The Lighthouse Murders (Lou Searing Mysteries Book 8)

2018 Great Graphic Novels for Teens

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Structurally this is a time-traveling film which begins in the past, then fast forwards to now, then reverts, and then fast forward, revert, fast forward with a final revert: Periods twisting like a mobius strip. Within this moving remit, there are continual self-reflexive remarks about the events we are seeing, those remembered and those to come as written by Dr Watson, who is himself controlled it seems by an illustrator who has invented ludicrous hats and mustaches, as well as some inexorable material forcing him to keep Mrs Hudson to the margins of the text.

Mrs Hudson — No. Well, I never say anything, do I? According to you, I just show people up the stairs and serve you breakfasts. Well, within the narrative, that is, broadly speaking, your function. And you make the rooms so drab and dingy. What she could complain about more cogently with respect to this episode and the whole of the third season is this: None of this has any serious reality. Where there is some is in thee women at the margins of the film and they function as mainstream reassurance: The film-makers use the recurring woman characters in this series for reassurance of emotional warmth and continuity, stability — a sop to the mainstream audience oddly out of place.

One of her piquant gestures. This includes Molly Hooper Louise Brealey as a woman in the s living as a man, dressed, acting as a man tranvestite anyone? Remember how hard she was slapped, anyone? Some women viewers have kept asserting how the women in this Sherlock series are strong. There is also the attempt of Watson humanly to reach Holmes. This sort of thing could have been the heart of the story and given it some meaning, especially when because there are some telling stills and a dialogue between Watson and Sherlock at a still central point of the whirling:.

Holmes, against absolutely no opposition whatsoever, I am your closest friend.

I am currently attempting to have a perfectly normal conversation with you. If you are referring to romantic entanglement, Watson, which I rather fear you are, as I have often explained before, all emotion is abhorrent to me. It is the grit in a sensitive instrument. No, I wrote all that. That is the version of you that I present to the public. The brain without a heart. I write all of that, Holmes, and the readers lap it up. But I do not believe it. You are a living, breathing man. Pass me your revolver, I have a sudden need to use it.

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Damn it, Holmes, you are flesh and blood, you have feelings, you have You must have Impulses. Dear Lord, I have never been so impatient to be attacked by a murderous ghost. As your friend, as someone who worries about you. Wwhat made you like this? Oh, Watson Nothing made me. The cant of the last 30 years has been that people only come alive when socializing. So this moment is not developed into anything beyond the literal surface meaning at all. Yet the 1st and 2nd seasons of the series showed they were much more intelligent and aware than that.

So they kept this superficial. If you can credit third grade psychology Sherlock is a horrible person, but the world has been filled with all sorts of people who lived and thrived and wrote and created mostly for long periods alone. He denies it and this dialogue certainly gives us nothing to suggest he is.

If it had been delivered less abruptly, it would have been witty. The only depth of emotion permitted is fraternal: We have two Mycrofts, and here is the core of this piece, the give-away. The startling reconfiguration of Mark Gatiss as the caring Mycroft in as the indifferent gross obscenely fat Mycroft of the s. And he seethes with hatred of Holmes. So the scenes with Moriarity seem oddly beside the point, not worked into any of the stories: Andrew Scott like some dead wax figure.

The scene beside the falls can be seen as sheer contrast to all the concern moving into the sentiment of the third season the other characters display for the alienated Sherlock. Or its another hallucination, matching the crazed murderous bride. All coming out of whose mind? One obvious explanation for the existence of this curious on one level inexplicable travesty of all that went before is money and advertisers. I understand an enormous number of people tuned in to watch in the UK and US and wherever else the show reached. The film-makers themselves invite us to see it this way.

They tell us this was a chance to dress the actors up in Edwardian dress. They want to feel they made a crude, abrupt comic soup, ratcheted up by computer techniques, in the background the usual clanging music. But if you watch and pay attention, Freeman as Watson has the same longing disquieted look he had in the first season.

The key is to relate this to all the grotesque imagery found in many gay works, the gravity with which we are given bizarre camp images. The disability is not to be found in any character of this series. It could be located in the society around them, only the film-makers elected not to allow us to believe in any outside society the way we do in Conan Doyle and most of the Sherlock films, including the most recent, Mr Holmes.

