England

England’s Medieval Game of Thrones

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While history buffs are likely very familiar with the Norman invasion of England in 1066, they might not know as much about the preceding half century and this epic book fills that gap.

It was a time of violence almost beyond belief, though it might remind readers of early 1900s pogroms in Russia and October 7th in Israel. Raiding Vikings from various countries as far away as what became Poland weren’t satisfied with just burning Anglo-Saxon towns and cities to ash–even if they’d received gold and silver as ransom. They raped women and cut off their breasts, threw victims into fires to burn alive, speared babies to death or smashed their skulls, and hanged men by their privates when they weren’t beaten, clubbed, or hacked to death.  The survivors often became slaves.

Strife seemed almost constant, with Anglo-Saxon and Viking armies “marching back and forth and up and down the length of England for years, each time inflicting punishment on whatever unlucky locals got in their way, for not having sufficiently resisted the previous conquerors.”  And as if that wasn’t bad, in Normandy, nobles were known to “tear each other to shreds and destroy themselves, for they lust after rebellion, love sedition, and indulge willingly in treachery.”

In both countries, alliances between factions and families could shift with stunning speed, oaths were followed by betrayals that were followed by promises of fealty, exiles and returns were as common as brothers having their own brothers murdered and treasuries raided. Feuds simmer and erupted and died down again, only to savage a new generation.

In these sometimes hellish landscapes, castles were besieged and destroyed and rebuilt, farms were burned, cattle slaughtered, and danger and death were omnipresent–and likewise disease, since the Anglo-Saxons had no understanding of hygiene. They used water riddled with garbage, human waste, and animal corpses. “Random death was so common in England that the Anglo-Saxons had a word for it, aelfscot, ‘elf shot,’ struck down by an invisible, otherworldly arrow.”

And among the various kings, lords, and chieftains on both sides of the English Channel (or “The Southern Sea”) there were plots, coups, murders, betrayals, assassinations and enough violence to make the series Vikings look like something from the Disney Channel.

Parallel to all this madness and dislocation was the quiet, steady, painstaking work of monks copying manuscripts in scriptoriums, work that was encouraged by Alfred the Great to save such treasures for posterity. That very human impulse to save learning and wisdom is both touching and fragile, because raiders had no use for books and loved burning them.

There’s what seems like a cast of thousands here and the names like Aelgifu are hard to scan, but the author does a decent job of individualizing people and separating legend from fact, as well a immersing you in a period that is at times both familiar and utterly alien. Hollway is especially good at charting the changing names of places from Latin to Danish to Old English and Modern English, helpfully explaining the roots of those names. All the same, the fusillade of names can sometimes be exhausting, especially when someone has two or more different names. And there’s way too much speculation about what people might have done or said or felt. 

Beyond that, this book that has two main faults, both of them inexplicable: there are no maps and no genealogies whatsoever, so it’s hard to picture where cities, counties, and countries are located when they’re mentioned, and hard to remember who’s related to whom–and how.  ★★★

Lev Raphael has reviewed books for The Washington Post, The Detroit Free Press and other news outlets as well as for several NPR radio stations, one of which hosted his interview show with guests like Salman Rushdie and Erica Jong.

 

Downton Shabby

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Brandy Schillace’s debut mystery The Framed Women of Ardmore House is a classic fish-out-of-water crime novel.  Jo Jones may have a drab name but she’s a fascinating woman: autistic, divorced, broke, an editor who loves mysteries and classic literature, and the surprised inheritor of an English country mansion.

It’s not remotely a show place. The once-magnificent gardens are dilapidated and the house is a wreck: there’s a major roof leak, filth, mold, and water damage throughout, and it’s all overseen by a creepy caretaker who has boundary issues. 

Not surprisingly, he’s soon dead with Jo as the prime suspect because they’ve argued and she had him fired. As you might expect from an author who’s been a professor of Gothic Literature, the lights often go out in this book and there’s a mysterious portrait that Jo finds hanging in the wrong place before it disappears completely. The hunt is on!  Who was the woman, who stole the portrait and why? That’s Jo’s mission while the police zero in on her  as the murderer because of her barbed interactions with the caretaker.

