|Mystery of Three Quarters
|2 Intolerable Provocation||11||(8)|
|5 A Letter with a Hole in It||44||(7)|
|8 Poirot Issues Some Instructions||67||(4)|
|Part II The Second Quarter|
|10 Some Important Questions||89||(8)|
|15 The Scene of the Possible Crime||133||(8)|
|18 Mrs. Dockerill's Discovery||167||(7)|
|Part III The Third Quarter|
|21 The Day of the Typewriters||192||(3)|
|22 The Solitary Yellow Square of Cake||195||(5)|
|25 Poirot Returns to Combingham Hall||219||(15)|
|26 The Typewriter Experiment||234||(5)|
|27 The Bracelet and the Fan||239||(7)|
|28 An Unconvincing Confession||246||(5)|
|30 The Mystery of Three Quarters||256||(17)|
|Part IV The Fourth Quarter|
|31 A Note for Mr. Porrott||273||(7)|
|33 The Marks on the Towel||287||(10)|
|38 Rowland Without a Rope||337||(5)|
Accused by strangers of trying to set them up for murder, Hercule Poirot teams up with Scotland Yard policeman Edward Catchpool to investigate the drowning death of an elderly man. By the New York Times best-selling author of The Monogram Murders. 100,000 first printing.
*Starred Review* It's a puzzle worthy of the skills of legendary detective Hercule Poirot: four persons receive letters accusing them of the murder of one Barnabas Pandy, letters ostensibly sent by Poirot himself. Two of the recipients, who have never heard of Pandy, are furious: Sylvia Rule believes her daughter's fiancÚ, a man she hates, to be behind this scheme, while John McCrodden suspects his disapproving solicitor father. The other two-Annabel Treadway, Pandy's granddaughter, who lives in his house, and Hugh Dockerill, housemaster at Pandy's great-grandson's school-regret what they know to be an error, for the 94-year-old Pandy accidentally drowned in his bath three months earlier. Recruiting Scotland Yard detective Edward Catchpool for assistance, Poirot starts with just one clue, a flaw in the letter e on the typewriter used by the accuser. Then the intuitive sleuthing begins, as Poirot looks for connections between Pandy and the four recipients, and among the recipients themselves, scheduling his customary reveal with all parties present before he cracks the case, to put pressure on himself, with a slice of an ingeniously constructed cake at the center. In her third Poirot mystery, Hannah, authorized to continue the series by Agatha Christie's estate, once again nails the style and substance of her beloved predecessor, producing another treat for Christie fans. Copyright 2018 Booklist Reviews.
Hercule Poirot gets pulled into a mystery in the most awkward possible way when someone signing himself Hercule Poirot writes four letters accusing four different people of the same murder. Not only did she not kill Barnabas Pandy, a furious Sylvia Rule assures the famous detective; she's never even heard of him. Neither has John McCrodden, who assumes that his father, Rowland, whose fierce advocacy of the death penalty has won him the sobriquet "Rowland Rope," conspired with Poirot to accuse his long-estranged son of murdering Pandy. Annabel Treadway has certainly heard of Pandy—he was her grandfather, after all—but she tearfully claims that she didn't kill him either, though at least she's willing to listen to Poirot's own protestations of innocence. So is ebullient Turville School housemaster Hugo Dockerill, who passes the accusation off as a joke despite his own connection to Pandy, whose great-grandson, Timothy, Annabel's nephew, is a pupil of his. With all d ue respect to the obvious questions he shares with his "friend and occasional helper," Scotland Yard Inspector Edward Catchpool—which, if any, of these suspects actually killed Pandy? Why would anyone trouble to drown a 94-year-old slate magnate, no matter how wealthy has was, in his bathtub? Who wrote the letters?—Poirot is fascinated by a more puzzling question: Why would anyone want to write those four letters in the first place? A series of variously edgy conversations, a proffer of alibis, and another sudden death will intervene before Poirot, skillfully exploiting his trademark fondness for neat patterns, is able to make good on his uncharacteristically rash promise to reveal all in a roundup of the unusual suspects only a week later. As in her two earlier Agatha Christie pastiches (Closed Casket, 2016, etc.), Hannah is content to supply boundless ingenuity in place of more 1930s detail, this time adding a divinely inspired denouement that seems to go on fo r longer than the week that leads up to it. Copyright Kirkus 2018 Kirkus/BPI Communications. All rights reserved.