Category Archives: Arthur Upfield

We Can Discover the Wonders of Nature*

natural-restorativeIf you’ve read novels featuring Agatha Christie’s Miss Marple, you’ll know that she’s very fond of her garden. Admittedly, she likes the opportunity that gardening gives her to – erm – observe others. But she also likes being outdoors when the weather allows it.

She’s not alone. There’s actually credible research that suggests that we all benefit in many ways (cognitive, emotional, and more) from being in nature. In fact, research that a colleague and friend has done suggests that children learn better, have fewer mental and other health problems, and are more creative if they are out in nature. And that’s only a few of the benefits. That may be one reason so many of us were told to ‘run outdoors and play’ when we were young.

Certainly being outdoors, without electronics, can be a real restorative. So it’s not surprising that we see plenty of cases of sleuths who like their time in nature. For instance, in Dorothy Sayers’ Have His Carcase, mystery novelist Harriet Vane is recovering from the traumatic experience of being charged with murder (read Strong Poison for the details of that). She decides to take a break from the world by going on a hiking holiday near Wilvercombe. And at first, she does find it both relaxing and restorative. It helps her get some perspective, as nature tends to do. One afternoon, she stops to take a rest near a beach. When she wakes up, the tide is out, and she sees the body of a dead man. She alerts the authorities, who begin the investigation. The man is soon identified as Paul Alexis, a Russian-born professional dancer who works at a nearby hotel. Before long, Lord Peter Wimsey joins Vane, and together, they work to find out who would have wanted to kill the victim. It turns out that there are several possibilities.

The central focus of Ruth Rendell’s Road Rage has to do with Framhurst Great Wood, which lies near the town of Kingsmarkham. There’s a plan to run a road through the wood, and plenty of people are upset about it. And that includes Inspector Reg Wexford. He’s resigned to the development, but he’s not happy about it:

‘When I retire, he had told his wife, I want to live in London so that I can’t see the countryside destroyed.’

He’s not alone. Many people love the forest, and don’t want to see it ruined. Several activist groups arrive in the area to protest the new road, and Wexford knows there’s going to be trouble. Matters get far worse when the situation disintegrates to a hostage-taking incident. What’s more, one of the hostages is Wexford’s own wife, Dora. Then there’s a murder. Now Wexford and his team have to solve the murder as well as try to find a way to free the hostages.

Louise Penny’s Armand Gamache enjoys spending time in nature, too. In fact, in A Rule Against Murder, he and his wife, Reine-Marie, travel to the Manoir Bellechasse for an annual getaway to celebrate their anniversary. It’s a time for them to get away from it all, and at first, it’s a wonderful trip:

‘One day rolled gently into the next as the Gamaches swam in Lac Massawippi and went for leisurely walks through the fragrant woods.’

They enjoy themselves thoroughly until they begin to get to know the dysfunctional Finney family, who are also staying at the lodge. Then, there’s a murder. Now Gamache finds that his peaceful, natural retreat is anything but.

Fans of James Lee Burke’s Dave Robicheaux can tell you that, in the first novels in the series, he lives in a small, rural home on a bayou where he operates a fish dock. Later, he lives in a house that’s a little less rural, but not far away from the bayou. Robicheaux often finds peace when he simply spends time out on a lake, away from ‘it all.’ Although he’s not an eco-warrior, he understands the value of nature’s rhythms, and some of nature’s healing power. And Burke’s descriptions share that natural beauty with the reader.

Many indigenous cultures are infused with the understanding of how important a connection with nature really is. Fans of Tony Hillerman’s Jim Chee, or of Arthur Upfield’s Napoleon ‘Bony’ Bonaparte can tell you that those sleuths pay very close attention to nature, and are attuned to its rhythms. They connect on a regular basis with the natural world.

So does Adrian Hyland’s Emily Tempest. In Diamond Dove (AKA Moonlight Downs), we learn that she spent her childhood among her mother’s Aborigine people:

‘…my little mob and I would hunt in the hills, fish in the creeks, climb the skeletal trees, scour the countryside on horses borrowed from the stock camps.’

Emily ended up being sent away to boarding school in Adelaide, but she returns to the Moonlight Downs encampment and finds a place to belong. And she reconnects in this novel and in Gunshot Road with the natural world.

