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Poison in Jest
Jeff Marle tries to decide which member of Judge Matthew Quayle's unhappy household put poison in the Judge's brandy
223 pages, Paperback
First published January 1, 1932
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129 people want to read
About the author
John Dickson Carr
424 books496 followersAKA Carter Dickson, Carr Dickson and Roger Fairbairn.
John Dickson Carr was born in Uniontown, Pennsylvania, in 1906. It Walks by Night, his first published detective novel, featuring the Frenchman Henri Bencolin, was published in 1930. Apart from Dr Fell, whose first appearance was in Hag's Nook in 1933, Carr's other series detectives (published under the nom de plume of Carter Dickson) were the barrister Sir Henry Merrivale, who debuted in The Plague Court Murders (1934).
John Dickson Carr was born in Uniontown, Pennsylvania, in 1906. It Walks by Night, his first published detective novel, featuring the Frenchman Henri Bencolin, was published in 1930. Apart from Dr Fell, whose first appearance was in Hag's Nook in 1933, Carr's other series detectives (published under the nom de plume of Carter Dickson) were the barrister Sir Henry Merrivale, who debuted in The Plague Court Murders (1934).
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Displaying 1 - 17 of 17 reviews
November 17, 2024
This is a 'golden age mystery' from an author who is, apparently very venerable, if you are interested, I read his Wiki page here https://en.wikipedia.org/wiki/John_Di...
Golden age mystery is not my primary genera but I do read some and I was far from blown away by This particular one. I was more than a bit surprised to find that the author of this book is generally regarded as one of the greatest writers of "Golden Age" mysteries. He is generally considered to write complex, plot-driven stories in which the puzzle is the main attraction of the story. I however, felt that it was made unnecessarily complex WITHOUT actual complexity of events. The characters were good, but suffered a little from the era in which they were written. The era had some cute attractions in the setting, like the house being lit by both gas (shudder) and electricity.
To me, child of my era, it did not feel remotely plot driven; it mostly seemed to consist of the small cast of characters wandering in circles talking to each other - also in circles.
The puzzle was a bit embarrassing, though I can see how it would have been more exciting in previous decades, when a lot of the tropes were not yet established.
The plot is online, there is a house, a small cast of characters, someone is poisoning people, not sure how many modern readers are going to be unable to smell something fishy, with all the red herrings being thrown around left right and centre.
Look, I finished it. Can't say I predicted or was surprised by the big reveal.
Golden age mystery is not my primary genera but I do read some and I was far from blown away by This particular one. I was more than a bit surprised to find that the author of this book is generally regarded as one of the greatest writers of "Golden Age" mysteries. He is generally considered to write complex, plot-driven stories in which the puzzle is the main attraction of the story. I however, felt that it was made unnecessarily complex WITHOUT actual complexity of events. The characters were good, but suffered a little from the era in which they were written. The era had some cute attractions in the setting, like the house being lit by both gas (shudder) and electricity.
To me, child of my era, it did not feel remotely plot driven; it mostly seemed to consist of the small cast of characters wandering in circles talking to each other - also in circles.
The puzzle was a bit embarrassing, though I can see how it would have been more exciting in previous decades, when a lot of the tropes were not yet established.
The plot is online, there is a house, a small cast of characters, someone is poisoning people, not sure how many modern readers are going to be unable to smell something fishy, with all the red herrings being thrown around left right and centre.
Look, I finished it. Can't say I predicted or was surprised by the big reveal.
January 24, 2018
An excellent book. Jeff Marle returns to Pennsylvania after spending time in Paris. He visits the Qualye household, old friends from his youth. Judge Qualye wants Jeff's opinion on his manuscript, but is acting paranoid, and soon the poisionings start. The appearence of the 'house detective' Rossiter, adds comedy to this tale.
I note this is a standalone book. Yet Jeff mentions Bencolin, who features in some other John Dickson Carr books. I wonder if the author based Jeff on himself, as both come from Pennsylvania, spent time in Paris, and avoided becoming lawyers.
My quest to read more books by John Dickson Carr continues!
I note this is a standalone book. Yet Jeff mentions Bencolin, who features in some other John Dickson Carr books. I wonder if the author based Jeff on himself, as both come from Pennsylvania, spent time in Paris, and avoided becoming lawyers.
My quest to read more books by John Dickson Carr continues!
October 5, 2018
For my full review click on the link below:
https://crossexaminingcrime.wordpress...
https://crossexaminingcrime.wordpress...
June 15, 2025
This is an odd one. John Dickson Carr had written four novels featuring the French detective Bencolin and narrated by the American journalist Jeff Marle. Done with Bencolin, he gave us this, with a new detective, but the same narrator. Even Douglas Greene, Carr's biographer, can't give any reason that the narrator should have been spared for one last novel, besides speculating that this might have originally featured Bencolin, but I like him a lot more here; his status as family friend of the suspects gives him standing and a personal interest that he lacked in Bencolin novels, where he had little reason to exist except that Holmes had Watson.
