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MCQ & Sentence Endings

Crime Fiction and Agatha Christie

Crime fiction books, in which detectives hunt for the perpetrators of crimes, have been popular with readers for many decades—so popular, in fact, that at a recent London Book Fair, sales of the genre overtook general fiction for the first time ever, a development that had been widely anticipated. Commercial success, of course, does not impress everyone and there are those who believe crime fiction should not be held in such high regard. Prominent in this group is Sebastian Franklin, who has argued that most crime fiction books better resemble crossword puzzles than literature. His view is shared by other literary critics. However, increasingly this is a minority opinion as crime fiction becomes recognised around the world as a rich and dynamic literary genre in its own right.

Crime writing really came to prominence in the 1920s and 30s with the books of the British author Agatha Christie, and to a slightly lesser extent the American James M. Cain. Agatha Christie was a prolific writer, publishing more than 60 detective novels over a 50-year period, beginning in 1920. However, the majority of the general public have never picked up one of her books and are more familiar with Christie from the numerous adaptations of her work for films. The colourful locations around the world where Christie set many of her stories were not fictional depictions, but were informed by her extensive travels, on the Orient Express train, to Cairo and the River Nile, and elsewhere. Her memoir, Come, Tell Me How You Live, published in 1946, is a non-fiction account of these real-life travels, so is unique among Christie's publications. Success brought Christie considerable wealth and international fame, though she never lost her appetite for work, continuing writing and publishing until shortly before her death in 1976.

Without doubt there are certain elements that tend to be repeated in Christie's books. The stories generally revolve around a well-off if not aristocratic circle of people, whose privileged lives are thrown into chaos by an unexplained crime. What's more, the location is often a confined space of some sort: a train, an island, a boat, an isolated house, or a village. This is quite different, for example, to the world of the fictional detective Sherlock Holmes, who often has as his hunting ground the entire city of London. But the influence of Christie's sheltered, secluded locations has been immense, for they have been used in countless television series ever since.

The writer Michael Utley argues that Christie's characters lack depth and are not convincing people we can believe in. This is a not infrequent complaint, but it is quite untrue. Christie was a perceptive observer of human nature and psychology and she put the traits of people she knew into many of her fictional characters. Part of the reason her appeal has been so widespread is that she wrote about human relationships in a way so many of us can relate to. Her very first book, The Mysterious Affair at Styles, features the amateur detective Hercule Poirot. Poirot and Miss Marple are Christie's two best known and most frequently imitated characters precisely because they are so well drawn and believable. Further evidence of Christie's ability at characterisation was provided by a recent survey. The survey asked readers to identify the villain revealed in the final pages of Christie's sixteenth book, Murder on the Orient Express. Most readers could not recall, because for them the really important aspect of the book had been the interplay between the characters, not the outcome. The truth is that Christie's characters were one of her greatest achievements as a writer.

The books are also action-packed, no less so than today's most popular thrillers. Christie mastered the art of the page-turner: events unfold so quickly and unpredictably that we keep reading to find out what happens next. The most significant consequence is that it is so simple to overlook vital clues. It is worth reading a Christie book a second time just to notice how carefully she hides crucial information about the criminal's identity. It was there all along, but we just fail to see it because she has created such tension and so many exciting distractions.

Attempts to retell Christie's stories in contemporary times have largely been unsuccessful; they work best in their original early twentieth-century settings and cannot accommodate mobile phones, computers, and DNA analysis. But that does not mean her influence has come to an end. Indeed, a new generation of global crime writers is emerging in nations as diverse as Brazil, Singapore, South Korea, India, and Nigeria, to name but five. And though each new writer adds something of their own, they all employ conventions first established by Christie.

If we take just one of her books, The Murder of Roger Ackroyd, we find near perfect examples of conventions that are still used today: tight plotting, clever sub-plots, unexpected twists, perceptive characterisation. Perhaps this is why Christie herself is believed to have ranked The Murder of Roger Ackroyd above all her other work. Certainly, the digital revolution has transformed crime fighting. But a survey of contemporary crime writing shows that Agatha Christie's legacy is more important now than at any time previously, at the very point when crime writing has become the most popular of all book genres.

The Hidden Life of Trees

That so many copies of Peter Wohlleben's book The Hidden Life of Trees have been sold is no surprise. Life in the urban jungle can be overwhelming, and many of us long to escape by seeing more natural environments. We hope an encounter with nature might make us feel more 'alive'. Would we use this same term to describe nature itself, though? Forests and the trees that form them are commonly perceived as objects lacking awareness, like rocks or stones. But here, Wohlleben would beg to differ. From his observations, he has concluded that they are conscious in a way we do not fully understand.

In recent decades, a number of writers have investigated our planet's flora. The Cabaret of Plants by Richard Mabey and What a Planet Knows by Daniel Chamovitz, for example, have done much to reformulate our views about the green world. Central to many of these books is a serious message about sustainability, and The Hidden Life Trees is no exception. What sets it apart is its approach to description: at the start Wohlleben announces that ‘When you know the trees have memories and that tree parents live together with their children, then you can no longer just chop them down.' Not everyone will be comfortable with this kind of anthropomorphism.