Even dedicated city dwellers know how restorative it can be to take a walk in a park, listen to birds, grow plants, or sit watching the sea. For instance, there isn’t a much more determined ‘city person’ than Rex Stout’s Nero Wolfe. But fans know that he gets his ‘nature fix,’ too. He spends a few hours each day with his orchids. If you find that being in nature calms you and helps you focus, well, the research supports you. Little wonder we see so many fictional sleuths who know that.

Speaking of nature…just for fun, can you spot the baby lizard in the ‘photo (You can click on the ‘photo to enlarge it if you like)?


*NOTE: The title of this post is a line from the Grateful Dead’s Sugar Magnolia.


Filed under Adrian Hyland, Agatha Christie, Arthur Upfield, Dorothy Sayers, James Lee Burke, Louise Penny, Rex Stout, Ruth Rendell, Tony Hillerman

‘Cause One Can Teach the Other One*

writing-across-cultural-barriersIn a recent, very interesting post, crime writer and fellow blogger Angela Savage made some important points about writing across cultural boundaries – that is, writing about a culture of which one is not a member. In that post (which you should read), Savage addresses the question of whether it’s appropriate to do that.

It’s not really an easy question, actually. On the one hand, there’s the argument that writers should write whatever they want, using whichever characters and so on they want. To argue otherwise is to argue for censorship. And there is merit to that argument – a lot of merit.

But (and this is a very important ‘but’), with every right comes a responsibility. Think of every right you have, whether it’s voting, self-expression, or something else. You’ll see that there’s a corresponding responsibility. So what’s the responsibility in the case of writing cross-culturally? As Savage argues (and she’s right), writers are responsible for understanding that other culture, and listening to (and incorporating) the narratives of its members. That is, the writer needs to acknowledge being a non-member and, thus, being responsible for gaining an understanding of that culture before making assumptions and writing about those assumptions.

We see all sorts of examples of that understanding, too, in crime fiction. For instance, Savage’s own series takes place in Thailand, and involves many Thai characters. Savage herself is Australian, as is her sleuth, Jayne Keeney. However, she lived in Southeast Asia (including Thailand) for some time. What’s more, she actively seeks out and listens to input from Thai friends and colleagues as she writes, and integrates their linguistic and cultural narratives into her work.

And she’s by no means alone in that sense of responsibility. John Burdett’s Bangkok series features Royal Thai Police detective Sonchai Jitpleecheep, who is, among other things, a devout Buddhist. Burdett is British-born, but lives in Thailand for part of each year. Before writing his series, he became thoroughly familiar with the Bangkok culture, Thai beliefs and traditions, and of course, the language. The narratives of the Thai people are woven into this series because Burdett has taken the time to understand them.

As fans can tell you, Tony Hillerman’s Joe Leaphorn/Jim Chee series takes place mostly on the Navajo Reservation in the Southwest US. Both of his protagonists are members of the Navajo Nation; in fact, both belong to the Navajo Tribal Police. And if you’ve read this series, you’ll know that many of the characters who people the Hillerman series are Navajo (some are members of other Native American Nations as well). Hillerman himself wasn’t Navajo. However, he lived for years in that part of the country. What’s more, he spent a great deal of time among the Navajo people. In fact, he was granted the status of Special Friend of the Dineh (Navajo people). And he always had a sense of responsibility about the people who inspired his novels. Several authors’ notes he wrote include caveats about the limits of his understanding. I know what you’re probably thinking, fans of Arthur Upfield’s Napoleon ‘Bony’ Bonaparte. In fact, Hillerman felt the same way and, more than once, acknowledged his debt to Upfield.

Paddy Richardson is a native of New Zealand. Her books mostly take place in that country, but she’s also experimented with characters from different cultures. In Swimming in the Dark, for instance, we are introduced to Ilse Klein and her mother Greta. They are from Leipzig, in what was once East Germany, and emigrated to New Zealand to escape the Stasi, the dreaded secret police. In one plot thread, we learn about their lives in Germany, and their adjustment to life in a completely different culture, with a different language. Later, Ilse becomes a secondary school teacher, which is how she meets fifteen-year-old Serena Freeman. At first, Serena is one of her most promising students. Then, she suddenly seems to lose interest in school, and Ilse becomes concerned. Then, she disappears, and Ilse and Greta are caught up in the mystery. Before writing this novel, Richardson spent time in Leipzig. She understands the culture, and ensured that her story was culturally accurate.

