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Death on the Nile

Once I finish this, I’ll have read every novel by Christie that features Hercule Poirot.

It’s a long book with a large cast and much stage-setting. After almost two hundred pages, no one has been murdered.

But it’s an interesting book. I like it when Christie goes biblical. Overt moralizing in literature is unfashionable, but Christie can’t help herself, and it’s refreshing.
“You are of the Church of England, I presume?”

“Yes.” Linnet looked slightly bewildered.

“Then you have heard portions of the Bible read aloud in church. You have heard of King David and of the rich man who had many flocks and herds and the poor man who had one ewe lamb – and of how the rich man took the poor man’s one ewe lamb. That was something that happened, Madame.”

Linnet sat up. Her eyes flashed angrily.

“I see perfectly what you are driving at, Monsieur Poirot! You think, to put it vulgarly, that I stole my friend’s young man. Looking at the matter sentimentally – which is, I suppose, the way people of your generation cannot help looking at things – that is possibly true. But the real hard truth is different. I don’t deny that Jackie was passionately in love with Simon, but I don’t think you take into account that he may not have been equally devoted to her. … What is he to do? Be heroically noble and marry a woman he does not care for – and thereby probably ruin three lives – for it is doubtful whether he could make Jackie happy under those circumstances? If he were actually married to her when he met me I agree that it might be his duty to stick to her – though I’m not really sure of that. If one person is unhappy the other suffers too. But an engagement is not really binding. If a mistake has been made, then surely it is better to face the fact before it is too late. I admit that it was very hard on Jackie, and I’m very sorry about it – but there it is. It was inevitable.”

“I wonder.”

She stared at him.

“What do you mean?”

“It is very sensible, very logical – all that you say! But it does not explain one thing.”

“What is that?”

“Your own attitude, Madame. … To you this persecution [by Jackie] is intolerable – and why? It can be for one reason only – that you feel a sense of guilt.”

Linnet sprang to her feet.

“How dare you? Really, Monsieur Poirot, this is going too far.”

“But I do dare, Madame! I am going to speak to you quite frankly. I suggest to you that, although you may have endeavoured to gloss over the fact to yourself, you did deliberately set about taking your husband from your friend. … You are beautiful, Madame; you are rich; you are clever; intelligent – and you have charm. You could have exercised that charm or you could have restrained it. You had everything, Madame, that life can offer. Your friend’s life was bound up in one person. You knew that, but, though you hesitated, you did not hold your hand. You stretched it out and, like the rich man in the Bible, you took the poor man’s one ewe lamb.” …

“She threatened to – well – kill us both. Jackie can be rather – Latin sometimes.”

“I see.” Poirot’s tone was grave.

Linnet turned to him appealingly.

“You will act for me?”

“No, Madame.” His tone was firm. “I will not accept a commission from you. I will do what I can in the interests of humanity. That, yes. There is here a situation that is full of difficulty and danger. I will do what I can to clear it up – but I am not very sanguine as to my chance of success.”

Linnet Doyle said slowly: “But you will not act for me?”

“No, Madame,” said Hercule Poirot.

Body-text fonts, pt. 50: Baskerville (metal type, mid-20th c.); Baskerville 10 (digitization)

My favorite Baskerville specimens from the previous century are in Charles Williams’s novels (e.g., War in Heaven [1930]).

This, too, is representative:


Rose Macaulay
The Towers of Trebizond (1956)

From the 2003 NYRB Classics introduction by Jan Morris:
There was a time when the opening line of this book entered the common parlance of educated English and American people. Nearly everyone I knew could quote it, and “‘Take my camel, dear,’ said my Aunt Dot” became a commonplace of badinage or social pleasantry. The line still gets into dictionaries of quotations, but it is years since I have heard it used in conversation.
It’s too bad that we’ve moved from the gracious “Take my camel, dear” to the boorish “Hold my beer.”

(František Štorm’s Baskerville 10 is the font’s closest digital approximation.)

Too many Easter baskets

By church’s end, each of my children had received three baskets. Here I’ve arrayed some of our Jesuses and sheep:


We have to keep Abel from swallowing these toys. He also steals his brothers’ chocolates and dissolves them in his mouth – still wrapped.

♦ ♦ ♦ ♦ ♦

Will Michigan win the championship? As I type, the Wolverines lead UConn by nine points. The Big Ten has gone untitled for roughly a quarter-century. Michigan State won in 2000; Maryland, not yet a conference member, won in 2002. Indiana, Illinois, Ohio State, MSU, Wisconsin, Michigan, and Purdue – every turn-of-the-century conference member, that is, except Iowa, Northwestern, Minnesota, and Penn State – lost in the championship game at least once after MSU won.

UConn first won in 1999 and went on to claim five more titles.

There are eighteen Big Ten members now. Loyal to the region, I penciled in Nebraska and Purdue as finalists. It was a bold but not outrageous prediction. Purdue unsurprisingly reached the Elite Eight; Nebraska advanced to the Sweet Sixteen having never previously won a tournament game. Had the Huskers gone far enough, I surely would have claimed Yahoo!’s $25,000 prize. (But it was the Huskies who reached the final.)