Schillace has skillfully made Jo’s autism turn her into a suspect because her behavior is awkward to say the least. She seems to those around her either strangely detached and unemotional when you’d expect the opposite–but she can also flare up and panic. She can ramble and is frequently inappropriate in her questions and answers. As a stranger who is truly strange in the eyes of almost everyone in town, Jo is a magnet for suspicion. 

But Jo has a keen memory that makes her a terrific amateur sleuth even if she sometimes has trouble reading people. Conversely, she can see connections that other people can’t and can make those connections faster. 

Book lovers of all kinds will relate to her because she lives in books, noting “Always, I love words. The way they look and feel and smell. It’s hard to explain. Words have just always been my people. And I don’t forget them after I read them.”

This is a charming mystery with bite and filled with wonderful observations. Like these about the stodgy detective investigating the murder: 

He did not want to be in the incident room on a Saturday. He wanted to go for a walk with the dog he didn’t have (but kept meaning to get) and have a pint somewhere with real food and the general hum of humans.  Murders were damned inconvenient.

That parenthesis is delicious and so is that last line worthy of P.G. Wodehouse, though I suppose he would have used “dashed.”

With plenty of suspects, the book is a fine blend of darkness and light and will make an entertaining weekend read wherever you are.  ★★★★★

Lev Raphael has reviewed books for The Detroit Free Press, The Washington Post, Jerusalem Report and several NPR stations in Michigan. His suspense novel Assault With a Deadly Lie was a Midwest Book Award finalist.

The Regency Jason Bourne is Back

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C.S. Harris is a fantastic novelist. Her characters are richly observed, her dialogue is evocative, her plots are exceedingly well wrought, and she excels at atmosphere: you see, feel, and smell every scene in a kind of 3-D. Reading one of her books is immersive, it’s time travel, it’s magic.

Harris’s understanding of the Regency era is remarkable for its depth and range, and she is one of the few authors whose series I’ve stuck with over time because she isn’t disappointing.

Her glamorous, debonair nobleman is Sebastian St. Cyr, Viscount Devlin. He is gifted with “hearing and night vision” that are “unusually acute” and they help him investigate murders–and sometimes outwit stalkers. He’s also a master of disguise, but he’s no Marvel superhero. In fact, Devlin starts off the 18th book of the series with a profound and troubling disadvantage: a painful leg injury that’s likely to keep this ex-soldier from crossing the Channel to Belgium where “the armies of Europe were massing for what would in all likelihood be one of the most decisive battles in history.” 

He badly wants to join former comrades, but that isn’t on the cards, despite the looming menace abroad. Napoleon has escaped Elba and been welcomed back to power in France with jubilation. The exiled emperor’s shadow has fallen again over Europe–and it has surprising power over Devlin as he becomes entangled in a twisted tale of mutilated corpses, espionage, secrets of seduction and betrayal, witchcraft and werewolves. 

Suspects abound and they could well be French assassins from any number of rival factions.  He himself is attacked and warned off in classic PI style by a huge thug and an oily villain.  As you’d expect, he acquits himself well; even with his injury, St. Cyr is not an easy mark.

One of the best aspects of this series is its social range. Between St. Cyr and his amateur journalist wife Hero, we meet people of all ranks in Regency England: actors, fortune tellers, politicians, aristocrats, thieves, men of the law, servants, governesses, thugs, inn keepers, soldiers, beggars, ferrymen, sailors, merchants, tradesman, vagabonds and many more.  We travel through a London that has disappeared like Atlantis, with Harris as our guide. 

Built with short, punchy chapters, this book has it all: mystery, scenery, adultery, luxury, poverty, cruelty, zealotry,  hypocrisy, bravery.  And the series consistently has some of the most beautiful book covers around.

Lev Raphael is the former crime fiction reviewer for The Detroit Free Press and has reviewed books at Salon, The Washington Post, Huffington Post and other publications.