Stan Jones’ series features Alaska State Trooper Nathan Active. Active is Inupiat, as are many of the other characters in the novels. Jones isn’t, although he’s lived in Alaska most of his life. Jones’ time in Alaska allowed him to get to know many of the Native people who live in the far north, and he’s used that cultural understanding to create his characters. His author’s notes include really helpful information, and reflect his sense of responsibility to present the culture in authentic ways.

There are many other writers, too – I’m sure you could think of more than I could – who are members of one culture, but write about members of another culture. Do they have a right to do that? They do if you believe in the right to self-expression. But at the same time, there is a very strong argument that they also have a responsibility to do so in a way that reflects respect for and a thorough understanding of that other culture. It’s not an easy issue, but the underlying right-and-responsibility dynamic plays an important role.

What do you think about all of this? If you’re a writer, do you write about members of different cultures? How do you inform yourself?

Thanks, Angela, for the inspiration. Folks, do go have a look at her excellent post. And if you haven’t tried them, I recommend her Jayne Keeney novels very highly.


*NOTE: The title of this post is a line from No Doubt’s Different People.


Filed under Angela Savage, Arthur Upfield, John Burdett, Paddy Richardson, Stan Jones, Tony Hillerman

Let’s Go Down to the Big Ranch*

RanchesIf you live in suburbia or in a city, you might not think a lot about what it takes to get your milk, cheese, and meat (for those who eat meat) to market. It’s not an easy process. Cattle and sheep ranching are expensive undertakings that require a lot of land, luck with the weather, and hard work. Even with today’s technology, ranching still means long days, especially when calves and lambs are born. It’s not a life for everyone, but it keeps the rancher close to the land.

Ranching is a central part of the economy for many cultures, and it’s certainly found its way into crime fiction. That makes sense, too. As we’ll see, there are lots of places to hide a body on a ranch, and anything can happen there.

In Ngaio Marsh’s Died in the Wool, for instance, New Zealand MP Flossie Rubrick is preparing an important speech that she’s scheduled to deliver. So she goes to an isolated sheep pen on her husband’s ranch to prepare. She doesn’t return, though, until three weeks later, when her body is found inside a bale of wool. The victim’s nephew writes to Scotland Yard’s Inspector Roderick Alleyn about the death; and, since this might be a matter of national security, Alleyn travels to New Zealand to investigate. In the end, the murder turns out to be related to an important secret that Flossie Rubrick had found out about one of her family members.

More than one of Arthur Upfield’s Napoleon ‘Boney’ Bonaparte novels are set on ranches. In The Bushman Who Came Back, for instance, Bony is sent to Mt. Eden, a ranch belonging to Mr. Wooten. Wooten’s widowed housekeeper, Mrs. Bell, is shot one morning, and her seven-year-old daughter Linda disappears. Fearing the worst about Linda, the ranch hands go on a search, and Bony starts to sift through the evidence. On the surface, it looks as though a bushman named Ol’ Fren Yorky was responsible both for the murder and for abducting Linda. No-one wants to believe this of him, since he’s well liked. But the evidence is what it is. Still, the more that Bony learns about the case, the more he comes to believe in Yorky’s innocence. But if he is innocent, then where is Linda? Now, Bony has to go in search of both Yorky and Linda to find out the truth. You’re absolutely right, fans of The Bone is Pointed.

Even Rex Stout’s Nero Wolfe, who normally wouldn’t dream of leaving his brownstone home, let alone New York City, visits a ranch in Death of a Dude. Wolfe’s partner Archie Goodwin has accepted an invitation from Lily Rowan to be part of a house party at her ranch in rural Montana. Goodwin’s plan is to have a short visit with Lily and then return to New York. Everything changes, though, when Philip Brodell is shot, and Lily’s ranch manager, Roger Dunning, is accused of the crime. Lily is sure he is innocent, and wants Goodwin (and, by extension, Wolfe) to solve the murder. When Goodwin writes to Wolfe to explain why he’s changed his travel plans, Wolfe takes an interest in the case and makes the unusual decision to travel to Montana.