(A couple of years ago, I picked Creighton to reach the Final Four. I figure, the state is due.)

I did have Michigan in the semifinal. I achieved 60th-percentile staus this year, which is much better than usual. Yahoo! graded my bracket as “fine.”

Peanuts PDFs; UK map; Midwestern wedding

All of the Peanuts strips, PDF format, $25. Offer ends in 12 days.

♦ ♦ ♦ ♦ ♦

My UK wall map – a Christmas gift from my father-in-law – has been framed at last in a heavy, wooden contraption from Goodwill. Karin, the handy one, did the framing. My idea is to hang the map next to the TV so that we can check it when we watch homicidal/​agricultural/​veterinary programs, e.g. our latest, The Highland Vet.

Current reading: François Mauriac, Genetrix; Sue Townsend, Adrian Mole: The Prostrate Years (the last book in the series). And lots of other books.

♦ ♦ ♦ ♦ ♦

I should discuss the wedding we attended on Sunday. Samuel bore the rings with aplomb. The much younger flower girl lagged behind, so Samuel retraced his steps, grabbed some petals, and strewed them for her. All else went according to script: the brief vowing ceremony; the post-vowing, pre-dining interlude for photos; the popcorn and donut tables; the soda and liquor booths; the dinner rolls, sweet corn, and mashed potatoes; the couple’s dance, the bride’s dance with her father, and the groom’s with his mother; and the Cha-Cha Slide. There was no removing of the garter with teeth – none we stayed for, anyway. When we left, I was dead-tired. I’d held squirmy Abel several hours. It was as wearying as if I’d spent the day moving house.

Samuel and Daniel loved the Cha-Cha Slide; their grandpa danced it with them. That ex-DJ was in his element. I’ve not met a more ardent ritual-relisher.

1996, the best year in movie history, pt. 97: Casper

… “the first feature film to have a fully computer-generated … character in a leading role,” according to the IMDb.

Indeed, when ghostly young Casper is granted a few hours of re-embodiment, his human portrayer is less winsome than the computer-generated spirit. This is a mark of technical virtuosity.

Along with Casper, there are three other principal ghosts: “Fatso,” “Stretch,” and “Stinkie,” Casper’s loutish uncles. Physically, they’re like overgrown soap bubbles. They’re corporeal, but just barely. You can see them – and see through them. If you touch them, they dissipate. (No harm is done; they easily re-form.) Fat or thin, they’re rounded: there’s little angularity, and no severity, in their faces.


The uncles are malicious but jovial. Casper himself would be cuddly were he more than minimally solid. Such is his plight: he can love, but he can’t be embraced by his beloved.

The movie is a child-friendly version of the classic story of a romantic encounter between a human and a god (an angel, a space alien, a sprite, etc.). The themes are inaccessibility and yearning.


The girl is 1990s “Child Scare-Queen” Christina Ricci (The Addams Family; Sleepy Hollow). Casper sees her and falls in love. (That’s also how I felt when I saw her in the mid-nineties.) She is Kat, the daughter of Dr. Harvey (Bill Pullman), a psychologist who specializes in therapy for the dead – or, as he calls them, the “living impaired.” Ghosts, he explains, are people who fail to fully “cross over” because of “unresolved issues.” Dr. Harvey has an unresolved issue of his own, which is that his wife’s death has dialed up his eccentricity to eleven. He drags Kat across the country so that he can talk to ghosts and track down his wife’s spirit.

Dr. Harvey and Kat end up in Maine, in the run-down, Gothic dwelling of Casper and his uncles, at the behest of treasure-hunters played by Eric Idle (Monty Python) and Cathy Moriarty (most famously, Robert De Niro’s chilly wife in Raging Bull). Idle and Moriarty are involved in the movie’s funniest scenes, some of which also benefit from cameos by Saturday Night Live icons – a conceit repeated by director Brad Silverling in his Land of the Lost.

For example:


The uncles delight in frightening people; Casper tries to befriend them. The effect is the same. The living flee in terror. Until the Harveys arrive, that is. They weather the initial storm. Soon, Casper is cooking Kat breakfast, and the uncles are taking a shine to the Doctor. So much so, in fact, that they plot for him to die so that he can join their posse. Kat, meanwhile, is grateful for Casper’s attention, although she’d rather be with the local flesh-and-blood heart-throb (cue Carrie references). Will Casper win her over? In the spirit of Ray Bradbury, yes and no. Carefully attend to Casper’s re-embodiment. It becomes clear that Kat would accept Casper only under conditions that he couldn’t permanently satisfy. And rightly so, perhaps. The movie is bittersweet.

It also has more swearing and gross-out humor than your average children’s movie. (Again, see Silberling’s Land of the Lost, which, wisely, targets an older audience.) Casper’s plight may be at the movie’s center, but the prevailing tone is set by those hedonistic vulgarians, the uncles. Which is just as well; the core is perhaps too sad.

I liked the set design best. The run-down mansion is exquisite. There are lots of visual references to old movies – to Oz, especially. Afterward, I wanted to watch Casper again, to see how many I could count; Land of the Lost, too.