 

 

“The Street” is Too Easy to Figure Out

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It’s no surprise that Anna and Peter have been moved in The Street from London to a brand-new, upscale, little development in Scotland because they’re in witness protection.  Anna’s experiencing high anxiety, she and Peter are very much at odds, and their new home is too meticulously furnished and equipped.  The street of eight houses itself is on the creepy side: “perfect white cubes with their perfect gardens.”

Tension mounts when Anna starts meeting the neighbors, all of whom live in identical homes whose doorbells play the same annoying tune.  You start to wonder: Are they cult members?  Aliens?  Spies?  Is this some weird kind of prison?  The enclave is gated and there are security cameras, okay, but why does Anna have a very intrusive phone app?

Something is definitely amiss on this street, because no matter who Anna talks to after her boozy first night (more about that below), she experiences “an odd sensation, a shift in the atmosphere that seemed to happen every time she spoke to one of the residents.”

Their next-door neighbors seem like fun, drink a lot, and enjoy Indian food just like Anna and Peter, and the four of them have a hard-drinking, hilarious night before the couple have settled in (or tried to).  But the day after, those neighbors have disappeared and their house is totally empty. Everyone on the street denies they were even there. . .

It’s an intriguing hook if you’re going to be hooked.

As the book progresses, we learn through flashback chapters more about how the couple came to be ripped out of their London lives and planted in Scotland, and why they might be in profound danger.  She’s a writer and he’s a carpenter but each of them is far more complex than they first appear to be, and they have some ugly stuff to hide from the world and each other.

Holliday writes keenly about fear, paranoia, and how married couples can work each other’s last nerve and not have any idea who they’re really married to. She builds tension skillfully and  keeps you actively guessing as to what’s going to happen next. 

All the same, the  book has a gigantic sinkhole of a problem: the explanation for all the strange behavior on Anna’s street was so obvious early on that you may wonder why Anna couldn’t figure it out herself.  After all, she’s a crime novelist.  The time changes throughout the book complicate the storyline, but they don’t camouflage the excruciatingly simple solution that’s apparent before the book truly takes off.  This is a mystery that’s ultimately not mysterious enough. ★★

Lev Raphael is the former crime fiction reviewer at The Detroit Free Press.

Essex Dogs is Disappointing Historical Fiction

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I’ve enjoyed a number of Dan Jones’s popular histories like The Plantagenets and Magna Carta and have read a great deal about The Hundred Years’ War, so I was looking forward to his debut historical novel Essex Dogs.  It features a ragtag small company of soldiers and bowmen headed for Normandy in 1346 and ultimately the Battle of Crécy where the French lost to the English in a humiliating, historic defeat.  That battle changed the balance of power in Europe with France’s heavily-armored mounted knights beaten by the more mobile English troops and their archers.

It’s potentially superb material but the book feels cartoonish, partly because the dialogue is wildly anachronistic, stuffed with every version of the f-bomb you can imagine.  Historians agree that the word was not in popular use in the 14th century, but Jones’s characters sometimes sound like they’re in Goodfellas. “Fuck you looking at?” is one example, and for emphasis, that knight says it twice. The French are, of course, called “fuckers” and “fucking” is the invariable English adjective of choice, with “Fuck off!” a frequent command.  How did a responsible editor let this dialogue pass muster? 

At one point some variation of “fuck” crops up four times in only six very short paragraphs, and that’s not the only place where that word choice becomes an oppressive drumbeat.  Sometimes, though, the profanity becomes simply ridiculous, as when an earl shouts “The faster you fucking go, the sooner you’re fucking back!”


But profanity overkill isn’t the only problem with the prose.  There’s the leader of the small band, Loveday Talbot, remembering his “mantra,” knowing who “has his back” and there are people discussing how they should “play” a situation as they hit the beach in Normandy.   This discordant dialogue had me on the alert for someone saying “Let’s do this thing.”  It didn’t happen, but there was this priceless piece of defiance going into battle: “Let’s show them who we are.”

It’s a shame that the writing isn’t better because Jones does a decent job of making you feel the heat and filth of the expedition of 15,000 men, along with the chaos  of their landing and the brutality of combat. But sometimes it feels as if he’s reveling in the gore and grime.  That gets tedious, and there’s way more phlegm, spit, shit, and snot than the book needed.