So they are condemned to go ricocheting round and round because their target is closed off. A typical expression of Watson not only in this episode but throughout the series, from his first psychiatric session on …. Mr Holmes has a couple of obstacles or problems to wide-spread acclaim. Its themes include how to cope with aging and its losses, death, stigmatized class status a no-no. I concede fully that the perspective is post-modern conventional thought and cant, especially about death and grief be damned , that there is something deliciously Jamesian Henry about it.

Characters have deeply traumatic encounters on park benches while wearing impeccable hats. It moves slowly, with shots that capture a poetry of stillness and costume drama in its green landscapes, seascapes, the sina qua non steam train rushing serpentine and noisily through. More than twice, though in one climactic instance it matters as someone is reminding me of a Trollope scene in The Prime Minister voluntarily smashed to smithereens.

Once you try to drill down to what could be the psychological or thematic or even political motive or moral explanation of at least two of its flashback and front story plots, you end up with ideas that will not bear any scrutiny. Convention defeats me here: I do not claim to be writing a consistently post-modern blog so allow me to explicate and show at least miminal story consistency. There are three time frames: It is not giving away the story to say she plots to kill her husband.

Another backstory told through interwoven flashbacks is set in Japan: Holmes has gone to Hiroshima ? What Conan Doyle story does not do something like this? Much of this is done through the techniques of filmic epistolarity: Part of the fun of this is withholding. There is fun in recognizing these character actors from other costume dramas quietly semi-parodying the roles.

Indeed the uplift at the close is the same fantasy Dickens plays upon in A Christmas Carol. We are asked to believe that people can make up for what they did wrong in the past, find a new person like the one you so hurt now to do better by. We do come near searing calamity in the present, brought on by both Mrs Munroe and Mr Holmes. The film is as Dickensian as it is Jamesian.

I felt bad for Laura Linney unbeatable in Love Actually , unforgettable in Hyde Park on the Hudson that she was given the howling role. Mr Holmes and Mrs Munroe, to say nothing of the maturation of Roger. If I had anything to object to in this film it was that both Ian McKellen too many great films and plays to begin to cite and Laura Linney could have been given much more deeply nuanced moments.

She is literally kept behind bars, looking out from windows:. The film-makers were chary about releasing stills of McKellen showing the ravages of old age in the film, as he falls, eats, puts down stones for those who have gone before him. There was a pandering to the sub-genre of old man-and-hopeful worshipping-boy. OTOH, the beautiful loving feeling at the close of the film was authentic. Mr Holmes will leave the property to Mrs Monro and her boy when he dies.

We see Mrs Munro and Roger in the garden working together and we see them walk off hand-in-hand too. The boy is now respectful of his mother under an eye of approval by Mr Holmes. He is 94, and we last seem him putting down stones as Ann Kelmot did for each of his friends now gone to the earth. He bows before them murmuring a lullaby. McKellen himself is very old now. Demelza Eleanor Tomlinson and Garrick arrived at Nampara Among remarkable items of interest suddenly turning up on-line are five texts by him read aloud sensitively, beautifully by two actors.

One reason the Poldark novels have not been acceptable to the establishment is that while Graham is alive to this post-modern aspect of his fiction: Click on the drawing to enlarge it. Claude Monet, Vetheuil Winter. At the Chalet Lartrec: Read by Ewan Bailey. Read by Nicholas Farrell. These feel dark and the snatches chosen are apolitical.

The Poldark novels have a strong element of intermittent sunshine and hope and are political, left-liberal, just now in public media beginning to be talked about for the first time. Read this short essay by Stephen Fielding, a professor of political history at Birmingham:. Poldark was actually one of the most radical period dramas of its day, reflecting the influence of the novels written by Winston Graham on which it was based.

The first Poldark novel was published in , the year Britain elected a Labour government intent on building a more egalitarian society. Against them stands Poldark, who, as an impoverished squire, gestured to a more classless past in which squire and tenant shared the same economic interests. As Graham wrote in Ross Poldark I decided we should forge ahead and begin reading Ross Poldark for next week see pages schedule for 1st third of Ross Poldark. I also sent my students the lecture notes I had made up — a sort of informal essay on the life of Winston Graham as background for reading the first three Poldark novels.