The plot, briefly: Jeff Marle is called to the house of an old acquaintance, a now-retired judge whose children he was friends with, to look over a manuscript he's written with an eye towards publication. He finds the house seething with pent-up emotions.
Before long, the judge and his wife have both been poisoned, and the emotions and secrets of the family begin to boil over. Fortunately, one of those secrets is Patrick Rossiter, and while Judge Quayle may not think much of him as a suitor for his youngest daughter, he's just the man to drag the killer out into the open.
Carr disliked this novel, calling it a ``sodden flop," but you can't trust authors to judge their own work--Kafka wanted The Trial Burned, after all. I consider that this is a major work, and that Hag's Nook, because it marks the first appearance of beloved series detective Gideon Fell, gets credit for improvements that are already on display here.
It's a very clear precursor to both Hag's Nook and The Plague Court Murders as a matter of fact--while Bencolin novels were inspired by Poe, I believe that the immediate hook of this novel, where the Judge is seemingly being persecuted by the broken-off hand of a statue, is the first time a John Dickson Carr character will genuinely believe in a supernatural phenomena that a Great Detective must put to rest. Here, it fades from the story (and although I thought it's resolution was brilliant, veteran fans who were expecting something else might be disappointed), but lays the groundwork for the first appearances of both Carr's Great Detectives, Fell in Hag's Nook investigating a family curse, HM in Plague Court investigating a phony medium.
The detective is also a clear precursor to both Fell and HM. Henri Bencolin was dignified, and (as we are repeatedly told) ``Mephistophelian." He could be sardonic, in a way that approached humor, but he was a serious character for serious stories. The critical realization that having a detective who is in many ways ridiculous could enhance rather than ruin the tone---that HM confessing that he's scared of what a killer might do must be taken seriously precisely because he's usually so larger-than-life that he seems like he ought to be immune to such feelings---was first made with Patrick Rossiter, who is introduced thusly:
Carr is in transition from the Bencolin novels, clearly directly modeled after Edgar Alan Poe in tone, and his later works. This novel is mostly controlled in tone, while maintaining a strong atmosphere; occasionally it slips into excesses, but nothing like the worst of his first few novels. The family is vividly drawn, in the best Southern Gothic fashion--they're all miserable living together, but
Looming large over the house is the child who did dare to go away, under the worst of circumstances. A screaming match with his father that ends with the Judge hitting him, and then ...
This novel is excellent--Carr finally mastered Poe just when he got sick of him. It's worth acknowledging ways in which this differs from Hag's Nook compared to the Bencolin novels---although he started with a locked room murder in It Walks By Night, Carr had not yet established impossible crimes as his ``gimmick." His next three Bencolin novels would feature minor impossibilities, a car driving by itself, or objects appearing on a table, but not as the main focus. Poison In Jest maintains that tradition, lacking any sort of impossibilities. Thus, for someone who has not experienced Carr, it's not an ideal introduction, lacking the thing he's famous for. But for anyone who's interested in Carr's larger corpus, I fully believe that this is where he came into his own as a writer, and it's well worth your time.
The plot, briefly: Jeff Marle is called to the house of an old acquaintance, a now-retired judge whose children he was friends with, to look over a manuscript he's written with an eye towards publication. He finds the house seething with pent-up emotions.
Judge Quayle tried to assume a fatherly heartiness. He spoke in a deep voice, he tried to be at once brusque and kindly; but it was a failure. His eyes betrayed him.
“Well, let me see… . Matthew is a lawyer now, you know. The boy is doing very well ...”
(You are not thinking about Matthew Quayle Junior, judge. You have no pride in him. Your hands keep straying together again, to resume their brushing.)
Before long, the judge and his wife have both been poisoned, and the emotions and secrets of the family begin to boil over. Fortunately, one of those secrets is Patrick Rossiter, and while Judge Quayle may not think much of him as a suitor for his youngest daughter, he's just the man to drag the killer out into the open.
Carr disliked this novel, calling it a ``sodden flop," but you can't trust authors to judge their own work--Kafka wanted The Trial Burned, after all. I consider that this is a major work, and that Hag's Nook, because it marks the first appearance of beloved series detective Gideon Fell, gets credit for improvements that are already on display here.
It's a very clear precursor to both Hag's Nook and The Plague Court Murders as a matter of fact--while Bencolin novels were inspired by Poe, I believe that the immediate hook of this novel, where the Judge is seemingly being persecuted by the broken-off hand of a statue, is the first time a John Dickson Carr character will genuinely believe in a supernatural phenomena that a Great Detective must put to rest. Here, it fades from the story (and although I thought it's resolution was brilliant, veteran fans who were expecting something else might be disappointed), but lays the groundwork for the first appearances of both Carr's Great Detectives, Fell in Hag's Nook investigating a family curse, HM in Plague Court investigating a phony medium.
