There's been some reconsideration that ROGER ACKROYD isn't quite the masterpiece it's been taken for granted as, aside from it's famous 'twist' - I seem to find it more disappointing each time I re-read it - my latest re-read ended in failure, in fact, about half-way through - surprisingly, this book just plods along - Christie has written far more engagingly elsewhere (particularly in AND THEN THERE WERE NONE).
But the twist itself was so controversial because it had never been done before, and half the mystery world wanted to string Christie up by her thumbs for it. It was only when Dorothy Sayers, then the queen of thrillers, weighed in on Christie's side that the controversy subsided.
What makes Ackroyd a masterpiece, in my anything-but-humble opinion, is how carefully Christie uses language to keep the murderer's identity secret when it would have been ridiculously easy to let something slip. I can only imagine that she reread the manuscript multiple times to make sure there were no mistakes.
reply
share