Who am I kidding in writing this review? None (or one?) of my Goodreads friends is going to read this book. 440,000 reviewed And Then There Were None. More than 100K people or more have reviewed Christie’s each most popular Poirot works such as The Murder of Roger Ackroyd, Murder on the Orient Express or Death on the Nile. Murder on the Mews is one of the Little Engines that Could of Christie-lore, reviewed by as few as 8,000. It features four stories, three that might qualify as novellas, published in 1937, maybe perfect length for tv serialization, but nothing much to write home about, my having been there.
One thing to observe about Christie generally is that she makes scant reference to a real world outside of her fictions. In general, she occasionally admits that The Great Depression may have affected her characters. In “Murder in the Mews,” we open on Guy Fawkes Day with some kids begging “Penny for the Guy, sir?” but Chief Inspector Japp brushes him off and there are maybe only a couple other references thereafter about the fact that the need for money might be a motive for the crime. Poirot himself is a little egg-headed dandy; he loves pretty girls and royals. He’s generally respectful to all classes in his investigations, but he and his author don’t much apologize for being pretty escapist, even elitist. In “The Incredible Theft”—which is not all that incredible, Agatha, come on—we have our first mention that England may have to face the challenge of involvement in WW II.
“Murder in the Mews”: The best and most developed story is the title story. Is it a murder disguised as a suicide, or a suicide disguised as a murder? That’s the unique angle here and I htink it is very good. 4 stars.
“The Incredible Theft”: See above, but it’s about a theft (!?) and no one even dies? What’s the good of reading about that, Agatha? At least kill somebody! Though the theft involves plans for a bomber—a war reference—and a (pretty) American former (?) spy, no one would care much about this theft. Not enough development. 2 stars.
“Dead Man’s Mirror”: Features rich and somewhat eccentric Lord Chevenix-Gore, who for some reason seems to have committed suicide, in spite of his massive ego. Who would even buy this premise, and yet most characters seem to accept it (for most of the story). So, yeah, he was murdered, and as Gore gets gored (okay, by a bullet, sorry, couldn't help myself), the mirror in an adjoining room gets shattered. How can this even happen?! But why should we even care? This one is a little notable because it rehearses an idea for getting away with murder that appears in a later book, The Mirror Crack'd. It's a solid story. 3 stars.
“The Triangle at Rhodes”: is mercifully short, the weakest of the four, not included in some editions, involving a love triangle, though you think it is about one set of characters, and. . . that’s the interest in this one, that the triangle you thought was key is not as important as another. Beach scenes! 2 stars, but the summer scene at Rhodes could have been developed more.
These are pretty early and weaker stories from Christie and yet they are still readable, I kept reading, they are pretty well constructed. I read them fast and yet they are good to see her working out some different ideas. If you want to read Christie, though, this would not even be close to the one I would recommend.