“Impertinent children ought to be given six coats of shellac and set up in public places as a warning to others.”
Although the title is borrowed from a famous lyrical poem by Alfred Tennyson, the young lady of Buckshaw Manor bears little resemblance to the helpless Lady of Shalott.
Eleven years old Flavia de Luce could give Dennis the Menace lessons in how to exasperate adults and about how to rely on your wits and on your chemistry knowledge in order to escape from any sticky situation.
In fact, Flavia will probably cause the ‘sticky’ situation in the first place:
He would be coming again in less than a week and, in order to settle the question for once and for all, I had long ago laid plans to trap him.
Scientifically.
It is Christmas time at Buckshaw, the place is quite isolated, cold and haunted by two aggravating older sisters, Daffy and Feely. Flavia decides to make up her own amusement by starting another private investigation: is Father Christmas real or not?
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I have myself decided to save these books as a special treat to myself for the Winter Holidays season. This year [2022], the new de Luce adventure is particularly well chosen, because the plot mirrors my purpose :
Although it is pleasant to think about poison at any season, there is something special about Christmas, and I found myself grinning.
Picture me with a Big Grin on my face as I embark on another visit to cosy village life, about to be turned into screwball murder investigation by an underage detective.
It seemed bizarre, the way in which these old atrocities seemed to be coming home to roost in peaceful Bishop’s Lacey.
This time the visitors are not ghosts from the past, thieves of rare stamps or wandering puppeteers, but a film crew who rented the place for its haunted look. A reluctant Colonel de Luce has no choice but to open his house to strangers in order to get some sorely needed money for upkeep.
The house, generally so cold and silent, had suddenly become a beehive. Carpenters hammered, painters painted, and various people looked at various parts of the foyer through makeshift frames formed by touching thumbs and extending their fingers.
Flavia is under everybody’s feet, briefly distracted from her plans to capture Old Saint Nick in flagrante by the undercurrents of tension between crew members. At age eleven, Flavia has little patience for romance, although the whole village of Bishop’s Lacey braves a blizzard to come to the manor and watch in the foyer a performance by the main stars of the film project:
The rest of the performance was just a lot of that moon-June-balloon stuff – a load of old mulch, really – and I found myself wishing they had chosen a more exciting scene from the play, one of those involving toxicology, for instance, which are the only really decent parts of ‘Romeo and Juliet’.
Behind all the hijinks and the screwball moments, these books carry a heavy burden of personal tragedy, including the still burning pain of the missing mother for the de Luce girls, or the haunting terrors of Flavia’s friend Dogger. A corpse on the premises is nothing new for fans of the series, and of course it will the restless, hyperactive Flavia who discovers the body.
With the Buckshaw house isolated by the winter storm, the local police try to keep every suspect in place, while hoping in vain to block the young self-appointed detective from interfering with the crime scene.
Good luck with that! Flavia is irrepressible when she scents trouble. The adults, in particular the criminals, have better keep out of her way and clear of her chemical compounds!
The basic idea was this: less sulfur and lots more gunpowder.
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Children detectives can quickly become annoying under a less talented pen, so I sometimes wonder how does Alan Bradley manage to make Flavia so endearing. I believe the answer is somewhere in the combination of keen intelligence, vulnerability, determination and self-awareness. Flavia is decidedly not a Dennis the Menace clone, interested in creating havoc simply for entertainment. She is trying hard to make sense of a crumbling world, to deal with the heavy loss of a parent and with bullying adults by reinventing herself as a fighter. She knows her limitations yet refuses to give up, and the reader cannot help but cheer her on her quest to grow up without giving up on her dreams.
“Why do you do it, Flavia?”
“Do what?”
I couldn’t help myself.
“Lie,” he said. “Why do you fabricate these outlandish stories?”
I had often thought about this myself, and although I had a ready answer, I did not feel obliged to give it to him.
“Well,” I wanted to say, “there are those of us who create because all around us, things visible and invisible are crumbling. We are like the stonemasons of Babylon, forever working, as it says in Jeremiah, to shore up the city walls.”
Her sisters are often introduced as bullies and self-absorbed but even here the author has found a way to redeem them and to show us their true colours, like in this short passage from Daphne, who will always be discovered with a book in her hands:
“Books are like oxygen to a deep-sea diver,” she had once said. “Take them away and you might begin counting the bubbles.”
Goodbye for now, and Happy Holidays, Flavia. I’m counting the bubbles until we meet again.