#Bookish – Matthew Sweet
#Quercus
Modern man is battle weary. News bulletins reflect the reality of a society perpetually aware of violence. In the aftermath of World War I Agatha Christie’s cosy mysteries – although the term had not been coined at the time – were exactly what traumatized readers desired; mysteries entertaining armchair sleuths with lead characters that they could identify with, murderers that killed for the sake of greed, love, or revenge, not inherent evil, and crime scenes that were not graphically described and were devoid of excessive blood and gore.
In later years the small screen followed the trope with popular productions like Murder she wrote and Midsummer Murders, and, more recently, Bookish, created by Mark Gatiss. The latter is set in post-war London, 1946, and features a bookshop owner, aptly named Gabriel Book, an amateur sleuth, co-starring his partner in a lavender marriage, Trottie, the owner of the wallpaper shop next door, Nora, a true crime enthusiast, Jack, a former convict, and Dog, connoisseur of ginger snaps.
This novel is an adaptation of the television series and comprises three murder mysteries, sufficiently interlinked to qualify as a novel, rather than a trilogy of independent novellas. The opening and closing formats display an epistolary nature, introducing the reader to the main characters by means of correspondence dated 1962. The main body of the text is presented as a document created by Nora, who is, at the time of the correspondence a well-known author, narrating three murder cases that the characters became involved with during 1946.
The reader is introduced to post-war London from Jack’s perspective, who can compare the pre- and post-war settings due to his incarceration. When he is released, his observations are utilized to set the scene: “The teeth had been knocked out of the City. Once-elegant buildings leaned on wooden crutches.” (8-9) The same technique is applied to ensure the reader’s comprehension of the character’s state of mind: “For graduates of the blackout, the sudden appearance of a radiant yellow square brought a faint churn anxiety. Put that light out.” (41)
Book is an eccentric character, presented as the stereotypical English gentleman of the time. He is utterly dependant on tea, admitting “Without tea I am merely unreconstituted dust” (16), and follows his own system of book arranging, recoiling in horror to any thought of change, “He had read about a coven of French Satanists who stole consecrated communion wafers and fed them to the cats of Paris. Now, however, he understood the true meaning of sacrilege.” (88) Conversations with him tend to be grammatical minefields, with language errors regarded as disasters: “And it’s a split infinitive… Will the horrors never end?” (27)
The first murder mystery, titled Slightly foxed, centres around the murder of a local businessman, the second, Deadly nitrate, sees the arrival of a filming team, using the bookstore location as a temporary set, and the third, Such devoted sisters, includes princesses from the Royal House of Scutari. The recurring theme in the second and third mysteries is slightly disappointing. Both involve murder by poison, challenging the reader to determine not only the identity of the murderer, but also whether the deceased were indeed the intended victims.
Fans of cozy mysteries, especially those appreciating the subtleties of the English language and culture of bygone days, will enjoy Gabriel Book and friends.
#uitdieperdsebek