The detective is also a clear precursor to both Fell and HM. Henri Bencolin was dignified, and (as we are repeatedly told) ``Mephistophelian." He could be sardonic, in a way that approached humor, but he was a serious character for serious stories. The critical realization that having a detective who is in many ways ridiculous could enhance rather than ruin the tone---that HM confessing that he's scared of what a killer might do must be taken seriously precisely because he's usually so larger-than-life that he seems like he ought to be immune to such feelings---was first made with Patrick Rossiter, who is introduced thusly:
I heard, from the interior, a muffled splintering noise, a series of thuds, and a crash. They were followed by an outburst of the most picturesque profanity (punctuated by the sounds of thrashing about) it has ever been my good fortune to hear. It dealt chiefly with the shockingly lascivious habits of staircases, and surged from the heart like a prayer. I hurried over, pulled the door open, and peered inside.
The sight was as extraordinary as the language. Grimy light filtered through a high window; the place smelt of dampness, decay, and old hay. Past a line of ghostly stalls, a man sat on the floor talking to a stairway. In one hand he held an ancient board bucket, and in the other what appeared to be a decomposed stocking. A carriage-rug, crusted with stiff dirt, hung across his shoulder.
“---and furthermore...” said the man querulously, “furthermore...”
“Excellent!” I said. “Why don’t you get up?”
Carr is in transition from the Bencolin novels, clearly directly modeled after Edgar Alan Poe in tone, and his later works. This novel is mostly controlled in tone, while maintaining a strong atmosphere; occasionally it slips into excesses, but nothing like the worst of his first few novels. The family is vividly drawn, in the best Southern Gothic fashion--they're all miserable living together, but
Jinny looked at the fireplace, at a corner of the ceiling, everywhere, as though she were searching for a door. Over her flushed face crept an expression of futility and cynicism.
“Oh, I admit it. I’m a Quayle. I’m spineless.” She put her hand against the back of the chair, squeezing hard, and closed her eyes. “I don’t go away because I don’t dare. I’m afraid to strike out for myself, or I would. So I’m not one to talk. We’ll all be here until father...”
“Gets poisoned, for instance?” demanded Matt
Looming large over the house is the child who did dare to go away, under the worst of circumstances. A screaming match with his father that ends with the Judge hitting him, and then ...
“Where did he go?”
“We don’t know. I think he went in to see that old lawyer in town who’d been such a friend of his ... Dad never forgave him. And I knew Tom wouldn’t come back. He was too hard; he was as hard as nails. He never forgave anybody anything.”
This novel is excellent--Carr finally mastered Poe just when he got sick of him. It's worth acknowledging ways in which this differs from Hag's Nook compared to the Bencolin novels---although he started with a locked room murder in It Walks By Night, Carr had not yet established impossible crimes as his ``gimmick." His next three Bencolin novels would feature minor impossibilities, a car driving by itself, or objects appearing on a table, but not as the main focus. Poison In Jest maintains that tradition, lacking any sort of impossibilities. Thus, for someone who has not experienced Carr, it's not an ideal introduction, lacking the thing he's famous for. But for anyone who's interested in Carr's larger corpus, I fully believe that this is where he came into his own as a writer, and it's well worth your time.
November 12, 2022
Lu dans un fac-similé sympathique de l’édition française de 1948, avec sa jaquette, sa couverture cartonnée mais aussi ses bourdes de typographie qui compliquent parfois la lecture des dialogues, ce roman, l’un des premiers de John Dickson Carr, force le respect pour le savoir-faire du jeune romancier.
Le narrateur, Jeff Marle, est lui-même un romancier encore jeune qui retrouve, après une dizaine d’années, la maison de ses amis d’enfance, les enfants du juge Quayle, à la demande du pater familias ; celui-ci le reçoit en témoignant d’une grande nervosité, et Marle a à peine le temps de nouer avec lui une véritable conversation que le juge tombe victime d’une tentative d’empoisonnement, peu de temps après son épouse. Chose curieuse, on s’est servi de deux poisons différents.
Carr inscrit son récit dans le cadre le plus classique des romans à énigme : une grande maison de famille remplie de suspects. Mais il se distingue de la tradition anglaise, d’abord en traçant le portrait collectif d’une famille patricienne de la Nouvelle-Angleterre, pleine de traditions, de dignité et de préjugés, vis-à-vis de laquelle l’Europe sert à la fois d’échappatoire fantasmatique — notamment Vienne, qui fait rêver plusieurs personnages et accueille le prologue et l’épilogue — et de contre-modèle paradoxal : le seul personnage anglais est un excentrique dont on se demande pendant fort longtemps s’il faut le prendre au sérieux ou le faire raccompagner par l’ambulance de l’hôpital psychiatrique. De plus, toute la première partie du roman, qui expose le mystère jusqu’à ce que se produise quelque chose d’absolument irréparable, est menée à un rythme effréné dans une atmosphère d’hystérie collective tout à fait étonnante, et qui se trouve tempérée d’humour dans la deuxième partie du roman. Si la psychologie de la plupart des personnages n’est guère développée, au bénéfice d’une sorte de behaviorisme qui les rend au bout du compte assez mystérieux, Carr insiste sur l’atmosphère spécifique de la famille Quayle. Une sympathique pièce rapportée, le docteur Twills, fait vite remarquer que les enfants du juge ne se comportent pas comme une fratrie ordinaire, qui se serrerait les coudes au lieu de soupçonner immédiatement que l’empoisonneur est l’un d’entre eux : une remarque qui trouvera une belle explication vers la fin.