Steve Hockensmith has created an interesting historical (early 1890s) series whose protagonists are Gustav ‘Old Red’ Amlingmeyer and his brother Otto ‘Big Red.’ At the beginning of the series (Holmes on the Range) they are cowpokes who sign on to work at the Bar VR Ranch in Montana. They know that life as ranch hands isn’t going to be luxurious, but they’ll be able to indulge their pastime of reading Sherlock Holmes stories. Then, a ranch hand dies of a gunshot wound. Another dies after being trampled (but there was no cattle stampede that anyone can remember). Now, Old Red decides to use his ‘deducifyin’’ skills to find out the truth – just like Sherlock Holmes.

The Lone Elk Ranch is the scene for much of the action in Craig Johnson’s Dry Bones. It all starts when a large Tyrannosaurus rex skeleton nicknamed ‘Jen’ is discovered on the ranch. This is a very valuable find, both for the local museum and for science, and there are lots of people who want their hands on it. With stakes in the millions, there are plenty of suspects when the ranch’s owner, a member of the Cheyenne Nation named Danny Lone Elk, is found dead. Sheriff Walt Longmire (now Acting Deputy Attorney for Wyoming) looks into the matter to find out how and why Danny was killed.

And I couldn’t really do a post on cattle and ranching without mentioning Alexander McCall Smith’s Mma Precious Ramotswe. Fans will tell you that she got her start as Botswana’s first lady detective because her father, Obed, had a keen eye for cattle and owned a fine herd. When he passed away, the cattle went to his daughter, and it’s meant a great deal to her to have that security.

There are a lot of other novels that take place on cattle and sheep ranches. They really are effective contexts for a crime story if you think about it. Which ones have stayed with you?


*NOTE: The title of this post is a line from Los Lobos’ The Big Ranch. 


Filed under Alexander McCall Smith, Arthur Upfield, Craig Johnson, Ngaio Marsh, Rex Stout, Steve Hockensmith

In the End, Only Kindness Matters*

OnlyKindnessMattersThere’s been a lot of bad news from all over the world lately. At times like this, I think it’s helpful to remember that people are also capable of great kindness (and OK, the cute ‘roo in the ‘photo is an extra bonus😉 ). I’d bet you’ve experienced kindness in your own life, and shared it with others. It’s all over crime fiction, too.

It’s not easy to write a ‘kind’ scene in a crime novel. After all, those stories are about things that people do to one another, and crime fiction fans don’t want their books too ‘sugary.’ But there are ways to weave such scenes into a crime novel. And, when done well, they can add a welcome bit of light into an otherwise sad novel. For the writer, they can move the plot along, too, and add character development.

In Agatha Christie’s The Mirror Crack’d From Side to Side (AKA The Mirror Crack’d), we are introduced to Heather Badcock. She lives with her husband, Arthur, in a brand-new council housing development in St. Mary Mead. Heather’s far from perfect, but she has what’s sometimes called a big heart. So one day, when she sees an elderly lady stumble and twist her ankle, she’s only too happy to help. That lady turns out to be Miss Marple, who is quite grateful for the kindness of a stranger. That’s partly why she gets involved in the case when Heather later dies of what turns out to be poison. Miss Marple is not at all blind to Heather’s faults and weaknesses, but she also sees her good qualities. It’s an interesting case of a character whose positive qualities turn out to have a negative side, if I can put it that way.

In Arthur Upfield’s Death of a Swagman, Queensland Police Inspector Napoleon ‘Bony’ Bonaparte travels to the small town of Merino to investigate the death of itinerant stockman George Kendall. In order to get as much information as possible, he goes undercover as ‘just another swagman.’ With the help of Sergeant Marshall of the local police, he arranges to be jailed for ten days for vagrancy, loitering, lying to the police, and interfering with the police. He’s in his jail cell when he meets eight-year-old Florence Marshall (who usually goes by Rose Marie), the sergeant’s daughter.  Florence brings the ‘prisoner’ tea, and strikes up a friendship with him, and Bony is grateful for her kindness. Interestingly enough, he doesn’t condescend to her, which endears him to her. Later in the novel, Bony’s able to repay her kindness.

