Ah, the glamour of the trans-continental Orient Express. Waiters in tuxedos, cocktails at six…..and murder.
In the world of Agatha Christie, murder is often an act of justice, and the victim isn’t mourned. We don’t feel their tragic loss, as they doubtless deserved to meet a sticky end. They can appear like mannequins, just cogs in the function of the plot. Despite the rather brutal multiple stabbing in this book, the murder feels cosy, contained, part of a world of wealth and certainty. Hercule Poirot is travelling on the train when a fellow passenger is stabbed. In the enclosed world of the express (the locked room trope being another delicious feature of Christie) he begins to suspect the other passengers aren’t quite the random bunch they appear to be.
Read it for: a lesson in how to assemble suspects and clues, how to use setting and enclosed spaces, and for one of the most famous twist endings in crime writing. And also because you’ll enjoy being steeped in the Old World glamour of stabbings before dinner.
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