Ce qui me permet d’en venir à la qualité principale de « La Main de marbre » : l’intrigue est parfaitement composée et l’enchaînement des faits se révèle finalement d’une redoutable logique, dans une conclusion qui donne suffisamment de détails sans jamais s’alourdir. Le récit est parfaitement honnête ; les principales fausses pistes sont distribuées aux lecteurs avec habileté, et relèvent même strictement, pour certaines, de l’écriture littéraire. Comme narrateur, Marle a une petite tendance à la prolepse : il fait allusion à des événements qui ne se sont pas encore produits dans le fil du récit, de manière parfois très rapide, attirant ainsi notre curiosité sur certains détails qui ne seront pas forcément les plus significatifs au bout du compte, même s’ils comptent pour beaucoup dans l’atmosphère d’épouvante qui règne dans la maison Quayle. De plus, les lecteurs se font égarer par deux phrases parfaitement anodines d’apparence mais qui prennent une valeur très importante dans le contexte où elles sont lâchées, et qui tout en étant parfaitement véridiques envoient dans le décor les limiers amateurs pour qui la lecture d’un roman policier est un jeu de bras de fer avec l’auteur. C’est cette maîtrise du récit qui impressionne le plus dans « La Main de marbre ».
Le narrateur, Jeff Marle, est lui-même un romancier encore jeune qui retrouve, après une dizaine d’années, la maison de ses amis d’enfance, les enfants du juge Quayle, à la demande du pater familias ; celui-ci le reçoit en témoignant d’une grande nervosité, et Marle a à peine le temps de nouer avec lui une véritable conversation que le juge tombe victime d’une tentative d’empoisonnement, peu de temps après son épouse. Chose curieuse, on s’est servi de deux poisons différents.
Carr inscrit son récit dans le cadre le plus classique des romans à énigme : une grande maison de famille remplie de suspects. Mais il se distingue de la tradition anglaise, d’abord en traçant le portrait collectif d’une famille patricienne de la Nouvelle-Angleterre, pleine de traditions, de dignité et de préjugés, vis-à-vis de laquelle l’Europe sert à la fois d’échappatoire fantasmatique — notamment Vienne, qui fait rêver plusieurs personnages et accueille le prologue et l’épilogue — et de contre-modèle paradoxal : le seul personnage anglais est un excentrique dont on se demande pendant fort longtemps s’il faut le prendre au sérieux ou le faire raccompagner par l’ambulance de l’hôpital psychiatrique. De plus, toute la première partie du roman, qui expose le mystère jusqu’à ce que se produise quelque chose d’absolument irréparable, est menée à un rythme effréné dans une atmosphère d’hystérie collective tout à fait étonnante, et qui se trouve tempérée d’humour dans la deuxième partie du roman. Si la psychologie de la plupart des personnages n’est guère développée, au bénéfice d’une sorte de behaviorisme qui les rend au bout du compte assez mystérieux, Carr insiste sur l’atmosphère spécifique de la famille Quayle. Une sympathique pièce rapportée, le docteur Twills, fait vite remarquer que les enfants du juge ne se comportent pas comme une fratrie ordinaire, qui se serrerait les coudes au lieu de soupçonner immédiatement que l’empoisonneur est l’un d’entre eux : une remarque qui trouvera une belle explication vers la fin.
Ce qui me permet d’en venir à la qualité principale de « La Main de marbre » : l’intrigue est parfaitement composée et l’enchaînement des faits se révèle finalement d’une redoutable logique, dans une conclusion qui donne suffisamment de détails sans jamais s’alourdir. Le récit est parfaitement honnête ; les principales fausses pistes sont distribuées aux lecteurs avec habileté, et relèvent même strictement, pour certaines, de l’écriture littéraire. Comme narrateur, Marle a une petite tendance à la prolepse : il fait allusion à des événements qui ne se sont pas encore produits dans le fil du récit, de manière parfois très rapide, attirant ainsi notre curiosité sur certains détails qui ne seront pas forcément les plus significatifs au bout du compte, même s’ils comptent pour beaucoup dans l’atmosphère d’épouvante qui règne dans la maison Quayle. De plus, les lecteurs se font égarer par deux phrases parfaitement anodines d’apparence mais qui prennent une valeur très importante dans le contexte où elles sont lâchées, et qui tout en étant parfaitement véridiques envoient dans le décor les limiers amateurs pour qui la lecture d’un roman policier est un jeu de bras de fer avec l’auteur. C’est cette maîtrise du récit qui impressionne le plus dans « La Main de marbre ».
