Emma (1815) by Jane Austen
I always feel guilty that Emma is not my favourite Austen book. It is the one that anyone interested in crime fiction of LGBTQ+ concerns cites. And it’s my second-favourite, but, honestly, I prefer Northanger Abbey and think there may be an element of over-reading involved in claiming Emma as a queer text. Certainly, Emma Woodhouse is an amazing, strong character who rewards queer analysis but I think it does a disservice to her, to her creator, and to queer readers to claim her as a queer figure. The plot of Emma is engaging and its execution biting and, sometimes, laugh-out-loud funny, but overall the feeling one gets reading it is, “Thank God someone is thinking like this”. I include it here because it is often cited as the first detective novel, but really I think that, too, is a stretch. Emma does investigate, and see new ways of reading situations, clues, and people, and I can see why people are keen to link a line of female detectives back to her, but I’m not convinced.
Giant’s Bread (1930) by Mary Westmacott
Agatha Christie’s first pseudonymous novel, Giant’s Bread is an ambitious literary effort with a mega three-book structure. It centres on Vernon Deyre, a brilliant, troubled musician for whom music is less a passion than an obsession. It follows him from childhood through a troubled adulthood, presumed death, and resurrection, as a Jewish friend, Sebastian Levinne, takes up the role of protagonist. With Levinne, Christie shows an awareness of antisemitism as a social evil, but also reveals her own limits as a social commentator as there is an essential difference in how he is presented compared to his friends. In all, Giant’s Bread is almost a masterpiece, and it makes perfect sense that it garnered critical praise upon its anonymous first publication.
The Lincoln Lawyer (2005) by Michael Connelly
Connelly is one of those authors I’ve been meaning to read for a while. A lot of people have recommended him to me, but I’ve always shied away because it’s always been in the context of “You wouldn’t like this blokey author, but how about Michael Connelly?” And, being half-straight, there are a fair few blokey authors I do enjoy. So, Connelly has always felt like an afterthought, although I’ve acquired a decent stack of his books. I figured I’d start with The Lincoln Lawyer, the first in a series about Mickey Haller, a defense attorney (barrister) who only represents clients he believes to be innocent. The story is decent and highly readable, and I did go on to read two more. One thing that niggled – in this, the two subsequent books, and the highly-influenced-by-Connelly prose of Steve Cavanagh, is that characters are nodding at one another all the time. I think this is some sort of macho thing.
The Thursday Murder Club (2020) by Richard Osman
In this extensive, highly illustrated and archivally informed book, Mark Aldridge presents a full story of Hercule Poirot, with particular attention to adaptations and behind-the-scenes elements, although he also summarises the novels, the plays, and several of the stories. An essential resource for any Agatha Christie fan, it’s also of use to scholars and researchers, containing some previously unreleased material. This is partly down to the benefit of the Christie estate’s heavy involvement and partly down to the author’s conscientious research ethic. Presentationally, Aldridge strikes a delicate balance between the informality of Charles Osborne’s The Life and Crimes of Agatha Christie and the scholarly rigour of Julius Green’s Curtain Up. It is not surprising that this book has become a bestseller, and I look forward to Aldridge’s next offering.
