Sixes

It was Jo’s idea a couple of years ago, and now it’s become an annual event – celebrate the first six months of the reading year by putting six books into each of six categories.

Not quite as easy as it looks. I’ve tweaked the categories to suit my reading style, and because I wanted to push disappointments to one site and simply celebrate some of the books I’ve read and the books I’ve discovered.

Here are my six sixes:

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Six books illuminated by wonderful voices from the twentieth century

Lolly Willowes by Sylvia Townsend Warner
The Diary of a Provincial Lady by E M Delafield
The English Air by D E Stevenson
The Castle on the Hill by Elizabeth Goodge
Nine Coaches Waiting by Mary Stewart
The Magic Toyshop by Angela Carter

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Six books from the present that took me to the past

The Visitors by Rebecca Maskell
Jonathan Strange and Mr Norrell by Susanna Clarke
An Appetite for Violets by Martine Bailey
Turning the Stones by Debra Daley
The True and Splendid History of the Harristown Sisters by Michelle Lovric
Sugar Hall by Tiffany Murray

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Six books from the past that pulled me back there

Wired Love by Ella Cheever Thayer
Esther Waters by George Moore
Griffith Gaunt by Charles Reade
Nine Pounds of Luggage by Maud Parrish
The Count of Monte Christo by Alexandre Dumas
Can You Forgive Her? by Anthony Trollope

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Six books that introduced me to interesting new authors

Wake by Anna Hope
Still She Wished for Company by Margaret Irwin
The Lie of You: I Will Have What is Mine by Jane Lythell
Mr Perrin and Mr Traill by Hugh Walpole
My Salinger Year by Joanna Rakoff
None-Go-By by Mrs Alfred Sidgwick

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Six successful second meeting with authors

The Auction Sale by C H B Kitchin
The Twelfth Hour by Ada Leverson
A Hundred Pieces of Me by Lucy Dillon
Wild Strawberries by Angela Thirkell
Mrs Westerby Changes Course by Elizabeth Cadell
Her by Harriet Lane

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Six used books added to my shelves

The Heroes of Clone by Margaret Kennedy
The Serial Garden by Joan Aiken
Portrait of a Village by Francis Brett Young
The West End Front by Matthew Sweet
The Stag at Bay by Rachel Ferguson
Elizabeth’s Women by Tracy Boorman

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Do think about putting your own sixes – it’s a great way of perusing your reading, and I’d love to read more lists.

Crime Fiction: The A to Z

When I set out on Kerrie’s Crime Fiction Alphabet I promised myself two things.

The first was that I would read nothing just for the sake of filling a slot, that I would only read books that I would have picked up sooner or later anyway.

I’ve managed that, though I did have to bend the rules a little for the difficult letter X and I had to throw in an emergency short story when the book I’d picked for letter Y let me down.

The second was that I would mix things up, and choose some familiar and some less familiar books.

And so my list is made up of:

  • Persephone books for H and X, and a classic short story by a Persephone author for G.
  •  A Virago Modern Classic, and a winner of the CWA Gold Dagger to boot,  for K.
  •  A wonderful anthology of new writers at W.
  •  Victorian crime for S and Victoriana for U. I would have liked to read more of both, but I ran out of time and letters.
  •  Crime fiction in translation at L and V.
  •  A Cornish book, set in very familiar countryside, at B.
  •  Agatha Christie re-reads at A and F. A for Agatha seemed to be the perfect place to start, and once I had re-read one book a number of others called me.
  •  Neglected woman authors, who were published in numbered green Penguins, at E, M, P and R. If I have learned one thing through the alphabet, it is always to look carefully at green Penguins as there are some real gems there.
  •  Male authors from the middle of the last century, who aren’t as lauded as some but really should be, at I, N and Q.
  •  A lovely range of contemporary crime fiction at C, D, J, O, T and Z.
  •  And that excellent, emergency short story at Y.

Mission accomplished, I think!

Here’s the A to Z in full.