Nevertheless, Wohlleben's experience of working in a beech forest in the Eifel mountains of Germany may put him in a better position than many to write a book about trees. In the introduction, he explains that he started out as a stateemployed forester, taking care of trees purely for industrial reasons. The straighter they were, the more high-quality logs could be sawn. But after a while he began to appreciate trees for more than just their commercial worth. He gives some of the credit for this realisation to the tourists that would come to the forest, who were more enchanted by bent, crooked, which did not conform to the straight ideal.

An anectode that stands out is Wohlleben's encounter with 'the gnarled remains of an enormous tree stump' in the Eifel forest. More than anything else, it was this encounter that prompted him to look further into the hidden behaviour of trees. To his surprise, after scraping at the outside layer of bark covering the stump, he discovered a green layer underneath. This was chlorophyll, a pigment normally produced by living trees. Wohlleben realised that the only way the stump could still be alive was if the surrounding beeches were providing it with a sugar solution through their own roots.

Wohlleben is not the first person to claim that trees are cooperative. In the 1990s, Dr Suzanne Simard realised that fir and birch trees were supplying each other with carbon. Simard's findings made complete sense to Wohlleben, who believes that this kind of nutrient exchange between neighbours is typical of a healthy forest. Wohlleben also had the opportunity to deepen his understanding of tree biology when researchers from Aachen University set up investigative programmes in his beech forest. Discussions with them reinforced his beliefs about the way trees thrived, and Wohlleben eventually found himself strongly opposed to some traditional forestry practices. He finally succeeded in persuading local villagers that the forest should be allowed to return to a natural state: this involved banning the use of machinery for logging, and giving up on pesticides for a start. Since then, Wohllebenhas been noting how his beech forest has developed, and his observations formed the foundation for the book. Humour and straightforward narrative make it instantly appealing to readers without a science background elements that have successfully been translated into over a dozen languages. Those that do have scientific training, however, will be more demanding. Critics of Wohlleben point out that proper academic studies need to be done to prove all his claims are factually accurate. This seems a fair point. What the book will certainly do is transform nature lovers' experiences of a forest work. Once you know what is happening below ground, you can't help but marvel at the complex life of trees. Will it transform the way we produce timber for the manufacturing industry? As large corporations tend to focus on immediate profits, they are hardly likely to adopt the longer-term practices that Wohlleben recommends.

One of these is allowing trees to grow nearer to each other. This is the opposite of what happens in many state-owned forests, where foresters deliberately space out trees so they can get more sunlight and grow faster. But Wohlleben claims this spacing prevents vital root interaction, and so lowers resistance to drought. Older, established trees, he explains, draw up moisture through their deep roots and provide this to juvenile trees is also given attention. For instance, when pines require more nitrogen, the fungi growing at their base release a poison into the soil. This poison kills many minute organisms, which release nitrogen as they die, and this is absorbed by the trees' roots. In return, the fungi receive photosynthesised sugar from pines. Then Wohlleben explores the way trees employ scent, giving the example of acacia trees in sub-Saharan Africa. When giraffes begin feeding on an acacia's leaves, the tree emits ethylene gas as a warning to neighbouring acacias. These they pump tannins into their leaves – substances toxic to giraffes. More controversial is Wohlleben's suggestion that trees feel pain. Although scientific research has now established that if branches are broken off or the trunk is hit with an axe, a tree will emit electrical signals from the site of the wound, the application of the concept of 'pain' might be an instance where readers are unconvinced.

Questions 1-8

Questions 1-4: Choose the correct letter, A, B, C or D.

1 What is the writer doing in the third paragraph?

2 The writer refers to Michael Utley in order to

3 What point does the writer make about Christie's writing style in the fifth paragraph?

4 What does the writer conclude about Christie in the final paragraph?


Questions 5-8: Complete each sentence with the correct ending from the box below.

5 Christie's book Come, Tell Me How You Live,

6 Christie's first book, The Mysterious Affair at Styles,

7 Christie's sixteenth book, Murder on the Orient Express,

8 The Murder of Roger Ackroyd, published in 1926,

Drag an ending to the sentences above

is an example of a book disliked by many critics.
has sold more copies than her other books.
has illustrated the fact that readers cannot remember the ending.
was Christie's own favourite from among her books for good reasons.
is different from all of her other books.
introduced one of her most famous and most often copied characters.

Questions 9-16

Questions 9-12: Choose the correct letter, A, B, C or D.

9 What is the reviewer emphasising in the phrase 'Wohlleben would beg to differ'?

10 According to the reviewer, a unique feature of The Hidden Life of Trees is

11 What are we told about Peter Wohlleben's time as a state-employed forester?

12 The reviewer mentions the trees stump anecdote in order to


Questions 13-16: Complete each sentence with the correct ending from the box below.

13 The distance between trees in state-owned forests

14 The fungi growing at the base of trees

15 The scent sometimes given off by trees

16 The electrical signals sent out by trees

Drag an ending to the sentences above

may prevent harm occurring to the same tree species.
could be a sign that trees have reached maturity.
can be the result of different forms of damage.
might help the spread of trees in a new location.
may affect how vulnerable young trees are during dry periods.
can play a part in providing essential nutrients.
might encourage disease in trees growing nearby

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