One other aspect weighs the novel down: there’s a grotesque, drunken, slovenly, drug-addled, farting priest whose presence in the company is totally unnecessary.  He adds nothing to the story and it’s a relief when he’s dead, though that takes over 250 pages to happen.  It’s hard to care for him or any of the other characters in this book since they’re all one-dimensional and that even applies to Loveday himself.

Though Jews were expelled from England in 1290, Jones has a Jew as a former member of the company some fifty years later–and gives him an improbable name: Wiseman the Jew. Plenty of sources show that Biblical names like Jacob, Moses, Samuel, Isaac, Joseph and Abraham would have been much more authentic for an English Jew if he had somehow managed to be living in England at that time and serving in the army of Edward III.  Even the Latin Benedict (for Baruch) would have made more sense since Jews sometimes used Latin names derived from the Hebrew.  More puzzling than that, Edward III’s son, later the famous Black Prince, is portrayed as a whining, drug-addled, annoying teenage brat and there’s nothing remotely epic about the climactic Battle of Crécy that everything has been leading to.

The book is a very long slog compared to the richly-imagined and beautifully-written historical novels of  Bernard Cornwell set during the Hundred Years’ War.  Read any one of them, like The Archer’s Tale, for a truly immersive experience.  Cornwell doesn’t kick you out of his fiction with glaring anachronisms or gratuitous profanity, and his deep characterization, his sense of texture, and his grasp of human and period psychology are far superior to anything you’ll find in Essex Dogs.  Jones says in his acknowledgments that he was encouraged to write fiction and I wish he’d gotten better advice on how to work in a new genre.  ★★

Lev Raphael has reviewed books for The Detroit Free Press, the Washington Post, Jerusalem Report, Bibliobuffet, The Ft. Worth-Star Telegram and various public radio stations. 

Murder Most Foul

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Before you even turn The Girls over to read the blurbs on the back or open to read the publisher’s description on the inside jacket, you know you’re in for a lovely, barbed treat. The cover illustration is by Edward Gorey and that means you can expect sly wit and unusual mayhem.

Susan and Janet have lived a harmonious and very busy life for almost a decade near a picturesque English village doing picturesque things to stock their odd little shop in town. They keep free-range chickens and bees, sew and cobble.  The store is filled with their fresh eggs; jams, preserves, and chutney; honey combs; clogs; home-made aprons and cloth belts; their prize-winning elderflower wine–and even labor-intensive goat cheeses.

The two women have a busy and apparently satisfying life until Susan goes off to Greece to find herself and something unusual finds Janet: a one-night stand that leaves her pregnant.  It’s her first time with a man, so that’s either luck or misfortune, how she and Susan react is worthy of a miniseries.

Bowen is absolutely brilliant when it comes to charting the highs and lows of an intimate relationship, the swift changes of mood minute-by-minute as well as over months and even years.  He finds comedy there, and tragedy too.

The writing throughout is rich with color in descriptions of flowers, shrubs, flowering trees, do-dads and knickknacks, and the narrator is like a deadpan story-teller trying hard not to smirk because she knows you’re going to be surprised and doesn’t want to give anything away.  I had to read passages aloud to my spouse because they were so amusing, as when Bowen writes that “the sound of raindrops on the window was like hundreds of old gentlemen rustling the pages of the Financial Times.”

At times you may feel like you’re in wacky P.G. Wodehouse territory: the adventures of an escaped pig which will surely make you laugh aloud.  At others, you’re entering the realm of Patricia Highsmith where the quotidian is most definitely going to be exploded.  I was also reminded of Stella Gibbons’ satirical Cold Comfort Farm, but Bowen has his own voice here and his own style because his narrator is so wonderfully intrusive and even challenging.

Special kudos have to go to the book designer: The Girls isn’t just a pleasure to read, it’s a distinct pleasure just to hold in your hands.  Readers should be grateful for the publisher’s mission to reprint forgotten novels that deserve new audiences–and do so with elegance and style.  This is must read for anyone who’s a fan of British fiction, crime fiction, and comic stories set in supposedly bucolic towns. ★★★★★ 

Lev Raphael has reviewed books for The Washington Post, The Detroit Free Press, Jerusalem Report and several public radio stations.