A is for Agatha The ABC Murders by Agatha Christie
B is for Bolitho Framed in Cornwall by Janie Bolitho
C is for Crombie Where Memories Lie by Deborah Crombie
D is for Darkside Darkside by Belinda Bauer
E is for Ethel The Wheel Spins by Ethel Lina White
F is for Five Five Little Pigs by Agatha Christie
G is for Glaspell A Jury of her Peers by Susan Glaspell (short story)
H is for Holding The Blank Wall by Elisabeth Sanxay Holding
I is for Innes Death at the President’s Lodging by Michael Innes
J is for Jane The Burning by Jane Casey
K is for Kelly The Spoilt Kill by Mary Kelly
L is for Läckberg
The Stone-Cutter by Camilla Läckberg
M is for Mary Death and the Pleasant Voices by Mary Fitt
N is for Not Not to be Taken by Anthony Berkley
O is for Other The Other Half Lives by Sophie Hannah
P is for Potts The Man with the Cane by Jean Potts
Q is for Question A Question of Proof by Nicholas Blake
R is for Roth Shadow of a Lady by Holly Roth
S is for Study A Study in Scarlet by Arthur Conan-Doyle
T is for Tyler The Herring in the Library (and others) by L C Tyler
U is for Unburied The Unburied by Charles Palliser
V is for Van der Vlugt Shadow Sister by Simone Van Der Vlugt
W is for Written Written in Blood: a Honno Anthology
X is for Expendable The Expendable Man by Dorothy B Hughes
Y is for You You are a Gongedip by Sophie Hannah (short story)
Z is for Zouradi The Messenger of Athens by Anne Zouroudi

And that really is the end of the alphabet.

So where does my crime fiction reading go now? Well, I have The Quarry by Johan Theorin, A Herring on the Nile by LC Tyler, Now You See Me by S J Bolton, and two books by Erin Kelly in my library pile. My own green Penguins and my Agatha Christie collection are calling too, Plus those authors I discovered, and rediscovered, along the way and want to read again. And recommendations I picked up from others along the way ….

No end of possibilities …

The Expendable Man by Dorothy B Hughes

Dorothy B Hughes

“The germ or seed was always a place, a background scene. And against that background, there began a dialogue or a monologue; whatever it was, a conversation. Then I would begin to recognise the characters. The plotting was the final step; it was people and places that interested me, not gimmicks.”

(Dorothy B Hughes in the MWA Handbook)

When I finished reading The Expendable Man and turned to the afterword it was lovely to see the author’s own words about her writing. And lovely to be able to nod, and think, yes she does, and she does it very well.

The story opened with a man driving through the Arizona desert as he travels from Los Angeles to Phoenix. The opening paragraph sets the scene perfectly:

“Across the tracks there was a different world. The long and lonely country was the color of sand. The horizon hills were haze-black; the clumps of mesquite stood in dark pools of their own shadowing. But the pools and the rim of the dark horizon were discerned only by conscious seeing, else the world was all sand, brown and tan and copper and pale beige. Even the sky at this moment was sand, reflection of the fading beige of the sun.”

That sense of place continued right through the story, as did the fine quality of the writing.

Hugh Densmore was a young doctor, travelling back home for a family wedding.

He saw a hitchhiker standing by the road. A young woman. And that presented him with a dilemma. Night was falling and he didn’t want to leave her there, alone and vulnerable to predators. But he wasn’t sure he wanted to take the chance of being seen as a predator, by her or by others, if he stopped and offered her a ride.

Persephone Endpapers

He decided to stop, to try to make sure that the young woman was safe. And she accepted his offer. But he would soon wish he hadn’t stop. She was ungrateful, and he could see that the stories she was telling him weren’t true. And even when he was back home, caught up with family events, he couldn’t shake her off.

And there was worse to come. Hugh’s hitchhiker was found dead. Murdered. And he was the prime suspect.

And so The Expendable Man becomes a classic tale of the wrongly accused man. The man who speaks the truth, but is not believed by the authorities. The man who the real murderer sees he can easily frame. And the man who will struggle to clear his name, and to bring the real murderer to justice.

The story plays out in the way that these stories generally do, but there are many things that make this particular story so very fine.

Time and place were captured perfectly. I was transported across the Atlantic to Arizona, and back in time to 1963.

Each and every character is simply but clearly drawn. I believed in them, their relationships, their conversations.

I believed in Hugh and I had to follow him, even though I hated what was happening to him, even though I hated some of the things he saw and heard.

And then there is what many have called a twist but I am more inclined to call a revelation quite early on. I have to say that it confirmed my suspicions rather that coming as a complete surprise, but that really didn’t matter. It came naturally from the characters, from the place and the time, and it gave the story so much depth and power.

It also means that I can’t say too much more about The Expendable Man.

Other than it is a very fine novel, a very brave story to have written in the early 1960s, a crime novel with important things to say, and a book that I am happy to recommend.

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The Expendable Man is my entry for letter X in the Crime Fiction Alphabet.

Yes, it starts with X the sound rather than X the letter, but X is so difficult and I promised myself I wouldn’t read a book just because I had a letter to fill. I had no X books on my shelves, I could find none that I wanted to read in the library, and I did want to read this one.

And I think those are good enough reasons to bend the rules just a little!

The Crime Fiction Alphabet is hosted by Kerrie at Mysteries in Paradise.

“Each week, beginning Monday 10 January 2011, you have to write a blog post about crime fiction related to the letter of the week …”

And so next week Y is for … ?