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Etter begravelsen (After the Funeral) de…
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Etter begravelsen (After the Funeral) (1953 original; edició 1978)

de Agatha Christie

Sèrie: Hercule Poirot (28)

MembresRessenyesPopularitatValoració mitjanaMencions
3,133573,103 (3.65)95
When Cora is savagely murdered with a hatchet, the extraordinary remark she made the previous day at her brother Richard's funeral suddenly takes on a chilling significance. At the reading of Richard's will, Cora was clearly heard to say: 'It's been hushed up very nicely, hasn't it...But he was murdered, wasn't he?' In desperation, the family solicitor turns to Hercule Poirot to unravel the mystery.… (més)
Membre:IaaS
Títol:Etter begravelsen (After the Funeral)
Autors:Agatha Christie
Informació:Oslo : Aschehoug, 1978
Col·leccions:La teva biblioteca, Novel; romance, crime, western etc.
Valoració:
Etiquetes:novel, [hylle1-6b]

Detalls de l'obra

After The Funeral de Agatha Christie (1953)

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I rescued the paperback from a bin at Goodwill.

Around the year in 52 books challenge notes:
41. A mystery ( )
  Linda_Louise | Jan 20, 2021 |
In which a stray comment from a batty relative leads to murder.

After the Funeral features one of my personal favourite denouements, as well as one of my favourite titles in the Christie canon. On the other hand, I think it struggles to integrate the detective, and relies a little bit too much on chance. "After the Funeral" is promisingly bleak, with a horde of greedy relatives torn asunder when – at the reading of a dead man’s will – a tactless relative intimates he was murdered. Dame Agatha was grand at creating scheming, backstabbing households, and "After the Funeral" is a powerful example. Unlike the repressed schemers of "4.50 From Paddington" or "Hercule Poirot’s Christmas", the Abernethie heirs really have no shame in their greed, and it’s not hard to suspect everyone in the two murders. In this bewildering mix, Christie floods us with clues while blinding us to the obvious. Indeed, hidden amongst the plot are many of Christie’s stalwart tropes, but reinvented and interpreted so as to seem refreshing. The denouement is simply a wonderful piece of plotting.

There aren’t really any flaws. While the murderer’s plan relies on taking a great risk, it seems reasonable that he or she would try it, and – unlike some very contrived plots like "The Body in the Library" – this is a risk that only requires one event to work as planned. Poirot puts in a good show of logic, but his characterisation gets somewhat lost under the weight of the others. Still, this was an era when Christie often inserted Poirot as an afterthought, so he’s probably lucky to have emerged at all.

[US readers, unsurprisingly, got this title rejiggered as "Funerals are Fatal", and, later "Murder at the Gallop", because a Margaret Rutherford Marple movie stole this plot.]

Poirot ranking: 10th out of 38. ( )
  therebelprince | Nov 15, 2020 |
Typical Agatha Christie: there were a lot of characters to follow, a lot of exposition, and Poirot doesn’t arrive until the halfway point ... I enjoyed it all!
( )
  ShreyasDeshpande | Oct 24, 2020 |
good but not that great ( )
  devendradave | Sep 1, 2020 |
Only read this book if you want to read all of the Poirot books. Otherwise skip it. Seriously.

Some of the most despicable characters and an ending that had to be the dumbest one yet for a Christie novel.

Once again we have very little Poirot to start with. This book starts at the reading of the will of the late Richard Abernethie. The whole family is left money, though his sister Cora mentions that he had to have been murdered. This disturbs other members of the family and the family solicitor, Mr. Entwhistle. Mr. Entwhistle is disturbed because Cora has a knack for noticing things that other members of her family ignores and after she is murdered by someone he feels that Cora was correct and Mr. Abernethie was murdered.

I refuse to discuss any of these people because they were all as shallow as a small puddle formed after a brief rain. Once again I question how Agatha Christie viewed women. Based on her life I always imagined her as independent and sure of herself. She always seems to write women in these Poirot books as either clinging to a man that does not want them or dealing with a man who treats them terribly by cheating and or beating them but they still want to be with.