Ernesto Mallo’s Needle in Haystack begins as Buenos Aires police officer Venancio ‘Perro’ Lascano and his team raid a brothel. They have to be careful about, too. On the one hand, the ruling far-right junta (the novel takes place in the late 1970s) wants to put on a show of being tough on such crimes. And it’s as much as a death sentence to go against them. On the other, several important community leaders are patrons of the brothel. Still, the police carry out their duty. As Lascano is making one last pass through the establishment, he discovers a young woman hiding there. She’s not one of the brothel workers; rather, she’s using the place as a refuge. Lascano escorts her to safety, where he finds out that her name is Eva. He gives Eva temporary shelter in his home; and at first, she assumes he’s going to want something in return. But he asks neither for information nor sexual attention. In fact, as the novel goes on, he continues to treat her with kindness with no apparent ulterior motive. In the end, that kindness saves her life. This isn’t the main plot of the novel, really. But it does show how a kind gesture can add a ‘lift’ even to a noir story such as this one, where people generally can’t trust one another.

Andrea Camilleri’s The Snack Thief includes a sub-plot regarding a young boy named François. When his mother, Karima, disappears (her reasons are a part of the main plot), he’s left more or less alone in the world. Vigàta Inspector Salvo Montalbano has compassion for the boy and takes him in temporarily. That’s mostly at the behest of Montalbano’s longtime lover, Livia, who’s visiting at the time. Livia and François, especially, form a bond that benefits both of them. In the end, that kindness allows François to build a new life.

Paddy Richardson’s Hunting Blind is the story of Stephanie Anderson. When she’s fourteen, her younger sister Gemma goes missing during a school picnic/barbecue. Despite a massive search, no trace of Gemma is ever found. Seventeen years later, Stephanie is just finishing her training in psychiatry in Dunedin. She gets a new patient, Elisabeth Clark, who tells her a story that’s eerily similar to Stephanie’s own. Elisabeth’s sister Gracie also disappeared, also with no trace. Against her better judgement, Stephanie decides to lay her own ghosts to rest, and goes in search of the person who caused so much hurt to both her family and the Clarks. So she travels back to her home town of Wanaka. Along the way, she stays for a short time with Elisabeth’s father, Andy. Although she’s a stranger to Andy, really, he makes her welcome at the Guest House he owns, and treats her with kindness. So do other people she meets along the way. That kindness doesn’t catch the person responsible for the disappearances, but it shores Stephanie up during her journey. And it helps her do some healing.

And then there’s Ilsa Evans’ Nefarious Doings, which introduces Victoria newspaper columnist Nell Forrest. One night, Nell gets a visit from the police, who tell her that there’s been a fire at the home of her mother, Lillian ‘Yen.’ What’s more, a man’s body was found in the ruins of the garage, where the fire started. He is Dustin Craig, who lived next door. At first, the police think that he died in a terrible accident (although there is some question about what he was doing at the next-door house late at night). But soon, it’s proven that he was murdered. Now, Yen herself comes under suspicion, and there’s good reason for that. Nell starts to ask some questions, and discovers that several other people have strong motives for murder. In the course of her search for the truth, Nell herself gets into grave danger. Despite that, though, she finds a way to be kind to another character who’s also in danger. That kindness doesn’t exactly cement a friendship. But it does show that even when things look terrible, people can be kind.

And that’s the thing about kindness. It doesn’t have to be ‘sugary sweet’ (Nell’s isn’t, for instance). And in a crime novel, most readers wouldn’t want such saccharine anyway. But kindness can add a touch of relief to a novel. And in real life, those little kindnesses can make a difference. It doesn’t take much to reach out. And it can be an antidote to everything going on in the world…

*NOTE: The title of this post is a line from Jewel Kilcher’s Hands.


Filed under Agatha Christie, Andrea Camilleri, Arthur Upfield, Ernesto Mallo, Ilsa Evans, Paddy Richardson

But Nothing on Earth Could Ever Divide Us*

Children's Friendships with AdultsThere’s an old saying that ‘it takes a village to raise a child.’ Certainly children are influenced not just by their parents and siblings, but also by a lot of other people, too. And sometimes they form friendships with people you wouldn’t expect. There’s even a certain bond that develops sometimes between children and older people.

That may be because older people have the time and patience to hear what children have to say. And for their part, children often have a different perspective on what their grandparents and other older people have to say.  Those friendships are woven into crime fiction, and they can add interesting layers of plot and character development to a story.

