Detective fiction – Evil Under the Sun
(Disclaimer : The following is purely my own opinion. No hard feelings intended, and comments always welcome.)
I’ve mentioned before that most would-be-catchy book titles warn me off pretty effectively, but this is largely untrue for Agatha Christie titles. For one, her tried-and-tested ‘old school’ writing style guarantees good language, description and narration – winning half the battle for a good book. For two, (for two?? Is this correct??) Harper Collins (one of my preferred publishers) uses an elegant, quietly confident design for Christie’s books, meaning that even the loudest titles are balanced by subtle colours and fonts. I couldn’t find my edition of Evil Under the Sun online, and in the previous version of this post I used the ‘newer’, standardized Harper Collins edition of Agatha Christie. Then I hit upon the brainwave of bluetooth-ing the image of my book cover to the computer! (I am so tech savvy now!) So here now is the edition of Evil Under the Sun that I have. A pity the old design – apparently the signature edition one – seems to be unavailable now. Good book covers are always worth admiring. I particularly like the embossed “POIROT” on the bottom right corner.
Evil Under the Sun has been made into a movie, a computer game (Wii??) so far, and it’s often in the “Poirot classics” collection – which says something about it’s positive reviews so far. This Christie involves Poirot investigating the murder of a beautiful actress while he is on a holiday by the beach. Expect the usual set of puzzling clues, the appreciable leisurely character development, the turning of Poirot’s mental cogs and the quivering of his incredible mustachios, and yet another unexpected ending.
However, something about Evil Under the Sun lacks completeness. The story begins with engaging characters and an exploration of some interesting concepts, but once the murder takes place, the book’s focus on clue-finding and suspect-eliminating takes centerstage, cutting short character and concept development. I would have liked more thorough portrayal of evil and predation, which, after all, drives the killer’s actions. To explain it with “it is natural instinct to murder for money” is not only abrupt but disappointing; even if predatory instinct was deemed largely animalistic in Christie’s time, I’d expected a better psychoanalysis on Poirot’s part. Furthermore, while the method of murder itself is ingenius, I find it unbelievable that Poirot was able to unravel the entire sequence of events. For me, the lack of conviction is due in part to Poirot makes one too many “lucky guesses” this time.
As with many Five Little Pigs (can’t generalize with other Christie books), Evil Under the Sun has its characters exploring values like love, loyalty and marriage. In broader terms, Christie’s murders address the conflict of ideals between Victorian society and modern society. It adds suitable societal background to the book without digging up sordid pasts or dwelling on angsty scenes. From Five Little Pigs and Evil Under the Sun, it seems safe to trust Agatha Christie with a tasteful, well written and intelligent mystery. Since the reviews of this book have been largely positive, I would go ahead and recommend it anyway.