July 30, 2021
Джефф Марл приезжает в дом Куэйлов, друзей детства, которых он не видел больше 10 лет. В доме царит нездоровая атмосфера. В тот момент, когда приезжает Марл, кто-то пытается отравить миссис Куэйл. Сразу после нее чуть не умирает от яда глава дома — судья К��эйл. С третьего раза у отравителя получается — ночью от яда умирает зять Куэйлов.
В начале карьеры Карр написал серию романов о французском сыщике Анри Бенколене. Рассказчиком в этой серии был ��мериканский писатель Джефф Марл. В 1932 году, когда вышел последний, перед большим перерывом, роман о Бенколене — «Убийство в музее восковых фигур», Карр также выпустил «Отравление в шутку», в котором Марл действовал соло, без именитого француза.
Впрочем, дальше статуса «восхищенного работой сыщика статиста» Карр Марла не «пустил». Просто в этом романе Марл наблюдает не за Бенколеном, а за несколькими детективами. Возможно, писатель хотел начать новую серию с этими персонажами. Но в 1933 году вышел первый роман долгоиграющей серии о докторе Гидеоне Фелле и все персонажи «Отравления» были заброшены.
Поэтому «Отравление в шутку» считается первым внецикловым романом Карра. Технически — да, практически — в романе всё одно есть знакомое лицо, Джефф Марл. Ну, это как если бы Агата Кристи написала роман о Гастингсе и без Пуаро.
Помимо вышенаписанного, «Отравление в шутку» — типичный Карр. Большой дом. Большая семья. Убийство. Малый срок расследования — в сутки уложились. Достойное объяснение кто, почему, каким образом. Читателю предоставляется достаточно указаний на личность убийцы — и если читать внимательно, то узнать, кто преступник, можно куда раньше Марла. И как во всех самых ранних работах Карра — полное отсутствие юмора. Если вы привыкли к тому Карру, который не упустит возможности пошутить на страницах своих книг — в «Отравлении» вас ждет убийственно серьезная проза.
Еще одно — в романе нет «убийства в запертой комнате». Смерти происходят при «открытых дверях», а потому в романе нет очередной «невероятной разгадки». Надо просто следить за перемещением обитателей дома.
Еще одной загадкой романа становится личность того, кто раскроет преступление. В прологе Марл беседует с человеком, раскрывшим дело, но не называет его. Марл наблюдает за несколькими «сыщиками». И только в самом конце становится понятно, кто из сыщиков додумается до разгадки. Необычный ход, хоть и не слишком увлекательный.
7/10
Оригинал отзыва - https://cahier.ru/carr-poison-in-jest...
В начале карьеры Карр написал серию романов о французском сыщике Анри Бенколене. Рассказчиком в этой серии был ��мериканский писатель Джефф Марл. В 1932 году, когда вышел последний, перед большим перерывом, роман о Бенколене — «Убийство в музее восковых фигур», Карр также выпустил «Отравление в шутку», в котором Марл действовал соло, без именитого француза.
Впрочем, дальше статуса «восхищенного работой сыщика статиста» Карр Марла не «пустил». Просто в этом романе Марл наблюдает не за Бенколеном, а за несколькими детективами. Возможно, писатель хотел начать новую серию с этими персонажами. Но в 1933 году вышел первый роман долгоиграющей серии о докторе Гидеоне Фелле и все персонажи «Отравления» были заброшены.
Поэтому «Отравление в шутку» считается первым внецикловым романом Карра. Технически — да, практически — в романе всё одно есть знакомое лицо, Джефф Марл. Ну, это как если бы Агата Кристи написала роман о Гастингсе и без Пуаро.
Помимо вышенаписанного, «Отравление в шутку» — типичный Карр. Большой дом. Большая семья. Убийство. Малый срок расследования — в сутки уложились. Достойное объяснение кто, почему, каким образом. Читателю предоставляется достаточно указаний на личность убийцы — и если читать внимательно, то узнать, кто преступник, можно куда раньше Марла. И как во всех самых ранних работах Карра — полное отсутствие юмора. Если вы привыкли к тому Карру, который не упустит возможности пошутить на страницах своих книг — в «Отравлении» вас ждет убийственно серьезная проза.
Еще одно — в романе нет «убийства в запертой комнате». Смерти происходят при «открытых дверях», а потому в романе нет очередной «невероятной разгадки». Надо просто следить за перемещением обитателей дома.
Еще одной загадкой романа становится личность того, кто раскроет преступление. В прологе Марл беседует с человеком, раскрывшим дело, но не называет его. Марл наблюдает за несколькими «сыщиками». И только в самом конце становится понятно, кто из сыщиков додумается до разгадки. Необычный ход, хоть и не слишком увлекательный.
7/10
Оригинал отзыва - https://cahier.ru/carr-poison-in-jest...
