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As this elegant story begins, an antediluvian Chief Constable, Colonel Pride (late of His British Majesty's Indian Army) is driving Sir John over to meet his neighbors at Elvedon Court. Sir John was New Scotland Yard's acknowledged authority on art-robberies, and the manor's owner has suffered a recent theft:
"'Grove nods at grove' -- Sir John Appleby quoted -- 'each alley has a brother--'
"What's that, my dear fellow?" Colonel Pride, who had drawn up his car on the Palladian bridge for a preliminary view of Elvedon Court, glanced at his companion with every appearance of perplexity.
"'And half the platform just reflects the other.'
"Ah, a bit of poetry." Pride nodded. He was seemingly gratified at having got, as he would have expressed it, right on the ball. "And I see what the chap means. All a bit formal, I agree. What another of those long-haired characters calls fearful symmetry."
The layout of Elvedon Court plays an important role in the ensuing mystery, so it behooves you to pay attention when the author is discussing its architecture.
No sooner do Colonel Pride and Sir John pull up next to the stately flight of steps leading to the manor's entrance, than they spot a police van.
Someone has murdered their host, Maurice Tytherton.
Almost everyone at Elvedon Court is a suspect, including a shifty butler and his wife, a known art thief, the late owner's mistress and her husband, a sniveling nephew with financial problems, and a prying guest who may remind you of Agatha Christie's Miss Marple. Sir John insinuates himself amongst the guests and relatives of the deceased and has a splendid time smashing alibis and detecting motives. There are lots of red herrings to chase after--for instance a vicar who lurks about the distinguished grounds with a pair of binoculars--but when Sir John finally rounds up all of the suspects into the deceased's study for the grand denouement, you may be sure he will finger the actual murderer. After all, "Appleby's Other Story" is from the Golden Age of British Mystery--the genre's Age of Enlightenment, as practiced by authors such as Dorothy Sayers, Edmund Crispin, Margaret Allingham, and of course, J.I.M. Stewart a.k.a Michael Innes.
Incidentally, this book's title is a horrible bit of word-play on the solution of the mystery. I stumbled across its true meaning (shame on you, Professor Stewart!) while writing this review.
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Mike Green has a self-deprecating British sense of humor, and he paints a hilarious picture of a wacky boat trip on inland narrow rivers. In one week, they encounter (or, more accurately, cause) every marine disaster known, from Insanity of Ship's Master and Explosion of Vessel, to Death at Sea, as well as some previously unknown, such as Going Aground on a Bungalow. Anyone who has ever sailed will be able to relate to the experiences described--knots that come untied in the middle of the night; knots that can't be untied when they need to be; skippers shouting desperately at the crew in the face of an impending collision. . . you get the picture.
This book was written in the 1950's, but the sailing experiences are timeless.
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If you are a beginner and need to know HOW to choose and HOW to ride, this book is for you.
It has answered all my questions and I'm ready for my first mountain bike.
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lecture of Beowulf, called "The Monsters and the Critics." I've read
"Monsters and the Critics," and liked it, but Beowulf and the Critics is
much better, not only because it is easier to follow, but because Tolkien
puts in a lot more interesting material, including two very good poems
about dragons. According to the editor, Tolkien started writing this book
for his students at Oxford, and it shows.
Tolkien argues that Beowulf is a great poem and that the monsters in it (a
troll named Grendel, Grendel's mother, and a dragon) are essential to the
poem's theme. I think he makes his case. He also provides a summary of
the study of Beowulf, from the discovery of the manuscript until he wrote
this book in the 1930's, which is actually much more interesting than it
sounds.
The editor has written a good, clear introduction that explains how all
this scholarly material relates to Tolkien's other work in Old English and
to his Middle-earth books. The notes are unbelievably extensive, and while
I didn't read straight through them all, the things I did look up were
explained very clearly.
While there aren't any Hobbits, dwarves or elves, I still strongly
recommend this book to anyone who really wants to know how Tolkien's mind
works.
Michael Innes in his usual perfection! Like any of his books, this one will delight you between dinner and bedtime. Skip that blind date and take out Michael Innes instead. He's the hippest, coolest Oxford don on the crime scene.
This one features George, my favorite aristocratic dog, as well as a young debonair Appleby in the pre-Judith days. The story starts out as a Robinson Crusoe shipwreck adventure (featuring a proper English spinster who goes native), turns into an offbeat drawing room comedy (with an entire cast of eccentric characters including the wonderful George), and ends up a World War II action-suspense thriller (with full sensurround fire and explosions)! Really, it does!
Along the way Innes' dry, hilarious prose drops little precious gems of insight and percipience. If you read Innes with your dictionary handy, you are guaranteed several arcane and ultra-cool additions to your vocabulary in every book. He's a sort of cross between Henry Fielding and Douglas Adams... kooky and hip and very, very well educated. If he is still alive, he is over eighty... and if I met him I would just swoon!