So here in a clear readable version for my students and anyone else interested is Winston Graham: As to my lecture notes, please first read the blurb on the syllabus on line. You can find older copies of his books in used booksales in libraries. Books rarely sell this way and they are today rarely kept in print unless they are selling.

So why do I call Graham neglected? Until very recently his historical fiction has been ignored by the literary establishment, academics, respectable people. One reason for this has been the fall in respectability of historical fiction in the early 20th century. These are all recently written. Before that all academic and more intelligent articles about him were about his mysteries. In the s there were brief articles comparing his novels to the mini-series.

But nowadays popular books are studied in classrooms and colleges; and then the 2nd film expensive well-done adaptation has been in the works for a couple of years, and the first was a tremendous hit and best-seller in DVD version. I would be stumbling over my feet if I did not over the course of the next 10 weeks include that in our purview.

I originally wanted to go for 4 books but was told that was too much and I admit one should spend 3 weeks on a novel. The first three are however part of a quartet, 4 books which come to feel utterly intertwined once you finish them — all four reflect their era of , post WW2, proto-feminist, reacting to this great traumatic war and a renewal of the social contract in the UK and US too — -later s.

Ross Poldark is the story of a revenant — a man returned like some ghost from the past, to a present utterly unprepared for him, in some ways hostile to his reappearance and needs. His son, by primogeniture, the oldest son of the oldest son, is the heir. They were filled out more later, came alive complete with back-stories in Warleggan. The first films also made Elizabeth a far more negative character.

So I will also tell of these back stories as we go along. The Forgotten Story is one of his better known mysteries several got prizes, David Hemmings was in the film adaptation of his powerful Walking Stick , some are rooted in the Spanish civil war, politically relevant. One might say Graham gave birth to twins. FS is the darker side of RP. Graham is dramatizing some problems when you try to write accurate historical fiction in FS.

They are lamps and mirrors: He was born in and grew up in Manchester, the city most identified with a huge growth in population and the industrial revolution in England over the later 18th into the early 19th century. In the 19th century a place where working men and women fought hard for reform — including the right to representation. Some of his family members were long lived and he lasted until , still writing.

He never did anything but write for a living. He experienced the pre-WW1 world; arguably our modern world emerges from WW1. He was not himself of working class background; by his generation genteel middle middle class, his family grew rich from pharmaceuticals — it began with his grandfather as a grocer and chemist in the UK that means you own a drugstore. The firm was D. Mawdsley and Co, which eventually manufactured drugs and medicinal compounds. Never grew to be Big Pharma partly because his father died and the kind of business acumen his grandfather had had was no longer there.

This is perhaps reflected in the conflicted tragic Francis Poldark. The Manchester era of his life is commemorated in Cornelia , his one historical novel not set in Cornwall but Manchester 19th century.

Published , it surprised people by how widely it sold. He became a book-of-the-month club author with it. He was expected to go to Manchester grammar school, but had contracted meningitis at the age of seven and, because of continuing ill health, went instead to a small select Longsight grammar school, which was nearer his home. They lived in a genteel neighborhood, Victoria Park, but of course as a boy he spent time in Manchester proper too. A lot of his time was at home since he was educated mostly at home.

He did not go to a British public school these are private schools for the upper classes , and he did not become part of upper class coteries — so he was an outsider to an establishment which could have bought, written about, pushed his books. After his father had had a stroke at the age of fifty-four, the family moved to Perranporth, in Cornwall — it was cheaper.

He was very close to his mother to whom he dictated his first story at the age of five. She, even when widowed, determined to subsidize him until he succeeded. Like Anthony Trollope it was a long apprenticeship — he was not paid much for his early books, but they got in print and in those days could get reviews.

He met and married his wife, Jean, in Cornwall who ran a lodging house which enabled him to keep writing. So imagine a long period of more or less isolated writing for him in his 20s to 30s, reading, then the experience of WW2 which was shattering for all in the UK, and it transformed the feel of his fiction, its nerve. Take My Life, The Little Walls, Marnie and The Walking Stick for books set in the present taking his writing career to the s , all thrillers, psychologically astute, and Ross Poldark with the three further historical books by So the first theme: He married a local girl; she became lame in one of her legs early on, suffered asthma — so did not connect up — she had a stroke in her early 50s.