Tudor Thrills & Chills

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Vanessa Wilkie’s book focuses on a powerful woman and her dynasty, a woman who should be much better known.  This is a compelling story of upward mobility as Alice Spencer, the daughter of a wealthy sheep farmer, rose to wealth and status through two important marriages, married her daughters off extremely well, and worked hard to maintain all the right connections.

Status anxiety was rampant in this period and the author clearly lays out the importance of finding the right patron and keeping him happy, of marrying well, of expanding one’s holdings of land, and doing everything possible to rise higher.  There was always the possibility of the Wheel of Fortune dropping you to the bottom in an instant.  Doom could be quick and sudden and your head could end up on a pole.

There are times when the book reads like a thriller, as when Alice’s husband, the Earl of Derby, is approached by Catholic plotters who want him to depose Elizabeth and restore Catholicism in England.  They pick him because he’s a descendant of Henry VIII’s sister and might be a Catholic despite publicly adhering to the Protestant faith.  He alerts authorities that he plans to lead them to London where they should be arrested as traitors.  The ride south takes several several days.

Given legitimate paranoia about attempts to overthrow the Queen, there was the chance that he himself could be arrested, tortured, and executed on suspicion of treason, leaving his wife ruined and persona non grata.  It’s a harrowing episode in a generally well-wrought story of power and privilege. 

In some ways, the Tudor period in which Alice began to rise feels very close to ours: she needed good publicity as she made her way into the upper realms of Tudor society and did everything possible to enhance the position of her three daughters.  Alice, a book lover, was the recipient of fulsome praise via author’s dedications and thereby “gained social capital for being celebrated as [a patron] of the arts and religious works.”  No less a poet than The Faerie Queene’s Edmund Spenser  praised her in some really wretched verse that seems to have helped boost her reputation.  

The prose in this book often undermines the strength of the narrative because it’s filled with words like “probably,” “likely,” “would have,” “could have, “maybe,” “surely,” “may have been,” and “very likely.”

The author does offer up some fascinating material, like the fact that there were actually two forms of secular court at the time whose jurisdiction overlapped:  the common-law courts and so-called equitable courts that dealt with exceptions demanding demanded special attention.  This comes up in the context of a nasty lawsuit brought by Alice’s brother-in law that lasted for well over a decade.  And then there’s a bizarre, horrendous sex scandal worthy of the Marquis de Sade involving one noble daughter and granddaughter.  It’s so freakish, it could truly have been the focus of a separate book.

Alice Spenser was a strong, determined woman who actively built and fostered “a political and social network” while creating “a persona of grandeur” and amassing “landed wealth and power.”  Wilkie doesn’t downplay her faults–like being overly litigious and caring so very much about propriety–but deftly situates her in the complex, murky terrain of upper-crust Tudor and Stuart England.

Lev Raphael recently reviewed a dual biography of Queen Elizabeth I and Marie de Medici: Blood, Fire, and Gold.

 

 

The Grand Affair: A Thrilling Biography of John Singer Sargent

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Growing up in Rome in the mid-19th century, John Singer Sargent could not have asked for a better informal education for the world-class artist he would become. He was surrounded by museums overflowing with great art and just as important, his ebullient, energetic American mother hosted gatherings of painters, sculptors, poets and writers. 

Sargent’s mother was obsessed with European culture and may have modeled that enthusiasm for her son.  She also was an inveterate traveler “for her health,” so the family traipsed all over Western and Central Europe with young Sargent watching, studying, sketching–whether in museums or on mountain tops.  It’s fascinating to read about the challenging mountaineering he did in Switzerland with his father, something you might not associate with a man who later spent so much time in salons and studios.

This was a period when living in Europe cost much less than in the U.S. and  Americans like his mother were ravenous for culture of the Old World. Sargent grew up multilingual, voraciously interested in art, and Rome is where he was first exposed to an artistic subject that would be a constant in his life, though somewhat secret: male nudes. 

