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Presumption of Death (Audio Editions Mystery Masters) [Audiobook] [Englisch] [Audio CD]

Jill Paton Walsh , Dorothy L. Sayers , Edward Petherbridge
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Kurzbeschreibung

April 2003 Audio Editions Mystery Masters
Sixty years after Dorothy L. Sayers began her unfinished Lord Peter Wimsey novel, Thrones Dominations, Booker Prize finalist Jill Paton Walsh took on the challenge of completing the manuscript---with extraordinary success. “The transition is seamless,” said the San Francisco Chronicle; “you cannot tell where Sayers leaves off and Walsh begins.”

“Will Paton Walsh do it again?” wondered Ruth Rendell in London’s Sunday Times. “We must hope so.”

Jill Paton Walsh fulfills those hopes in A Presumption of Death. Although Sayers never began another Wimsey novel, she did leave clues. Drawing on “The Wimsey Papers,” in which Sayers showed various members of the family coping with wartime conditions, Walsh has devised an irresistible story set in 1940, at the start of the Blitz in London.

Lord Peter is abroad on secret business for the Foreign Office, while Harriet Vane, now Lady Peter Wimsey, has taken their children to safety in the country. But war has followed them there---glamorous RAF pilots and even more glamorous land-girls scandalize the villagers, and the blackout makes the nighttime lanes as sinister as the back alleys of London. Daily life reminds them of the war so constantly that, when the village’s first air-raid practice ends with a real body on the ground, it’s almost a shock to hear the doctor declare that it was not enemy action, but plain, old-fashioned murder. Or was it?

At the request of the overstretched local police, Harriet reluctantly agrees to investigate. The mystery that unfolds is every bit as literate, ingenious, and compelling as the best of original Lord Peter Wimsey novels.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

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Produktinformation

  • Audio CD
  • Verlag: Blackstone Audio Books; Auflage: Unabridged (April 2003)
  • Sprache: Englisch
  • ISBN-10: 1572703237
  • ISBN-13: 978-1572703230
  • Größe und/oder Gewicht: 14,4 x 13,3 x 2,3 cm
  • Durchschnittliche Kundenbewertung: 3.7 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 166.386 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Produktbeschreibungen

Pressestimmen

“Sayers’ fans are in Walsh’s debt.” ---San Francisco Chronicle

"The setting is authentic and the story is gripping, but this is also a serious and committed book." --Barbara Reynolds, President of the Dorothy L. Sayers Society and author of Dorothy L. Sayers: Her Life and Soul
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

Synopsis

In A Presumption of Death, Jill Paton Walsh tells how World War II changed the lives of Peter, Harriet and their growing family. The story opens in 1940. Harriet Vane - now Lady Peter Wimsey - has taken her children to safety in the country. But the war has followed them: glamorous RAF pilots and even more glamorous land-girls scandalise the villagers; the blackout makes the night-time lanes as sinister as the back alleys of London. Then the village's first air raid practise ends with a very real body on the ground - not a war casualty but a case of plain, old-fashioned murder. And even before the second body is found, Lord Peter Wimsey and his brilliant wife are on their way to finding the killer. -- Dieser Text bezieht sich auf eine andere Ausgabe: Taschenbuch .

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20 von 23 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Ein "neuer Sayers" ! 3. Dezember 2002
Von Ein Kunde
Format:Taschenbuch|Verifizierter Kauf
Erstaunlich, erstaunlich. Da schreibt Walsh ein Lord - Peter - Wimsey - Buch; nicht wie bei "Thrones, Dominations" eine Fortsetzung eines von Sayers unvollendeten Werks, sondern ein wirklich eigenständiges. Und dennoch: Die Charaktere sind weiter entwickelt, die Krimigeschichte als solche höchst spannend und, wie von Sayers gewohnt und von Fans geliebt, mit viel politischem und gesellschaftlichen Hintergrund. Wenn jemand behauptet hätte, das sei ein plötzlich aufgefundenes Buch von Dorothy Sayers - man würde es sofort glauben. Ein MUSS für jeden Sayers - Fan. Hoffentlich kommt bald eine deutsche Ausgabe.
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1 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen naja 6. Mai 2010
Format:Taschenbuch
nett, aber nicht echt.
man merkt bald, dass es eben kein original-sayers ist, die freiheit fehlt einfach und bis hin zu den literaturzitaten ist das alles schon dagewesen.
das kündigte sich in thrones, dominations schon an, wird hier aber extrem.
die personen sind im wesentlichen auf dem stand, den sie gaudy night und busman's honeymoon haben, was gerade bei der dorfbevölkerung doch sehr in's auge springt, die trotz der sehr viel weiteren bühne nicht weiterentwickelt wird.