She carried a walking stick. It probably hurt his reputation that he was a book-of-the-month club seller. The Poldark books were seen as regional romances. The men in his family were trade unionists part of the Chartist movement, early Labor people. In the first chapter of his autobiography he tells of the house maid in his childhood, Evelyn: The third; a deep sense of land- and seascape are central to his vision, deep time past,. Graham distinguishes three periods in Cornwall.

First period living in Cornwall with his mother and brother, , so age 15 through the s, the WW2 and the early years of his marriage. This is the era out of which our books comes. A second era in Cornwall as summer people: Graham had moved his family to southern France for privacy, to escape taxes, but at the end of the year he missed Britain so strongly he moved back to Sussex near London and as a literary man of letters he needed to be in contact but spent long summers in Cornwall, bathing, swimming, walking.

The third era is the last return just before and during the films — nostalgia he calls it. In there was a proposal to film his books; he claims to have re-started the Poldarks well before when the first super-successful series aired. No one was to know it was be a success; it was ridiculed and derided by the snarky British press who only became silent after a few weeks.

There was an extended visit, the film did not come off, but Graham was deeply prompted to return imaginatively, and began The Black Moon — the 5th Poldark book, returning not only to the era, but to these specific characters. It took time but eventually he wrote another quartet, These end with the same sort of depth of nothing is concluded as Warleggan end of first four and The Angry Tide end of next trio.

There was a film adaptation of just Stranger from the Sea , in an American movie-house style — cut the post-colonial politics so delete Spain and Portugal and an important part of the book , make it just 2 hours. So no attempt was made to film books A twelfth Poldark novel did come very late ; Bella, a very late child of Ross and Demelza, did finally provide closure; now we have a deeply troubled hero bonding with an orangutan. He was very lucky in being the second son, born much later than the first, to a woman who had sufficient private income to support them both.

The writing industry or literary marketplace at the time included many small publishers to whom an author could send manuscripts; if and when, an author was accepted, the contract was simplicity itself. He had actually stockpiled novels novels he had written and not sent out and was able to keep up attention to himself by sending along a novel quickly after the first to be published, and one after that.

He was reviewed in big dailies and locally. Again his big break began around the time WW2 ended. His characters are compelling: Do not do the logical or the rational and as a result often find themselves in complicated and incriminating circumstances that reveal the underpinnings, contradictions, values of the society they live in. And as a mythic place — Daphne DuMaurier books come out of this. Graham is far more realistic. Which takes us to The Forgotten Story. Oxford Bodley Head edition. Anthony is welcomed and treated kindly by his cousin, Patricia Veal Harris, and taken in by Joe and his second wife, Madge, the ex-cook.

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For a second time Patricia testifies truthfully in court: Both times she is reviled by various people for not lying; her father dies — he is clearly ill and failing, and she loves him, but he cuts her off with just pounds. Joe Veal was a selfish, mean man; his first act upon meeting Anthony was to take from Anthony all the money Anthony had from his mother. His will is spiteful; he leaves his brother Perry something derisory.

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Thus ends the first book. The second is discovery: We see that no one but Patricia shows any concern or interest in Anthony for real. Anthony discovers a previous will and Madge, a psychologically twisted woman, seeks to see that Anthony dies. Perry knows her poisoning propensities and she and he concoct a story that Anthony's father wants him to come to Canada; they will take him by boat to Bristol.

She hopes Anthony will drown in an "accident. The last third, Epilogue, is about the shipwreck itself, the inspiration or beginning of the book in its prologue. It's a powerful rendition of an attempt to save a boat in this Falmouth harbor during a high storm. It is saved, but Perry slips overboard, now terrified of Madge and not willing to keep murdering people.

We meet and read what a fictionalized the reporter who wrote the newspaper story said, hear of the coming trial of Madge, and what happens to Tom and Patricia and finally Anthony. The inspiration for the book comes from a real shipwreck off the coast of Cornwall in found in a newspaper; Graham loved the tall ships and as I said about his life , he was a coast guard in WW2 in Cornwall; although Cornwall was not bombed, the sea was fearful place during WW2 the German planes with bombs came that way.

The interest of the book is in the characters, their complicated psychology. At one point Tom Harris rapes Patricia marital rape , partly out of revenge, partly anger, partly to conquer her. One theme is the ambiguity of all records. Invariably they must examine a number of contradictory hypotheses before finding a combination that rings true, and even then they have doubts until the final proof is in.

