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Bookseller Reviews
Michael Starkwedder encounters all the problems that rural Wales is known fir: Ditches adjacent to poorly-lit roads and a corpse in the first house you visit. This charming Agatha Christie cozy derives from a 1956 drama that Ms. Christie never reworked into novel. Without denting the original, Charles Osborne does the trick. As for Starkwedder, we must confess that he slips into a series of small fibs that render this evening less pleasant than ours.
Tom Nolan
The Unexpected Guest is a twist-filled tale of murder in a country house in Wales, is the second Christie stage play adapted as a novel by Charles Osborne; and, as with last year's best-selling Black Coffee, the results are smooth and bracing.
— Wall Street Journal
Kirkus Reviews
Christie biographer Osborne's second novelization of a Christie play (Black Coffee, 1998) opens with a wonderfully arresting scene: engineer Michael Starkwedder, having run his car into a ditch while poking around the Welsh countryside looking at houses, enters Richard Warwick's house looking for help, only to find the man himself, a big-game hunter now confined to a wheelchair, shot to death. When Richard's wife Laura confesses to the killing, Starkwedder, struck by sympathy for her sufferings at the hands of this brute, encourages her to fake evidence against a fictitious intruder for Inspector Thomas and his quotation-spouting sergeant to find. Veteran readers of the author's work will watch in fascination, secure in the knowledge that Starkwedder and Laura aren't the only ones in the household playing fast and loose, and untroubled by the certainty that the other intimates—Richard's mother, his retarded half-brother, his housekeeper and valet, a neighbor standing for Parliament—have no more moving parts than necessary to keep the twists coming. It's not clear what Christie, who got into playwriting in mid-career because she thought other writers' stage adaptations of her novels too slavish and unsimplified, would have thought of Osborne's close, stingy reworking of her 1958 play. Here, though, Osborne, working with much less creaky material than Black Coffee, manages a few surprises worthy of his master.
From the Publisher
"Christie cleverly shifts suspicion and parcels out new facts and perspectives in marvelous fashion, proving ingeniously that the obvious isn't always obvious." - Publishers Weekly
"Osborne...manages a few surprises worthy of his master." - Kirkus Reviews
