everyone who wants to do this, I hope if you are reading this and have not done it you will. It’s fun, and outside of Halloween Bingo, nothing says bookish Halloween like tying a few of your reads to a roundup of Halloween creatures! 🙂
Wow. What a stunner. Blake (aka Cecil Day Lewis) messes with the reader’s mind literally from page 1, and being fully aware of the fact still doesn’t mean you’ll be up to what he is doing — or at least not all of it. Even to begin talking about the plot would mean giving away half the twists, so let’s just say it concerns a writer’s search for the reckless driver who mowed down his little son a few months earlier, as well as a family dominated by a bullying patriarch (and his equally bullying mother). And from outright suggestions of lunacy to characters deliberately disguising their identities — or their innermost nature and / or intentions — to a myriad other ways in which Blake indulges in his cat-and-mouse game with the reader’s mind (authorial / narrative perspective, sequencing — the whole kit and caboodle), this is one big screwed-up joy ride … for those of us who like this sort of thing every so often, that is.
Side note 1: If you’ve read any of Blake’s other Nigel Strangeways books before (particularly any of the early ones), forget everything you’ve seen there. Even though this book features both the Strangeways couple (Nick and Georgina) and Inspector Blunt, it is anything but a typical entry in the series (and all the better for it).
Side note 2: If you are interested in sailing, you may particularly enjoy this story. It also probably helps to be familiar with the lingo — which I am not, but I could follow along nevertheless, and during the one crucial scene set on a boat, I was just too glued to my speakers to pause listening in order to embark on an online search for the meaning of individual terms.
This year’s Halloween Bingo started a lot more promising than last year’s with a strong joint entry in Michael Connelly’s Bosch and Ballard series, and in fact, not one of the books I read earned less than a four-star rating — with the standout being Nicholas Blake’s The Beast Must Die, which turned out to be a perfect choice for the “Psych” square.
The “Week 1” Books
Michael Connelly: The Night Fire
My bingo pre-read and a very welcome return to Los Angeles — or at least, the version thereof that constitutes the world of Connelly’s characters, which however only ends up making the city a major character of its own in addition to the humans living in it.
Harry Bosch may not officially be a cold case investigator any longer, but that doesn’t stop him from seeking justice for those who died without their murderers ever having been brought to justice; particularly if he is handed the relevant file by the widow of his own recently-deceased mentor. He ropes in Ballard, and I loved seeing that it was she who was first to tumble to what was wrong with that long-dead investigation. (I’m also relieved that, for the time being at least, Connelly doesn’t seem to be planning to make a couple out of them.) Two other investigations keep our two protagonists busy at the same time, both concerned with more recent deaths. The ending relies a bit too much on coincidence for my liking (for however much Connelly may be protesting that there is no such thing — and of course, in his writer’s mind there isn’t, since he’s the one who plotted the whole thing out to begin with, but from the characters’ / from inside the story’s perspective, it still remains a case of protesting too much); yet, by and large, a more than solid entry in the series. It also would seem to explain, incidentally, why Connelly decided to focus on Jack McEvoy for a change again for his next book (Fair Warning), as there are recent developments in Bosch’s (and potentially Mickey Haller’s and Maddie’s) lives that he’ll likely will want to take some time developing.
Joy Ellis: They Disappeared
Before starting this book, I’d said I hoped Ellis was done with the serial killer plots, as I had a feeling she was at risk of turning into a one trick pony that way — well, let’s say I both did and didn’t get my wish. (Several gruesome deaths, yes, but not a mentally diseased mind behind them.) I loved that Ellis had the courage to give us a fresh perspective on IT whiz Orla Cracken: There’s always a risk associated with making a character heretofore so unapproachable and shrouded in secrecy as her more accessible, but Ellis pulled it of very well for the most part … even though I’m only half convinced by the part of “Orac”‘s past that is explored most in depth here: surely, based on the feats we’ve seen her perform in the past (and based on what we now know about her training), this should be a mystery that Orac herself should have been able to solve long ago — and on her own? Be that as it may, though, it was interesting to see another character being included in this particular series’s sweep of Ellis’s authorial focus. I also liked the setting she picked for this book — “urban exploration” — which seems almost tailor-made for her sort of books; even if her protagonists (who are all cops, after all) have a somewhat too tolerant (if not, downright gushing) attitude to that occupation, which is prohibited for a reason, after all.