The flow was really bad. It took eons (it felt like) for the story to get going. We have Poirot going in and stirring up the Abernethie relations and all you find out is more information to either make you loathe or pity these people depending on who the story focuses on.

The setting of post-war England in this one was much more explicit than in the previous two novels. Unlike in prior books, if a wealthy man/woman died most of the servants could be taken care of after the fact, however, in this book it is specifically mentioned because of taxes and how high everything costs to date that a lot of household items must be sold along with homes. I think even Poirot and others remark a time or two that they don't seem to like the new world in which England has entered where there is less of a master/servant relationship among people. In fact I think the ending was in a way taking a look at what the war had wrought in terms of good versus bad servants.

The ending was a joke. I mean it was just the dumbest thing ever. I re-read it twice to make sure that I was not mis-reading anything, but nope that was the ending.


We find out that Cora's companion murdered her all to sell a Vermeer painting she had in order to get money to open up a tea shop. It makes no sense for this woman to have pretended to be Cora, let alone to say that perhaps Richard Abernethie was murdered. Why didn't she just kill Cora and abscond with the painting? It made no sense at all. I honestly think that this was Christie's way of saying that before the war a woman like Miss Gilchrist would have been happy with her lot in life, being a paid companion to a now wealthy woman. Instead she's angry and frustrated that she can't do a lifelong dream of opening her own tea shop.


And then we have all parties just go off and someone just exist unhappily together. ( )
  ObsidianBlue | Jul 1, 2020 |
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» Afegeix-hi altres autors (8 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Christie, Agathaautor primaritotes les edicionsconfirmat
Adams, TomAutor de la cobertaautor secundarialgunes edicionsconfirmat
Ahmavaara, EeroTraductorautor secundarialgunes edicionsconfirmat
Åhlin, PerAutor de la cobertaautor secundarialgunes edicionsconfirmat
Beckman, PerAutor de la cobertaautor secundarialgunes edicionsconfirmat
Blomkvist, TorstenTraductorautor secundarialgunes edicionsconfirmat
Correy, Michael P.Dissenyadorautor secundarialgunes edicionsconfirmat
Driesbach, ElizabethDissenyadorautor secundarialgunes edicionsconfirmat
Fontinelle, ElianeTraductorautor secundarialgunes edicionsconfirmat
Fraser, HughNarradorautor secundarialgunes edicionsconfirmat
Hannah, SophieIntroduccióautor secundarialgunes edicionsconfirmat
Houm, LiseTraductorautor secundarialgunes edicionsconfirmat
Kalkofe, OliverSprecherautor secundarialgunes edicionsconfirmat
Laurel, FaithCover artist and designerautor secundarialgunes edicionsconfirmat
Pöhlmann, JanDissenyador de la cobertaautor secundarialgunes edicionsconfirmat
Peraire del Molino, C.Traductorautor secundarialgunes edicionsconfirmat
Riambau, EsteveTraductorautor secundarialgunes edicionsconfirmat
Rojkowska, AnnaTł.autor secundarialgunes edicionsconfirmat
Tylden-Wright, JennyAutor de la cobertaautor secundarialgunes edicionsconfirmat
Volpatti, LiaTraductorautor secundarialgunes edicionsconfirmat

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Old Lanscombe moved totteringly from room to room, pulling up the blinds.
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aka Funerals Are Fatal. Although the book on which it is based featured Hercule Poirot as the detective, the movie Murder at the Gallop featured Margaret Rutherford as Miss Jane Marple.
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No n'hi ha cap

When Cora is savagely murdered with a hatchet, the extraordinary remark she made the previous day at her brother Richard's funeral suddenly takes on a chilling significance. At the reading of Richard's will, Cora was clearly heard to say: 'It's been hushed up very nicely, hasn't it...But he was murdered, wasn't he?' In desperation, the family solicitor turns to Hercule Poirot to unravel the mystery.

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Mitjana: (3.65)
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