Death Comes as the End

I loved this book. One of my favorite Christies, for sure!

But let me give some context. I'm a nerd–I studied archaeology, have worked in museums, and learn about Ancient Egypt for fun. That said, I'm really not inclined to judge the “realism” of Christie's setting at all. I'm sure there are details we could argue about–after all, there are many gaps in our knowledge of ancient Egypt–but I don't know enough to get riled up about it.

That said, there ARE signs of historical prejudice in the book–both ancient, and of Christie's time. There are enslaved characters, and none have names. There are also very clear gender roles, and gender stereotypes are a big deal to the characters. Again, I really can't say if this is accurate for Egypt, but it is pretty accurate for the early 1900s (Christie's context). Like all Christie or “classic” novels, the modern reader has to be critical of certain cultural views and turns of phrase.

I am a character reader, and that is why I loved this book. I adored Hori. Renisenb's thoughts are very basic–she often gets described as “childlike”–but, to be fair, she's also probably 18 or so, and received no education. (There's also theories out there that ancient people simply didn't think the way we do–I have no idea if Christie was thinking that, so I won't get into it–but I found it interesting to consider as I read.) Christie does a great job of taking classic characters familiar to a British 20th century audience and translating them into a new context. All the members of the family are very recognizable and distinct.

And the romance. sigh Now, in a modern context, the romance could border on problematic; questions of age, agency, etc. However. In my own personal opinion, in the end, Renisenb thinks it through and has full agency. I loved the way she weighed her choices about her future. There are, of course, cultural situations that we might not stand for today, but I think Christie actually did a lovely job of letting her characters rise above those–even more so than she did in some of her more modern stories, I think.

Anyway, on to the main point: the mystery. It is classic. There is no stereotypical “detective” character, and there isn't a main character telling us the narrative, either (though by far we see the most of Renisenb's thoughts). Instead, a coalition of family members evolves to investigate and compare notes. At the beginning of the story, it seems like the murder will be very cut and dry . . . But then it twists. As the story continues, there's a high body count, and everyone ends up under suspicion.

[Slight spoilers ahead]

There are several characters that feel like familiar, obvious perpetrators. But I didn't catch on to the true murderer until perhaps the last 15%, just before the big conclusion. I found it incredibly satisfying the way the pieces fell into place–and, in perfect Christie fashion, it was a chilling reveal.

[Slight spoilers over]

Throughout the book, the main characters are thoughtful and observant, and that is perhaps what I enjoyed most. I loved their thoughts on life and death, in part because they saw such things very simply. The tension definitely rose in the last few chapters, and the ending was exactly what I didn't know I wanted. ;) I'd happily recommend this book to people who like Christie, internal/family drama mysteries, or simply people who like historical fiction/trying to see life from a new point of view. There are views expressed in the book that do not resonate today (thank goodness), but there is also a lot of value and honesty, too.