Big spoiler warning for a previous non-series book, however: While I think it’s fair to say that any reader reading the Jackman & Evans series as such out of order does so at their peril (and this is true for this particular book, too, as it provides — or would seem to provide — a definite ending for one of the past several books’ major narrative strands, so it should definitely be read after everything from The Guilty Ones onwards by anyone wanting to avoid spoilers in that regard), I’m still a bit miffed to see this book also containing a major spoiler for a recent stand-alone by Ellis, which I haven’t read yet and had been planning to get to later this year (Guide Star). I’m fine with authors setting all of their various series in the same universe (Michael Connelly does the same thing, after all), and as long as this merely meant swapping supporting characters (like Dr. Wilkinson) or cross-references in dialogue, I haven’t had a problem with this sort of thing in Ellis’s case so far, either. But the main characters from Guide Star have, it would seem, fully been integrated into the Jackman & Evans series, and Ellis apparently couldn’t find a way of doing that without giving away that other book’s conclusion, as it constitutes a major premise of the events in They Disappeared. Shame.
Margery Allingham: More Work for the Undertaker
The thirteenth book in the Campion series; one of the few I hadn’t read yet and thus, a proximate choice for the “13” bingo square. In tone, I find that the post-WWII stories are markedly darker than the series’s very first entries, which by and large is all to the good, however; even if they don’t quite reach the heights of The Case of the Late Pig, Police at the Funeral, or Death of a Ghost. The story is typically wacky and also a typical entry in the series in other respects (characters, setting, etc.) nevertheless, culminating in a rather outré / macabre chase (the clue is in the title) … and introducing a character who will feature as a light in other post-WWII episodes as well (now that Stanislaus Oates has made it all the way to the top of the apple tree), the theatrically / oratorically-gifted D.I. Charlie Luke.
Nicholas Blake: The Beast Must Die
Wow. What a stunner. Blake (aka Cecil Day Lewis) messes with the reader’s mind literally from page 1, and being fully aware of the fact still doesn’t mean you’ll be up to what he is doing — or at least not all of it. Even to begin talking about the plot would mean giving away half the twists, so let’s just say it concerns a writer’s search for the reckless driver who mowed down his little son a few months earlier, as well as a family dominated by a bullying patriarch (and his equally bullying mother). And from outright suggestions of lunacy to characters deliberately disguising their identities — or their innermost nature and / or intentions — to a myriad other ways in which Blake indulges in his cat-and-mouse game with the reader’s mind (authorial / narrative perspective, sequencing — the whole kit and caboodle), this is one big screwed-up joy ride … for those of us who like this sort of thing every so often, that is.
Side note 1: If you’ve read any of Blake’s other Nigel Strangeways books before (particularly any of the early ones), forget everything you’ve seen there. Even though this book features both the Strangeways couple (Nick and Georgina) and Inspector Blunt, it is anything but a typical entry in the series (and all the better for it).
Side note 2: If you are interested in sailing, you may particularly enjoy this story. It also probably helps to be familiar with the lingo — which I am not, but I could follow along nevertheless, and during the one crucial scene set on a boat, I was just too glued to my speakers to pause listening in order to embark on an online search for the meaning of individual terms.
Agatha Christie: The Thirteen Problems
Audio revisit courtesy of Joan Hickson’s narration, both for Halloween Bingo and as part of the Agatha Christie Centennary celebration of her first novel (The Mysterious Affair at Styles) — and I find I’m drawn to these stories more and more with every time I’m revisiting them. Review HERE.
Currently Reading
Anthony Gilbert (Lucy Beatrice Malleson, aka Anne Meredith): Death in Fancy Dress
Country house mystery meets Wuthering Heights, with rather enjoyable effects (though more for the reader than for the main characters). I’ll probably finish this either tonight or tomorrow morning.
This was one of the discoveries of my foray into the realm of Golden Age mysteries; an eerie, claustrophobic, psychological drama revolving around several suspicious deaths (and near-deaths) at a wartime hospital in Kent during WWII. None of Brand’s other mysteries that I’ve read so far is quite up to this level, but she excelled in closed-circle settings featuring a small group of people who all genuinely like each other (and really are, for the most part, likeable from the reader’s — and the investigating policeman’s — perspective, too), and in this particular book, the backdrop of the added danger arising from the wartime setting adds even more to the tension. It’s also fairly obvious that Brand was writing from personal experience, which greatly enhances every single aspect of the book, from the setting and the atmosphere to the individual characters.
