As Meredith, an academic, stands in a Bloomsbury tobacconist waiting for his two ounces of tobacco, he murmurs a verse of ‘London, a Poem’ and is astounded when a trap door opens into the London Catacombs, bringing him face to face with the Horton Venus, by Titian. From then on he is trapped in a maze of the illicit art trade, in the company of the redoubtable Jane Halliwell.
About the Author: Born in Edinburgh in 1906, the son of the city's Director of Education, John Innes Mackintosh Stewart wrote a highly successful series of mystery stories under the pseudonym Michael Innes. Innes was educated at Oriel College, Oxford, where he was presented with the Matthew Arnold Memorial Prize and named a Bishop Frazer's scholar.
After graduation he went to Vienna, to study Freudian psychoanalysis for a year and following his first book, an edition of Florio's translation of Montaigne, was offered a lectureship at the University of Leeds. In 1932 he married Margaret Hardwick, a doctor, and they subsequently had five children including Angus, also a novelist. The year 1936 saw Innes as Professor of English at the University of Adelaide, during which tenure he wrote his first mystery story, Death at the President's Lodging. With his second, Hamlet Revenge, Innes firmly established his reputation as a highly entertaining and cultivated writer. After the end of World War II, Innes returned to the UK and spent two years at Queen's University, Belfast where in 1949 he wrote the Journeying Boy, a novel notable for the richly comedic use of an Irish setting. He then settled down as a Reader in English Literature at Christ Church, Oxford, from which he retired in 1973.
His most famous character is 'John Appleby', who inspired a penchant for donnish detective fiction that lasts to this day. Innes's other well-known character is 'Honeybath', the painter and rather reluctant detective, who first appeared in 1975 in The Mysterious Commission. The last novel, Appleby and the Ospreys, was published in 1986, some eight years before his death in 1994.
©2010 Michael Innes (P)2013 Audible Ltd
"A master - he constructs a plot that twists and turns like an electric eel: it gives you shock upon shock and you cannot let go." (Times Literary Supplement)
This is a well written, clever, albeit totally fanciful (i.e. unconvincing), thriller, set in the 1940s. The reader is good--as long as the story stays in Britain--but once it moves across the ocean and takes on North American characters, he blows it. Like almost all British readers, he is incapable of making an American sound like anything but a thug. This gets to be so tedious that I now make a point of avoiding anything that involves British readers and American characters; I didn't realize what I was getting into with this novel.
The protagonist, the very likable middle aged academic, Richard Meredith. The implication that the reader/listener would know something about art and even poetry. Also the sense of adventure spiraling out of control and the superb performance of the narrator Jonathan Keeble.
Not sure. Maybe ALICE IN WONDERLAND. They both contain the idea of an innocent bystander 'falling' into a series of outrageous adventures.
I think this is my first one. It was a wonderful experience. Keeble is splendid at narration but also at doing up the different voices. He is amazingly talented. I've begun to look for more books narrated by Keeble.
Anyone with an affection for (and some knowledge of) art, a liking for outrageous adventure and mysterious conspiracies culminating in a spectacular ending in which the suspension of disbelief is severely tested (but in a fun way) would love this book. The narration is, needless to say, utter perfection.
The storyline was completely unbelievable and the language used was repetitive.
Repetition of phrases and words. Large amounts of the story were dealt with by the use of retrospective conversations with other characters? A truly terrible story
Yes. He's one of my favourite narrators, which is why I chose this book. Pity about the book though..
Don't waste your money.
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