Remember the Nazis came over the channel with their bombs nightly, not to Cornwall but the sea was their path.

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It falls into three parts the way many of his books do, with prologue as in Ross Poldark,, pp pages from Oxford Bodley Head book. Book 2, Chs — pp , the unraveling of the story so we begin to understand what has been happening out of sight. He lies sleeping as the novel closes. In this brief prologue Graham writes that it was novel written just before the first Poldark Ross Poldark and during some dark days in WW2 and he says it reflects the dark state of mind he felt at the public revelations of what the state of the UK had been doing, the concentration camps, the reality of what the war had been.

Did they like it? What did you like about it? What is dark about it? What did you think of the way Patricia Veal was treated by the town? About her efforts to find remunerative work and there is none for women of middle class background at all at the time. What did you think about Tom Harris?

A Forgotten Story is a historical fiction set in Cornwall, centered on Anthony Veal, an orphan boy where we meet marginalized people making a living off an inn on the coast of Cornwall at the turn of the century; how Patricia Harris nee Veal , the daughter attempts to flee a marriage where she has married above her and finds life constraining and painful. The father, Joe, whom the daughter loves and whose death changes the whole world for everyone living with him, is a mean selfish, narrow man who is almost responsible for his own death: Madge turns out to be murderess at its center she has spent a life poisoning people who has been able to murder Joe Veal partly because he is so secretive and a miser, incapable it seems of loving anyone himself; and now she has taken over the louche cowardly but not totally unredeemable uncle, who had been brought into the plot into order to accomplish it.

His great act is to kill himself lest he be dragged into killing more people with the Until near the end of the book it seems as if we are in a more straight historical novel about the psychological social troubles of a set of local people. The effect is part of the power: We have to figure events out. We do see things he does not see. We see how people do not interest themselves in this boy at all; he is not being sent to school; he is at risk. In the Bristol ship Madge locks Anthony into a room below deck on a sinking ship in order to drown him.

The use of a child narrator gives the word its intensity: I found the sequences towards the end of his dreams very effective — because they are not dreams, the body is really dug up, and because Freudian style they explain to him what is happening, pp , Powerful descriptive abilities, p Powerful analysis of people: Mrs Madge Veal is actually a commonplace woman, not a monster Perry, p The scenes in the tavern, the singing dark songs , the play-acting all attractive in Demelza a group of players comes to the village.

It gives the piece a gothic framing. Beyond the redolent use of Cornwall, I was attracted to the uncle who runs a genially transgressive bar, and to heroine, a type very like say Elinor Dashwood, the well-meaning but self-possessed and vulnerable young woman played in the mini-series by Angarah Rees , a kind of Verity Poldark. This is and the only professions open to a young woman still are wife or teacher. Tom rescues Patricia from the bar quarrel and to assert his rights over her, rapes her.

Grahame returns to this unusual motif again and again: The dislike and resentment and discomfort of being with people above you is part of why she wants to stay away from him; he is too powerful for her. All the while she is of course in her heart a virtuous heroine. Graham chose to return to the end of the Victorian period to be able to show this paradigm, only Graham de-constructs the framing social circumstances and shows us how unfair they are. Tom Harris no longer has the right to demand Patricia back.

In it had become no longer accepted since a famous court case for a husband to try to wrest his wife back to live with him. But he feels he ought to. The sense in the fiction is that this is wrong. This is at least one place where a woman should have real liberty. She is nagged by her murderous we find aunt to return to Tom using the conventional argument, she should.

She is shamed by her community when she does not return to him. Another Poldark motif is the courtroom where a character unexpectedly tells the truth out of a stubborn integrity which truth hurts her — in the case Patricia Harris. The ending shows Tom Harris who has all along been an ambivalent figure he appears to be exploiting the boy to pressure Patricia into a hero of integrity. He rescues Antony and brings Patricia back from the school. We discover that Tom has been responsible for her getting her job: Unlike Ned, he can take Patricia somewhere as his wife; they can afford to provide a home for Anthony.

How do they come to this decision. After a while the books all do spin around the same concerns, and for me at least are gripping. I get intensely emotionally involved. The Forgotten story is all that happened which does not appear in history and what really mattered — how little can come out in records that matters.