This is one of those books that I’ve owned way too long before I finally get around to reading them: The discursive — in the best sense –, rollicking tale of one London (or rather, Southwark) pub from its earliest days in the Middle Ages to the 21st century, telling the history of Southwark, London, public houses, and their patrons along the way. The title is glorious conjecture and based on little more than the fact that the pub is near the location of Shakespeare’s Globe Theatre (combined with the equally demonstrable fact that Shakespeare loved a good ale and what today we’d call a pub crawl) … so it’s highly likely that, like many another celebrity over the centuries, he’d have had the occasional pint at this particular inn, the George, as well.
Highly recommended for history fans, pub crawlers and aficionados of London alike.
Not a proper review, just a short note to say … Heaven knows the Booker jury doesn’t always get it right IMHO, but wow, this time for once they absolutely did. If you haven’t already read this, run, don’t walk to get it. And though initially I was going to say “especially if you’re a woman (and from a minority)” — no, I’m actually going to make that, “especially if you’re a white man”.
Also, and by way of more than a minor aside, I equally highly recommend the audio version narrated by Anna-Maria Nabirye.
~~~~~~~~~~~~~~~
Addendum
Bernardine Evaristo talking to Nicola Sturgeon at the 2020 Edinburgh Book Festival (August 22, 2020):
“CHORUS:
As our scene to space, so deep and dark,
O’er your imagination we’ll hold sway.
For neither players nor the stage can mark
The great and mighty scene they must portray.
We ask you, let your keen mind’s eye be chief –
Think when we talk of starships, there they be.”
“LUKE:
Friends, rebels, starfighters, lend me your ears
Wish not we had a single fighter more,
If we are mark’d to die, we are enough
To make our planets proud. But should we win,
We fewer rebels share the greater fame.
We have all sacrific’d unto this cause.
[…]
For with the Force and bravery we win.
O! Great shall be the triumph of that hour
When Empire haughty, vast and powerful
Is fell’d by simple hands of rebels base,
Is shown the might of our good company!
And citizens in Bespin now abed,
Shall think themselves accurs’d they were not here.
For never shall rebellion see a time
More glori’us then our strong attack today!”
Well, of course Doescher channels the Bard’s great speeches, but this is not just parody (of either Shakespeare or Star Wars); it’s a cleverly-executed synthesis, transposing the complete screenplay(s) into Shakespearean iambic pentameter — and somehow managing to remain faithful to both.
I am glad that I opted for the audio version, though: Just as Shakespeare’s plays are best experienced in performance (and, well, George Lukas wrote movie scripts, not novels), Doescher’s synthesis of the two really comes to life when performed. And I have to give huge kudos to the actors who, while they are clearly having more fun than should be permitted, take the work seriously and give it their full attention, all the way from R2-D2’s “beep, squeak, squeeeaak”s (Death of Rats, anyone?) and Han Solo’s “hey, I’m just here for the money” attitude to the weightier interactions between Obi-Wan, Luke, Leia, and Darth Vader. (Interestingly, the total length of Doescher’s text also falls squarely within the average range of that of a Shakespearean play.) I’m not one of those who can do Star Wars marathons, nor will I typically watch more than one play by the Bard at a time, so I don’t see myself bingeing on Doescher’s syntheses of the two sources. But I’m glad there is more than one of these — they just may turn out to be the things to turn to when my life needs a bit of brightening up.
A Lethal Play, or, Sayers’s Last Word on Peter Wimsey and Harriet Vane
“PETER (frowns): You know, Harriet, this is one of those exasperatingly simple cases. I mean, it’s not like those ones where the great financier is stabbed in the library –
HARRIET: I know! And thousands of people stampede in and out of the French window all night, armed with motives and sharp instruments –
PETER: And the corpse turns out toe be his own twin bother returned from the Fiji Islands and disguised as himself. That sort of thing is comparatively easy. But here’s a dead man in a locked house and a perfectly plain suspect, with means, motive, and opportunity, and all the evidence pat – with the trifling exception of the proof.”
