Agatha Christie is a staple of the mystery genre for a reason. I recently read one of her best-known stand-alone novels, And Then There Were None, which did not disappoint. This one’s a thrilling classic.
About the book: Ten people have been lured to Soldier Island, all under false pretenses of employment or a summer holiday vacation. By the end of the very first night, however, they discover that they’ve all been lied to, that some of them have kept secrets from each other, and that the systematic elimination of every one of them has already begun. The next morning, after a thorough search, the already-dwindled party realizes that they are in fact alone on the island–if there really is a murderer, he or she is hiding in plan sight, posing as one of the potential victims. Can they discover who it is before it is too late?
“He said: ‘Oh, yes. I’ve no doubt in my own mind that we have been invited here by a madman–probably a dangerous homicidal lunatic.’ “
The characters–the heart of any novel, in my opinion–have been expertly crafted. Not a single one of them is lovable, and yet they are all uniquely colorful and curious beings. Every single one of them is accused of murder; some of them admit freely to killing, and yet, they are all so afraid to die. There is something wonderfully freeing about meeting morally suspect characters: they seem perfectly capable of doing absolutely anything, from making the most heroic sacrifices to the darkest betrayals. The characters of And Then There Were None are not necessarily good people, but they are good to read–wild cards one and all. The most chilling aspect of the tale is that under the premise of the killer hiding among the others, he or she must necessarily be acting the part of a frightened victim as well as the truly terrified ones. He or she must be crazy enough to set up an elaborate ten-murder scheme, but also sane enough to remain undetected even as everyone begins to look at each other suspiciously.
” ‘Many homicidal lunatics are very quiet unassuming people. Delightful fellows.’ “
As for the technical aspects of the story: the narrator is an omniscient third party, who focuses on one character at a time and can describe that target so closely that his or her very thoughts are exposed. This is a precarious technique for a story in which the murders are ongoing and the narrator must not reveal which character is the culprit. Christie handles it fantastically. There are times when this narration allows for the reader to make guesses as to the killer, and times when it helps the reader by supplying information to eliminate one. Christie keeps readers on their toes by seeming to close all the doors of possibility, and then pointing out a window that has been left open. This mystery would not be possible without the narrator Christie gives it.
I am also particularly fond of the format Christie employs in this novel; the chapters are further divided into distinct subsections. The action frequently flows without break from one into the next–even in the middle of a conversation–and the subsections are relatively short, which together make the book easy to read and read and never stop. There’s nothing especially unique about this layout, but it’s my personal favorite: a nearly continuous stream, presented in bite-sized pieces.
My reaction: 5 out of 5 stars. This one had been on my TBR for a little while, but I was in no hurry to read it. Then out of the blue a friend lent me her copy and I decided it must be time. I’ve read some Agatha Christie stories prior to this, and enjoyed them, but none of them have stuck in my mind. This one, I think, won’t be leaving any time soon. I was completely caught up in the story, and the plot was masterfully crafted. The reader sees each character’s thoughts and actions, and still cannot deduce who is the culprit. I can’t resist that. I’ve heard of a YA book entitled Ten that is supposedly very similar to this one, and I think it might be interesting to check that out in conjunction with this one. Perhaps in the next month or two while this one’s still fresh in my mind I’ll find a copy for a comparison.
- Ruth Ware’s The Woman in Cabin 10 is a 2016 thriller in which a woman goes missing on a small boat. The only passenger who believes the woman existed at all is a journalist who realizes the killer must be one of the other passengers. As she persists in seeking the murderer–convinced that anyone aboard might be next to die–it becomes apparent that the journalist herself may be a target.Check out my complete review here.
- Robert Galbraith’s (J. K. Rowling’s) The Cuckoo’s Calling is the first book in a modern mystery series set in London. A detective down on his luck, along with the secretary who’s more of a partner despite the fact that he can barely pay her, sets out to work against the police and popular opinion to find a murderer from a cast of seemingly innocent characters. No one could have done it–but yet, one of them did. Check out my complete review here.
Coming Up Next: I’m currently reading the final book in the Lunar Chronicles by Marissa Meyer, titled Winter. I’m looking forward to seeing how the myriad plot threads from the first three books finally come together here–and how the story will look after reading Fairest, a companion novel following the villain’s perspective. I’ve already read Fairest and will include my review of that book and how it relates to the series along with my thoughts on Winter.
The Literary Elephant