May 5, 2021
John Dickson Carr’s standalone novel first-published in 1932 puts Bencolin sidekick Jeff Marle in an emotionally overwrought and overly complicated plot that suffers from having a cast (including the main detective) who are bundles of quirks rather than fully realised characters. There are some interesting plot twists and I’m a sucker for poison plots and the Golden Age of Detective Fiction anyway but this is only an okay example of the genre.
April 28, 2024
John Dickson Carr has to be one of the most enjoyable as well as one of the cleverest mystery writers of all time. He leaves modern writers in the dust. This one has a very, very limited physical space for events to take place in, and a very small number of suspects, yet JDC spins a tale that I couldn’t wait to unfold.
October 12, 2020
I was disappointed with this, having been a big fan of JDC locked-room stories. I found it rather slow and without much menace. I also didn't find the ending very credible. I'll keep reading him, though.
August 21, 2024
Another decent mystery. Two people in one family are poisoned.
June 26, 2016
Buku ini merupakan stand-alone novel dari John Dickson Carr, dg Jeff Marle (tokoh 'Watson' dari seri Henri Bencolin) sebagai narator.
Cerita diawali dari percakapan Jeff dg seorang priamisterius di sebuah cafe di Wina, Austria. Jeff meminta pendapat pria tersebut terhadap naskah novel yg baru ia tulis, yg terinspirasi dari sebuah kasus yg melibatkannya di masa lalu. Dari obrolan tersebut cerita berlanjut dengan flashback ke malam dimana kasus tersebut terjadi.
Jeff, memenuhi undangan Judge Quayle, seorang hakim yg telah pensiun dan juga tokoh penting di masa mudanya, di kediamannya. Dari undangan yg ia dapat, sepertinya maksud Judge Quayle memanggil Jeff adalah untuk meminta pendapat soal naskah yg baru diselesaikannya. Judge Quayle menjamu Jeff di perpustakaan pribadinya, percakapan mereka pun diawali dengan bernostalgia pengalaman bersama di masa lalu.
Percakapan berlangsung lancar, sampai Jeff menyinggung suatu hal yg langsung mengubah mood Judge Quayle. Di perpustakaan pribadi itu terdapat sebuah patung dr sosok Caligula yg lengannya buntung sebelah. Jeff pernah menyinggung soal hal ini di masa lalu, "why the hand was
gone?", dan respon Judge Quayle saat itu sama seperti sekarang. Jeff merasa persoalan potongan tangan Caligula itu adalah hal tabu bagi Judge Quayle. Apa gerangan misteri di balik potongan tangan tersebut?
Cerita berlanjut dengan jatuhnya Judge Quayle secara tiba-tiba. Mulutnya berbusa. Jeff dan Dr. Twills (menantu Judge Quayle) segera bertindak. Untungnya pertolongan dr Dr.Twills berhasil menyelamatkan nyawa Judge Quayle. Tak hanya itu, Dr.Twills juga mengatakan bahwa Mrs. Quayle juga telah diracuni, kali ini dg arsenic. Siapa yg bertanggung jawab atas diracuninya Judge Quayle dan istrinya ini?
Perseteruan berlanjut ketika Mary, Matt, Virginia, dan Clarissa (semuanya anak dari Judge Quayle) muncul. Jeff yg dari awal kedatangannya ke kediaman Judge Quayle merasakan ada atmosfir dan suasana yg tidak mengenakan, merasa semakin khawatir ketika keempat bersaudara itu saling tuduh atas peristiwa peracunan tersebut. Untunglah Dr. Twills berhasil menghentikan pertengkaran tsb dan mengusulkan untuk mengusut peristiwa dg mencari tahu keberadaan setiap org.
Setelah informasi terkumpul, Jeff dan Dr.Twills berunding sebentar di ruang baca. Dr.Twills pamit, sedang Jeff yg memutuskan untuk menginap membaringkan diri di sofa. Berbagai hal mengganggu pikiran Jeff. Dari informasi yg ia dapat, atmosfer rumah yg tidak enak ini sudah berlangsung sejak kepergian Tom Quayle. Tom pergi dari rumah akibat pertengkaran hebat dengan ayahnya, Judge Quayle. Sejak saat itu Judge Quayle menjadi paranoid, Mrs.Quayle sakit-sakitan, dan hubungan di dalam keluarga itu menjadi renggang. Apa yg sebenarnya terjadi di malam kepergian Tom itu?
Hal yang paling mengganggu Jeff adalah pernyataan Mary. Ketika tengah berada di dapur, Mary sekilas melihat sesuatu berwarna putih yg merayap di dekat jendela. Potongan tangan Caligula?! adalah hal pertama yg terpikir oleh Jeff. Dengan pikiran yg terus berputar, Jeff tertidur tanpa menyangka bahwa di keesokan harinya ia akan dikejutkan oleh kematian salah satu anggota keluarga Quayle. And another one.