Agatha Christie’s Evil Under the Sun introduces readers to sixteen-year-old Linda Marshall. She and her father, Captain Kenneth Marshall, take a holiday at the Jolly Roger Hotel, on Leathercombe Bay. With them is Marshall’s second wife, famous actress Arlena Stuart Marshall. Linda’s going through all of the awkwardness that comes with being a teenager. And things are not made any easier by the fact that her stepmother is beautiful and graceful. Linda’s very unhappy, but doesn’t really have anyone to talk to about what’s on her mind. One day, Arlena is found strangled not far from the hotel. Hercule Poirot, who’s taking a holiday at the same place, works with the police to catch the killer. As a part of the investigation, he has to find out what Linda knows and whether she might have been involved in some way. And it’s interesting to see how he reaches out to her. In her own awkward way, Linda reaches out, too, and that adds to this story. I agree with you, fans of Dead Man’s Folly.

In Arthur Upfield’s The Bushman Who Came Back, Queensland Police Inspector Napoleon ‘Boney’ Bonaparte investigates a murder that takes place at Mount Eden, a homestead belonging to Mr. Wooten. One day, Wooten’s housekeeper, Mrs. Bell, is found shot in the kitchen. What’s worse, her seven-year-old daughter Linda has gone missing. There’s evidence that a local bushman nicknamed Ol Fren Yorky was at the scene of the crime. He knew the people living at the ranch, too, and is thoroughly familiar with the area.  So it wouldn’t have been hard for him to take the child and disappear. No-one wants to believe that Yorky would have committed this crime or hurt Linda, since he’s well-liked. But it is a possibility, so he has to be found. Boney works with the local police to find out the truth behind this case; and, as he does, we learn that Linda and Yorky are friends in that way that children make friends with older people. It adds both a plot point and a layer of interest to the novel. You’re absolutely right, fans of Death of a Swagman.

Andrea Camilleri’s Inspector Salvo Montalbano and his longtime lover, Livia Burlando, make friends with a young boy named François in The Snack Thief. In one plot thread of that novel, Montalbano investigates the murder of a retired business executive who was killed in the elevator of his apartment building. The key to this mystery, and to another murder that Montalbano and his team are investigating, may be Karima, a housekeeper and sometimes-prostitute who could be a connection between the two cases. By the time Montalbano discovers this link, though, Karima has disappeared, leaving behind her son François. While the police team is looking for the boy’s mother, he has to stay somewhere safe, so Montalbano and Livia (who happens to be visiting) take him in. In the process, they strike up a friendship with him, and Livia in particular begins to bond with him. François isn’t the reason for the murders, but that friendship adds character depth to Montalbano and to Livia, and an interesting plot thread.

Virginia Duigan’s The Precipice features former school principal Thea Farmer. She bought a piece of land in New South Wales’ Blue Mountains, and had a dream home built, with the idea of living out her retirement there. But bad luck and poor financial decisions have changed her plans. Now, she lives in the much smaller house next door to the home she used to own. What’s worse, the home she still considers hers has been purchased by Frank Campbell and Ellice Carrington, people she refers to as ‘invaders’ and ‘aliens.’ Thea’s just getting used to that when Frank’s twelve-year-old niece, Kim, moves in with him and Ellice. Oddly enough, considering that Thea tends to be a misanthrope, she and Kim form an odd sort of friendship. They begin to spend time together, and Kim even attends a writing class that Thea’s taking. In fact, Thea sees real promise in the girl. So when she suspects that Frank and Ellice may not be providing an appropriate home for Kim, Thea gets concerned. She has no real evidence, though, so the police aren’t likely to do anything about it. So, Thea decides to make her own plans. The relationship between Thea and Kim is a really engaging (and important) plot thread in this novel.

And then there’s Derek B. Miller’s Norwegian by Night. Sheldon Horowitz has moved from his native New York City to Norway, to be closer to his granddaughter Rhea and her Norwegian husband Lars. One day, he inadvertently witnesses the murder of a young woman who lives upstairs from Rhea and Lars. He rescues her young son, and he and the boy go on the lam. Horowitz knows that the killers could be after the boy, and wants to keep him safe. Neither speaks the other’s language, but the two form a sort of friendship as they try to elude the murderers. For the boy, Horowitz represents a kind of safety. For Horowitz, the boy adds a purpose to his life.

And that’s the thing about the friendships that can develop between children and older people. Each fulfills a need that the other has, and that bond can do much for both. And in novels, such friendships can add character development and interest.



*NOTE: The title of this post is a line from Charles Strouse and Martin Charmin’s I Don’t Need Anything But You.


Filed under Agatha Christie, Andrea Camilleri, Arthur Upfield, Derek B. Miller, Virginia Duigan