Lord Peter Wimsey’s final full-length murder investigation first saw the light of day as a play – like the subsequent novel, titled Busman’s Honeymoon – co-written with Dorothy L. Sayers’s friend from her Somerville College, Muriel St. Clare Byrne. Although it enjoyed a successful run after its November 1936 Birmingham and December 1936 London premieres, the play’s success was transferred entirely onto the novel of the same name published the following year, and the playscript was never reprinted after its initial 1937 Gollancz first edition. It took another half century, the acquisition of the original manuscript and a wealth of associated papers by the Marion E. Wade Collection at Kent State University’s Wheaton College, and the express (and narrowly limited) consent by Sayers’s son Anthony Fleming for the play to be republished, along with the drawing room comedy Love All (in manuscript, alternatively titled Cat’s Cradle), which Sayers wrote together with another Somerville College friend, Marjorie Barber.
In the novel Busman’s Honeymoon, Sayers elaborates on the plot and the themes addressed in the play, but she remains faithful to the stage version in every respect, entire lines of dialogue are taken from there, and the play of course distills down the basic structure of the action, merging the demands of dramatic sequencing and those of a detective story scrupulously based on the fair play rule according to which, in the authors’ words, “every clue must be shown at the same time to the public and to the detective”. The detective is not to have any secret knowledge or other advantage over the audience (nor vice versa), and comparing their play’s structure to that of “a Three-part Fugue, moving contrapuntually to an ordered resolution”, the playwrights continue to explain in the authors’ note:
“It was necessary to invent a technique to express this formula, since the novelist’s approach by argument and explanation is clearly unsuited to the stage. For the First Act, in which most of the major clues are introduced, the method chosen is that of visual presentation. The clues as to Means are displayed, silently but conspicuously, down-stage, while at the same time the animated discussion of trivialities up-stage holds the ear and divides the attention of the audience. The producer’s task is thus to play, as it were, two independent tunes concurrently, concentrating upon inessentials in order to disguise, without concealing, the essentials of the plot-structure.
In the Second Act, the method, while still contrapuntal, is slightly varied. While the inquiry is ostensibly directed to Motive, the information actually conveyed to the audience chiefly concerns Opportunity, or the lack of it. Here, Superintendent Kirk’s unwavering canto fermo is contrasted with the freely moving descant played by Peter, who hovers continually above the action, sometimes in concord and sometimes in passing discord with the set theme. The producer may note the visual symbolism, whereby Kirk remains throughout firmly planted in his chair, while Peter wanders about the stage, darting in upon the problem from all angles.
In Act III, Scene 1, which for the purposes of the plot establishes Motive, the attention is held by yet another theme. This, introduced in the First Act and kept moving by occasional passages in Act II, here emerges into prominence. The human and emotional aspects of the situation, as it affects the private lives of the characters concerned, become the main source of interest. An effort is here made to do for the detective play what has already been achieved for the detective novel – that is, to combine it with the comedy of manners, and so bring it back into the main line of English dramatic tradition. In this scene, the masks are dropped all round: [along farcical-comedy and tragi-comedy lines by others and] along romantic-comedy lines by Peter and Harriet, the complete sincerity of whose emotion is the touchstone by which all the rest of the action must be tested.
In the final scene, both the disguised and the ostensible clues extracted from the previous scenes are presented and a fresh in a visual reconstruction to solve the problem on purely theatrical lines; and at the same time the emotional elements are brought into harmony.”
In a lengthy introduction, the book’s editor, Alzina Stone Dale, elaborates on the genesis and various birthing stages of the play, and the book’s no less than four appendices reproduce significant additional materials; including the authors’ stern warning to producers as to the truly lethal risks of the murder method employed here, coupled with several-pages-long minute instructions how Peter’s reconstruction of the crime at the end of the play should be faked, so as to avoid actually endangering anyone on stage (first and foremost the actor playing the murderer, who ends up caught in and unmasked by his own trap in the reconstruction).
