By Agatha Christie
Whilst Richard Abernethie, the grasp of Enderby corridor, dies his heirs gather on the significant Victorian mansion to listen to the studying of the need. it's then that Cora, Abernethie's sister, comes out with an alarming inspiration: "But he used to be murdered, wasn't he?" tomorrow Cora is located brutally bludgeoned to loss of life in her domestic.
None except Belgian sleuth Hercule Poirot is summoned to Enderby in pursuit of the assassin. Suspects abound together with a wayward nephew unfortunate with girls and horses, a favourite and possible innocent sister-in-law, feuding nieces, a nosey housekeeper, and a disingenuous paintings collector.
Poirot needs to conjure all of his deductive powers for you to unmask the killer and his ultimate end is an excellent and unforeseen as ever. After the Funeral is vintage Christie at her most sensible.
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Extra resources for After the Funeral (Hercule Poirot, Book 29)
42. O n this point, see Sac van Be rcovitch, Th e America n Jeremiad (Mad ison : Un iversity o f Wisconsin Press, 197 8). ,no NOIR 50 . To m Conley has p rese n ted an int er estin g th esis whic h tries to show the influ en ce o f ex iste ntia lism and its th eat re on fil m nair: see his a rticle, 'Sta te of Film Noir', T heatre journal ( 1987 ), pp. 347-63. See also Rob ert G. Po rfir io, ' No Way Out : Existe n tia l Motifs in the Film Noir', Sight and Soun d, vol. 45, no. 4 (Au tu m n 1976) , pp .
It would be an interesting experiment to try to mak e a n encyclopaedia of detective films not included in the encyclopaedias offilms noirs. This would engage us in a veritable archaeology of the American d etectiv e film, a nd no longer in a compilation attached to arbitrarily chosen dates. StiIl, if the context of 24 c f F a II C \01 II C. F f( n FILM NOIR ON THE EDGE OF DOOM 1946-55 in France ca n explain the crea tio n o f the term 'fiLm nair', it is astonishing that it has lasted and that it has regularly been reviv ed and renewed by su cceeding ge ne ra tion s, until now and the present volume.
A. and looked it eve ry in ch') are virtuall y th e onl y middle-class characters in all of Chandler ; and th e y are there to show that in matters of wealth and power (their daughter has been murdered) the police cannot be counted on to protect even these most solid and re sp ectable average citizens. As for the working class , Bill Chess in the same novel can be thought to stand as their ' re p rese n ta tio na l representative', but he is a cripple and an alcoholi c and a wife-beater and makes Chandler's problem even clearer: how to co nvey the average and the everyday in the co u rse of pursuing the ' m e m o ra ble' and th e ex ceptional, of registering what breaks the routine, challenges the serene reprodu ction of th e social order, counts as crime and adventure.
After the Funeral (Hercule Poirot, Book 29) by Agatha Christie
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