Well, that's it for the outline of the story. I won't say anything further, that would be telling. hehe
Atmosfir cerita di buku ini luar biasa. Half the time, i was too absorbed in the story to try to figure out the solution. Sampai pertengahan buku saya tidak bisa menemukan benang merah dari misteri2 yg muncul. Semuanya nampak tidak berhubungan. Kepergian Tom. Peristiwa peracunan. Tangan Caligula. It doesn't make sense.
But of course, it all makes sense in the end. Pat Rositter (tokoh yg berperan sbg detektif di novel ini) yg muncul cukup terlambat di 2/3 buku, mengusut misteri satu persatu dan semuanya menjadi jelas. Awalnya saya kurang sreg atas solusi yg dikemukakan Rositter, tapi seiring saya mengikuti argumen dr Rositter saya menjadi semakin menyukai solusi tersebut. It's simple. It makes sense. And at some point, it might also considered as elegant. Bravo Rositter, you've convinced me!
Overall. It was a good mystery novel, although the premise wasn't nearly as interesting as Carr's masterpieces. So, 3 stars!
Cerita diawali dari percakapan Jeff dg seorang pria
Jeff, memenuhi undangan Judge Quayle, seorang hakim yg telah pensiun dan juga tokoh penting di masa mudanya, di kediamannya. Dari undangan yg ia dapat, sepertinya maksud Judge Quayle memanggil Jeff adalah untuk meminta pendapat soal naskah yg baru diselesaikannya. Judge Quayle menjamu Jeff di perpustakaan pribadinya, percakapan mereka pun diawali dengan bernostalgia pengalaman bersama di masa lalu.
Percakapan berlangsung lancar, sampai Jeff menyinggung suatu hal yg langsung mengubah mood Judge Quayle. Di perpustakaan pribadi itu terdapat sebuah patung dr sosok Caligula yg lengannya buntung sebelah. Jeff pernah menyinggung soal hal ini di masa lalu, "why the hand was
gone?", dan respon Judge Quayle saat itu sama seperti sekarang. Jeff merasa persoalan potongan tangan Caligula itu adalah hal tabu bagi Judge Quayle. Apa gerangan misteri di balik potongan tangan tersebut?
Cerita berlanjut dengan jatuhnya Judge Quayle secara tiba-tiba. Mulutnya berbusa. Jeff dan Dr. Twills (menantu Judge Quayle) segera bertindak. Untungnya pertolongan dr Dr.Twills berhasil menyelamatkan nyawa Judge Quayle. Tak hanya itu, Dr.Twills juga mengatakan bahwa Mrs. Quayle juga telah diracuni, kali ini dg arsenic. Siapa yg bertanggung jawab atas diracuninya Judge Quayle dan istrinya ini?
Perseteruan berlanjut ketika Mary, Matt, Virginia, dan Clarissa (semuanya anak dari Judge Quayle) muncul. Jeff yg dari awal kedatangannya ke kediaman Judge Quayle merasakan ada atmosfir dan suasana yg tidak mengenakan, merasa semakin khawatir ketika keempat bersaudara itu saling tuduh atas peristiwa peracunan tersebut. Untunglah Dr. Twills berhasil menghentikan pertengkaran tsb dan mengusulkan untuk mengusut peristiwa dg mencari tahu keberadaan setiap org.
Setelah informasi terkumpul, Jeff dan Dr.Twills berunding sebentar di ruang baca. Dr.Twills pamit, sedang Jeff yg memutuskan untuk menginap membaringkan diri di sofa. Berbagai hal mengganggu pikiran Jeff. Dari informasi yg ia dapat, atmosfer rumah yg tidak enak ini sudah berlangsung sejak kepergian Tom Quayle. Tom pergi dari rumah akibat pertengkaran hebat dengan ayahnya, Judge Quayle. Sejak saat itu Judge Quayle menjadi paranoid, Mrs.Quayle sakit-sakitan, dan hubungan di dalam keluarga itu menjadi renggang. Apa yg sebenarnya terjadi di malam kepergian Tom itu?
Hal yang paling mengganggu Jeff adalah pernyataan Mary. Ketika tengah berada di dapur, Mary sekilas melihat sesuatu berwarna putih yg merayap di dekat jendela. Potongan tangan Caligula?! adalah hal pertama yg terpikir oleh Jeff. Dengan pikiran yg terus berputar, Jeff tertidur tanpa menyangka bahwa di keesokan harinya ia akan dikejutkan oleh kematian salah satu anggota keluarga Quayle. And another one.
Well, that's it for the outline of the story. I won't say anything further, that would be telling. hehe
Atmosfir cerita di buku ini luar biasa. Half the time, i was too absorbed in the story to try to figure out the solution. Sampai pertengahan buku saya tidak bisa menemukan benang merah dari misteri2 yg muncul. Semuanya nampak tidak berhubungan. Kepergian Tom. Peristiwa peracunan. Tangan Caligula. It doesn't make sense.