Swept under the rug, swept away as the storm which sweeps away Uncle Perry, the uncle who colluded with the aunt, swept away as Uncle Joe, the father whose real vulnerability we are never permitted to delve. Why he married Madge? The fiction remains conventional: Angharad Rees played both parts — in both films: The Forgotten Story , has an unhappily apt title, which paradoxically point to one reason it may still be in a collection with Marnie and Greek Fire, as it was made into mini-series in by then respected actors which appears to have flopped if the complete lack of information in IMDB and on line stills are any indication.

Nonetheless, The Forgotten Story, is also one of the few pres novels, novels before the Poldark series, Graham himself chose to reprint. Robin Ellis as Ross Poldark Aiden Turner as Ross Poldark That Graham wrote powerful mystery-thrillers often turned into film noir or Hitchcock type movies shows a vein of emotion that also feeds into the Poldark series. So, first up among the latter, his Forgotten Story , also set in Cornwall , written just before Ross Poldark , so a historical regional novel as well as mystery.

Angharad Rees played the role of the heroine of The Forgotten Story , the mini-series apparently wiped out. This probably because until recently I never made any particular effort to view this sub-genre; that changed with watching Prime Suspect , and the recent spate of this genre as matter for film adaptations on PBS as well as my study of the film adaptation of P.

Since I know few people will click onto my previous blog on The Forgotten Story and read it , no matter how many clicks I offer, allow me briefly to discuss The Forgotten Story once again. I hope yet another edition will follow from the success of the coming new Poldark mini-series. The epilogue to another historical novel not Poldarkian, and also set in Cornwall, The Grove of Eagles, shows an unusual display of exasperation at his public: In fact the attack was a stalking horse for attacking his attack on hierarchy and respect for privilege and rank.

The Forgotten Story is at heart a dark one, the story of a woman who has been murdering her relatives for a long time, gradually poisoning them, a woman it emerges with a twisted psychology of personal anger, spite, revulsion against others who were put off by her ugliness.

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We are led on in a kind of terror for her as her world collapses after the death of her father, and then in fear lest she or Anthony slowly die too. I recommend it — melancholy and dark yet with hope because there are a few good enough people in just the way of his Poldark novels. She has recently been rereading Sayers.

On my Women Writers through the Ages listserv Yahoo, Fran linked in a stimulating essay defending detective and mystery fiction by Raymond Chandler , on Trollope19thCStudies Yahoo, Tyler suggested the puzzle was the central attraction: Trollope is astute in his mockery of the Wilkie Collins school of detective fiction The Moonstone with its Sergeant Cuff is sometimes said to be the first detective fiction in English. I then read P. That makes the story serious. The same kinds of dismissals of women writers of the s in general in comparison to male writers is accounted for by Alison Light as anti-feminism in her Forever England.

First the usual defense is that of Chandler who has an enormous chip on his shoulder and James in her Talking of Detective Fiction: And the sad truth that these mystery-thrillers are preferred to serious realistic fiction by writers like George Eliot to Anthony Powell and William Styron. Then there are two schools of thought. The first argues that at the core of detective and mystery fiction is this explanation, this puzzle, these minute secrets and deductions to be solved. Chandler makes fun of it, but it is always there, however attenuated or done skillfully.

Gosford Park cannot avoid it. Winston Graham has his explanations skillfully woven in, but in the end clarification is needed. It seems to me the tendency of those who talk about the puzzle as central is to downgrade the form. The second argues the core is the bloody murder at the center; for Symons the mood is sensationalist and a crime central; Chandler is muddled and has both murder and detection at the center, but the best books rise about the puzzle for something more important, a story of say who has state power.

James that to quote myself in my summary of A Time to Be Earnest: Death in fact is a defining final experience. Its etched on the corpse. Symons calls his book, Bloody Murder. Death counts, it matters a lot, shapes our lives utterly each time one happens close to us, obviously to the person dying, and this brings detective, mystery books right into the tragic vein of art … Not Lear but it can partake.

A few last tentative thoughts: Still the citing of this brilliant mini-series and Yvette and my talk this evening makes me unsatisfied with this as a full explanation for the core of the genre when serious. Are these stories not parables about the relationship of power and justice? Sayers read against the grain exposes her society.

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