Whether painter or connoisseur, back then you could appreciate these nudes as the “ideal representation of humanity” without arousing suspicion, but Sargent’s sketches and paintings showed more than just artistic fascination.  Fisher explores this terrain with wit and style, referencing many of Sargent’s sketches and paintings that were unknown during the painter’s lifetime to make this crucial point.   As he puts it, they “stood out as charged, emotional composition.”

Sargent never married and had many deep friendships with male artists and models as long as he lived, while cultivating rich, powerful “iconoclasts and divas” like the famed art collector and Isabella Gardner.  Was he queer?  It seems obvious that he was and that it was part of his unique vision of people which astonished other painters, including tutors and teachers–and eventually made him famous. 

Some of the best writing in the book explores the not-so-hidden gay salons and haunts in Paris, New York, and Venice and how artists, writers, and wealthy men flirted with this subculture or made themselves at home in it. Fisher also deftly explains all the ways in which Sargent often focused on wealth and celebrity in his work while interrogating it as well, with many subtle touches of eroticism.  Fisher couldn’t be a better guide in analyzing paintings: he’s illuminating without ever coming across as academic or dry.

He also deftly analyzes Sargent’s keen business sense: even in his early twenties, Sargent knew how to cultivate wealthy sitters so he could attract more of them and knew what was daring and unique enough to have work publicly displayed.   He did that while remaining in his public persona “understated, hard-working, and self-effacing.” The author does a splendid job charting Sargent’s peripatetic life and the ways in which he presented as comme il faut but was actually innovative and even disruptive in his art, testing the limits of what the public might accept.  That thread is important for contemporary readers who might need some of the painter’s work decoded due to its subtlety.

Given the book’s subject and the gorgeous color plates, it’s strange that the cover is so grim and unappealing.  Fisher’s luscious book deserved better production, something worthy of his subject’s style and genius, worthy of this “painter of luminous complications.”  It also deserved much better copy editing because there are too many missing words and repetitions throughout the book.

All the same, this masterful biography is perfect not just for fans of the painter but for anyone eager to read more about The Gilded Age.  One celebrity after another passes through these pages–including Henry James, Robert Louis Stevenson, Monet, Isabella Gardner–and Fisher ably interrogates the privilege that artists like Sargent benefited from, without sounding like too much of a scold.

Be prepared to spend some time on Google looking up paintings and painters you might not have heard of before. And readers might also want to try Donna Lucey’s brisk and entertaining Sargent’s Women which explores the colorful biographies of the women behind four of his iconic portraits.

A lifelong fan of vivid biographies, Lev Raphael fell in love with Sargent’s portraits in college.  One of the most enthralling exhibitions he’s ever attended was the mammoth 1987 show of the painter’s work at the Art Institute of Chicago.  Raphael has reviewed books for Bibliobuffet, The Detroit Free Press, Jerusalem Report, The Washington Post, and The Ft. Worth Star-Telegram.

Blood, Fire, & Gold

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Even if you’ve read a dozen books about Elizabeth I, you might enjoy this study of the Tudor queen and her decades-long rival Catherine de Medici, Queen of France for over a decade and Queen Mother to Francis II, Charles IX, and Henry III.  The two most powerful women in sixteenth-century Europe, both queens were highly educated and masterful stateswomen.  They learned while young how to navigate dangerous royal courts and religious turmoil, how to stay strong but outwardly pliant when necessary, and how to deal with demanding, powerful men in a world where they would be in the minority as women of power.  Both survived dizzying plots, war, and shifting allegiances “while enemies hid around every corner.” 

The dual biography deftly charts the twisting European alliances that could shift with a marriage as well as a treaty or just the threat of war, and demonstrates what excellent politicians both queens were as they maintained and expanded their power.   Mary Queen of Scots is the perennial wild card for each queen, and the book’s best surprise is its focus  on the fascinating trials and tribulations of an English ambassador to France, Sir Nicolas Throckmorton, who frequently begged to be released from his dangerous and demanding post but was unafraid to speak plainly to the Queen Mother.  