But of course, it all makes sense in the end. Pat Rositter (tokoh yg berperan sbg detektif di novel ini) yg muncul cukup terlambat di 2/3 buku, mengusut misteri satu persatu dan semuanya menjadi jelas. Awalnya saya kurang sreg atas solusi yg dikemukakan Rositter, tapi seiring saya mengikuti argumen dr Rositter saya menjadi semakin menyukai solusi tersebut. It's simple. It makes sense. And at some point, it might also considered as elegant. Bravo Rositter, you've convinced me!
Overall. It was a good mystery novel, although the premise wasn't nearly as interesting as Carr's masterpieces. So, 3 stars!
June 10, 2024
Это, пожалуй, та самая книга Джона Диксона Карра, которая подтвердила для меня его статус мастера герметичного детектива, причём уровня не ниже Агаты Кристи. Знакомство с Карром началось для меня с романа "Чёрные очки", - он определенно заинтриговал меня, но это своего рода шедевр.
Загадка здесь не только в том, кто убийца и почему, а и в том, кто детектив и кому верить. Многослойная получилась история, к тому же семейная, что представляет особый интерес.
Дом старого судьи полон сплетен и пересудов, а также ядов и тайн. В нем что-то происходит, но трудно понять что именно - все похоже на затянувшуюся шутку, глупый жестокий розыгрыш, а оборачивается настоящим преступлением. Семья как семья - есть проблемы с многочисленными детьми, но все-таки клей семейных уз держит цепко, и потому все остаются рядом и определённо питают привязанность друг к другу.
Одно странно - перед лицом опасности каждый бежит от правды, стремясь сохранить себя и не страшась потопить другого. Ничего не стесняясь, принимают в свой дом посторонних людей, только бы им самим не пришлось разгребать кучи нестиранного белья, - что же так страшит их на дне бельевой корзины?
Загадка здесь не только в том, кто убийца и почему, а и в том, кто детектив и кому верить. Многослойная получилась история, к тому же семейная, что представляет особый интерес.
Дом старого судьи полон сплетен и пересудов, а также ядов и тайн. В нем что-то происходит, но трудно понять что именно - все похоже на затянувшуюся шутку, глупый жестокий розыгрыш, а оборачивается настоящим преступлением. Семья как семья - есть проблемы с многочисленными детьми, но все-таки клей семейных уз держит цепко, и потому все остаются рядом и определённо питают привязанность друг к другу.
Одно странно - перед лицом опасности каждый бежит от правды, стремясь сохранить себя и не страшась потопить другого. Ничего не стесняясь, принимают в свой дом посторонних людей, только бы им самим не пришлось разгребать кучи нестиранного белья, - что же так страшит их на дне бельевой корзины?
October 27, 2019
JDC gets his own ratings system and a 1 star Carr is the equivalent to a 3 star rating of a readable book by a random author.
This was a poor Carr. It had all the right elements, but it lacked finesse. I usually love the thick Gothic atmosphere of some of his best works but here it just feels heavy, plodding. Lame characters who barely make an impression (except for the neurotic coroner: "Bosh!", and the faux Holmes), a worthless Chekhov's gun character, no interesting backdrop. No high concept even to keep the pages turning.
This book was a slog. Not fun to read. Ever wonder what a Bencolin book without Bencolin would be like? This is that book.
This was a poor Carr. It had all the right elements, but it lacked finesse. I usually love the thick Gothic atmosphere of some of his best works but here it just feels heavy, plodding. Lame characters who barely make an impression (except for the neurotic coroner: "Bosh!", and the faux Holmes), a worthless Chekhov's gun character, no interesting backdrop. No high concept even to keep the pages turning.
This book was a slog. Not fun to read. Ever wonder what a Bencolin book without Bencolin would be like? This is that book.
April 13, 2014
Jeff Marle is called by the patriarch, Judge Quayle, regarding a manuscript Quayle has finished writing. While visiting, the Judge collapses after drinking a poison-tainted drink but does not die. Others in the household also begin to show signs of being poisoned, including one ending in death. One of the children then dies a violent death. In the background of the story is a mysterious ghostly white hand, presumably broken off a statue but seeming to have a life of it's own ... Enjoyable mystery but a little muddled at times.
May 19, 2020
Inside the separate heads of these people there beat small hammers of rage or hate or disappointment--their faces floated before me now--and, in the case of one of them, the hammer cracked through.An oppressive atmosphere in Judge Quayle's house meets the visitor Jeff Marle, with talk of poisons and a white marble hand terrorizing everybody. No Fell or Merrivale here. We get instead a county detective and then Rossiter who I didn't take to at all. Still an enjoyable reread, though, and I'm glad to say I remember who the culprit was this time.
July 10, 2016
An early novel of Carr's, but already considerably more amusing and better structured than It Walks By Night. This is a rare example of an American setting in a Carr novel; he sends Jeff Marle to his own (Carr's and Marle's) home state of Pennsylvania to stumble upon a murder mystery in the house of a childhood friend.
May 15, 2013
Very interesting and nice novel.
My article about this novel to
http://blog.librimondadori.it/blogs/i...
My article about this novel to
http://blog.librimondadori.it/blogs/i...
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