I might've waited longer to make a post, but I just finished
The Listerdale Mystery, which is a collection of twelve short stories, and I had such a fun time I had to post ASAP! It's different from the previous short story collections I've read in that only one is a proper murder mystery, while the rest are murder without the mystery, murder adjacent, or do not come anywhere near murder at all! (Look at me being so excited, when it may turn out Christie has plenty of these.)
Some of the stories were centered on a twist that, by virtue of being a short story, made the twist far more important to the story itself, like anthology episodes of
Alfred Hitchcock Presents or
Twilight Zone (in terms of story structure, but with mundane concepts instead of fantastical). By the time I got to story ten there were some tropey repeats, especially featuring a man being pulled into an adventure by mysterious girl, but overall it's a fun mix and I really enjoyed myself.
Only caveat I would say that classism is particularly strong throughout in terms of justification for certain characters' successes or assumptions being proven right, but sometimes it seems earnest and others it seems ironic. I say that because another repeated topic of the stories is to not believe that people are who they say they are without proof, but the working class characters who get scammed this way tend to be rescued by their honesty, while the upper class characters who get scammed are either able to brush it off or are able to notice just enough truth through the scam to be rewarded by it.
Particular shoutouts to:
- The opening "The Listerdale Mystery", about a widowed mother who finds a house for rent that seems to good to be true; the story is, if you think about it for two seconds, a ridiculous concept, but it's a particular kind of romantic id that you'd be well used to if familiar with Bollywood films and I found it kinda charming for that;
- "Philomel Cottage", the most Alfred Hitchcock Presents of the bunch, with a recently-married woman realizing that her new husband might be planning to murder her;
- "Accident", where a retired inspector suspects that a neighbour is a twice-murderess who is going to kill her current husband and wants to try to prevent it, ( spoilers )
Besides that, I've also read two more Christie short story collections, both of which are Poirot collections and thus more traditional mysteries:
The Adventure of the Christmas Pudding and
Murder in the Mews. The best thing about short Poirot stories is that Poirot can show up at a scene of the crime, take one turn of it and solve the mystery immediately. Which is neat!
In
Christmas Pudding, I did like the one about the elderly estranged twin men, which kind of deceives you into thinking it'll be a switcheroo between the twins but is actually a switcheroo of a different kind. But quite a few (three, I think) stories involve disguises to make the murder appear to have happened differently or at a different time, and it kind of kicked my disbelief a bit too hard, especially the one that hinges on the murderer leaving it to chance that another character won't see the body after the murder.
Murder in the Mews has four short stories, with three being meatier than the fourth, and they’re kind of bound together with the theming of the "crime" isn’t exactly what it looks like. Well, the third one, "Dead Man's Mirror" is way more in line with Christie's precise murders, right down to the layout of the room being key to what's happened, but all of them are in the same realm. The only qualm I'd have is with the last one, "Triangle at Rhodes" which is the shortest of the lot and the assumptions are a bit of a stretch for me, in terms of what Poirot observes of the relationships that's happening vs. what we the reader are shown of those same relationships.
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