Another appendix reproduces Sayers’s handwritten notes on the major characters:
“PETER will be 45 next birthday; & though his small bones, whippy figure & fair colouring give him a deceptive appearance of youth, his face, in its rare moments of repose is beginning to show the marks set there by time & experience. At first sight one would say that the lines of brow & chin ran back rather alarmingly; but this, too, is largely an illusion, due to the dominance of the high, beaked nose which is, one feels, a tradition handed down from the Norman Conquest or thereabouts & somewhat exaggerated in the transmission. The steadiness of the grey eyes & long, humorous mouth is reassuring, & there is certainly no lack of physical health or vitality; yet the acuteness of the facial angle, the silvery pallor of hair & skin, the slight droop of the eyelids, the sensitive and restless hands, & above all a certain nervous tautness of gesture & carriage – these signs perhaps convey a warning that the family blood will not stand very much more this kind of thing, & that in marrying a commoner he has shown no more than a proper consideration for posterity. His social poise is inborn; but his emotional balance appears to be rather a matter of discipline applied partly from within & partly by training and circumstance; his outbursts of inconsequent gaiety are the compensation for the exercise of a rigid control in other directions. A natural sweetness of disposition, allied to a freakish sense of humour & assisted by a highly-civilized upbringing, makes him easy enough to get on with, but to get within his guard is difficult. The light, high, over-bred voice is his own; but the drawl, like the monocle, is part of the comedian’s make-up which he can & does put off when he is in earnest. […] Nor does he hold any surprises for Bunter, who has known him from his teeth to his toe-nails for twenty years. How far Bunter has it in him to surprise Peter is a matter for infinite conjecture.
[…]
HARRIET is 30 years old, tall, strongly-made & vigorous in speech, movement & colouring. She has dark hair & eyes & a skin like honey; her face has more character than beauty, but the older she grows the handsomer she will become. […] Past unhappiness has matured but not tamed her; she has not learnt, & never will learn, self-discipline as Peter has learnt it. What she has got & what he loves her for, is an immense intellectual sincerity. She will commit endless errors of judgment & hold to them in the face of any emotional attack; but if her reason can be persuaded, she will admit the error freely & without rancor. It is evident that she will never be happy unless her passions & her reason can march side by side; & she is lucky to have found a man honest and unselfish enough to refrain from using her heart as a weapon against her conscience. Indeed, in this respect he is the more vulnerable, & it is her honesty that will prevent him from turning the same weapon against himself. The fact that they both have the same educational background is probably a considerable factor in the establishment of a common understanding; & though you might think that they are the last people who should ever have married one another, Oxford will in the end be justified of her children.”
The 1980s’ version of Harriet and Peter: Harriet Walter and Edward Petherbridge
— in the small screen adaptation of Gaudy Night
HARRIET: Oh, my dear: What is happening to us? What has become of our peace? PETER: Broken! That’s what violence does. Once it starts, it catches us all – sooner or later. HARRIET: Is there no escape? PETER: Only by running away … (Pause) … Perhaps it might be better for us to run. If I finish this job, someone is going to hang. I have no right to drag you into this mess … Oh, my dear, don’t upset yourself so. (He goes up to her.) If you say the word, we will go right away. We’ll leave the whole damnable business … and never meddle again. HARRIET: Do you really mean that? PETER: Of course I mean it. I have said so. (His tone is that of a beaten man. He crosses and sits on arm of chair by table L.) HARRIET: Peter, you are mad. Never dare to suggest such a thing. Whatever marriage is, it isn’t that. PETER: Isn’t what, Harriet? HARRIET: Letting your affection corrupt your judgment. What kind of life could we have if I knew that you had become less than yourself by marrying me? PETER: My dear girl, most women would consider it a triumph. HARRIET: I know. (Gets up and comes down-stage.) I’ve heard them. ‘My husband would do anything for me.’ … It’s degrading. No human being ought to have such power over another. PETER: It’s a very real power, Harriet. HARRIET (decidedly): Then we won’t use it. If we disagree, we’ll fight it out like gentlemen. But we won’t stand for matrimonial blackmail.” Busman’s Honeymoon, Act III, Scene 1
I just love that dialogue (which is contained both in the play and in the novel). It’s what epitomizes Peter and Harriet to me – and it just might explain, too, why Sayers didn’t finish a single further novel featuring them but, rather, only gave us glimpses at their married life in a couple of short stories. Because really, what else is there left to be said after this?
Dennis Arundell and Veronica Turleigh, who played Peter and Harriet in the 1936-1937 theatrical run of Busman’s Honeymoon (images from IMDb)
Previous Status Updates:
Werewolf
Zombie
Gargoyle
Ghost
Demon
Mummy
Creepy Doll
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A Lethal Play, or, Sayers’s Last Word on Peter Wimsey and Harriet Vane
Lioness at Large 
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