I wish the book had been more thoroughly copy edited.   That would have eliminated readers being told three times in a short space that Thomas Cramner was Archbishop of Canterbury and that Frances II was nine years old two paragraphs apart.  Or having to look up the translation of the French title of a religious work that Elizabeth gave us a gift even though it was highly controversial in France. Paranque says nothing at all about the controversy.  And good copy editing would have eliminated repetitious diction as well as odd phrasing like  “appease tensions” in place of “ease tensions.”  Some long conversations during negotiations between England and France could also have been summarized.

Paranque is no Alison Weir, Leanda de Lisle or Dan Jones, and the book doesn’t quite live up to the jazzy title.  But there are some good stories here, like the gruesome joust that wounded France’s King Henry II, Catherine’s husband, and led to his miserable death.  The intervention of a famed surgeon is an unforgettable classic of bizarre medical practice in that period.   Even more fascinating is elderly Elizabeth’s interview with a French envoy, dripping with jewels in her gorgeous dressing gown, bosom exposed, a picture of sad ruin and abiding grace.

Lev Raphael has been reading about the Tudors since elementary school. He has reviewed books for The Washington Post, The Detroit Free Press, Jerusalem Report and three public radio stations.  He hosted an interview show where guests included Salman Rushdie and Erica Jong.

The New Agatha Christie Biography

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This engaging biography explores why and how Agatha Christie in effect lived a life of disguise: Despite her international fame and mammoth audience, she sought to be inconspicuous.  Not an easy task given that fans could come from as far away as Finland to try to meet her–and bang on her door!

When Christie was growing up, the ideal British woman and wife was like the one depicted in a revoltingly sentimental poem by Coventry Patmore, “The Angel in the House.”  This ideal figure was meant to be “devoted and submissive to her husband….passive and powerless, meek, charming, graceful, sympathetic, self-sacrificing, pious, and above all–pure.”

Christie was anything but passive, however, in both her marriages or when dealing with agents, publishers, and directors.  As a young woman she was funny and flirtatious despite being shy, a great dancer, loved to surf and seemed nothing like the grande dame we see in later publicity photos.  Through most of her adult life she was a “compulsive writer” despite self-deprecating remarks about her work as an author and she could turn out a fine mystery in six weeks when inspired.

If she were alive today, she might be a fan of makeover shows on HGTV because one of her great loves was buying a house, then remodeling and redecorating it.  At one point she actually owned eight homes.

The book devotes a great deal of time to Christie’s famous “disappearance” in 1926 when she seemed to be missing (and possibly dead) for almost two weeks.  Worsley does a fine job untangling what really happened amid of welter of possibilities, and is especially clear on how Christie’s image seemed to suffer at first when journalists and others suggested it was a publicity stunt.  That story gripped England and America, and readers might be surprised at how sexist some of the contemporary analysis of her reasons for going off the grid were.

Curiously, the author doesn’t tell us anything about Christie’s sales figures until almost midway through the book.  That’s especially puzzling for her early books.   Surely sales figures are a significant part of her story as a famously best-selling author who’s sold more books than anyone else in the world?  And how can we judge the success of her early books–or even later ones like Death on the Nile–without comparisons to books by her contemporaries?  Worsley also classes a number of Christie’s techniques as “tricks,” which seems a strange label.  There’s nothing unusual about novelists using real settings and real news stories in their books–it’s common practice.

Mystery fans can sometimes be ticked off that the genre they love is considered inferior  to Literature, but what struck me as revelatory was the sexism she face throughout her career. Christie was demeaned, diminished, and derogated not because of her genre but primarily because she was a woman.  Far too many critics couldn’t resist saying something sexist when they reviewed her books or plays. 

In An Elusive Woman, Christie has found a keen-eyed and witty biographer who honestly assesses her strengths and weaknesses, and makes a solid case for considering Christie one of the 20th Century’s most important writers.

Lev Raphael has reviewed books for The Detroit Free Press, The Washington Post, The Ft. Worth Star-Telegram, Jerusalem Report and a handful of public radio stations.  He recently reviewed a collection of Christie ghost stories and a volume of new Miss Marple stories.