wer sich für die wimseys post honeymoon interessiert, wird in den kurzgeschichten in striding folly besser bedient (die original sind) und sehr schnell erkennen, wo patton walsh ihre ... inspiration ... hergenommen hat.
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3.0 von 5 Sternen Ist halt nicht von Dorothy, man merkt's. 18. März 2012
Format:Kindle Edition|Verifizierter Kauf
Die Story ist nachvollziehbar, die Szene lebendig beschrieben, aber der Stil ist nicht Sayers! Man stolpert (in der englischen Originalversion) über holprige Sätze und unwahrscheinliche Wortwahl.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 3.8 von 5 Sternen  103 Rezensionen
100 von 105 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Channeled Sayers 16. April 2005
Von Bill Pen - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I've been a Sayers fan for many years, read all the novels and stories at least a couple times, and given scholarly papers on Sayers at conferences. I even named my youngest son Peter. I've never been able to get through "Thrones, Dominations," the first Wimsey book mostly by Walsh, as what I love most about Sayers is not the plotting (it's not all that believable, frankly), but the delightful writing, witty and full of literary allusions most people don't catch (for example, there are allusions to Gilbert and Sullivan scattered through nearly every book). It seemed to me that Walsh failed to capture Sayers' tone, feel, sound. I couldn't bear it.

I haven't read "A Presumption of Death," but rather listened to the unabridged CDs read by Edward Petherbridge (a wonderful reading). I was delighted to find that at last Walsh seems to have captured Sayers. Indeed, she seems almost to be channeling Sayers. Time after time I found myself saying, "Yes, that's how Sayers would have written that sentence. That's where the plot would have gone." I felt like Walsh had actually bothered to READ Sayers' other books at last. Of course, this doesn't read like the early Wimsey novels, but it does read like a logical extension of "Busman's Honeymoon," with less detecting and more relationship and family matters. Walsh does an especially nice job capturing the Duke of Denver, the Duchess, and the Dowager Duchess. If you couldn't stand "Thrones, Dominations" but love Sayers, do give this one a try. And if you loved Petherbridge as the ultimate Wimsey on TV and lament his passing, do have a listen to his reading of this. It's a treat.
63 von 72 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen A good read with a relatively simple plot 8. März 2003
Von Bookreporter - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
The plot of A PRESUMPTION OF DEATH is relatively simple. The time is 1939 and England is at war. Lord Peter Wimsey is off doing his duty while his wife Harriet Vane --- mother, mystery writer and involved citizen --- has fled to the English countryside with her children and their cousins. After a practice air raid drill, a young woman of questionable virtue is found dead. Superintendent Kirk of the local constabulary calls upon Harriett to help solve the murder. Lord Peter usually undertakes this kind of investigation, but he is unavailable and a dead girl's killer must be found. "I don't know which way to turn, Lady Peter, and that's the truth," says Kirk, when he proposes that Harriet help him. She reluctantly agrees to step in: "It isn't easy � [s]tanding in for Peter", but this is "� in various ways what I seem to be for, at the moment."
That particular murder is the epicenter around which Jill Paton Walsh builds her tale. She uses the "Wimsey Papers", a collection of works that Dorothy L. Sayers had published in The Spectator in the 1930s and 1940s. These papers comprise a series of letters written by the Wimsey family to each other and to friends. They become the voices of the characters, both familiar and new, that Sayers wrote about. Walsh comments: "In A PRESUMPTION OF DEATH all I had to use were propaganda letters, and so I had a completely free hand with the plot."
To recreate Harriet Vane in A PRESUMPTION OF DEATH, Walsh says, " � [Sayers] didn't exactly promote Harriet, who is not, by any means, an idealized character. Just compare her with Peter. Look how grumpy she is, how bad-tempered, how sometimes cool she is. She's not beautiful, and has a hard, chilly-eyed view of life. And that's what gives her [a] convincing quality." She is bored with "just" being Lady Peter and, while she adores her children, she yearns for the freedom she had before motherhood and the war imposed their restrictions upon her. Readers and fans will have to decide for themselves how they feel about these issues, but the truth is they do not detract from an otherwise well-told story.
Agatha Christie and many other writers kill off their central characters in order to preserve their place in the canon. Sayers did not do this and, clearly, she left the "Wimsey Papers" for someone to "keep alive" with her/his ideas. The challenge for Walsh is to decide whether or not she wants to "adopt" the Wimsey clan with all of their eccentricities, lordly ways, manners and humor, or if she will decide that two is enough. When asked if she would consider this proposition, she said, "I would be fascinated, but I would be increasingly careful. Each step you take away from an authentic piece of work the harder it's going to be to maintain authenticity and I would need to think really hard. I mean Lord Peter and Harriet are lovely fun, they're awfully entertaining to write about, and I can think of loads of books about them that I'd love to write --- that's not the problem. I would need to be sure I could do it well. And by well, I mean really consistent with Sayers's work."
Jill Paton Walsh is a writer in her own right. She is the author of several children's books and six adult novels. She was invited to complete a Sayers manuscript (THRONES, DOMINATIONS): I "� had a lot of fun doing it" and she was applauded for her efforts. For this second book she had the "papers" to help bolster and frame her story. A PRESUMPTION OF DEATH is a good read. Fans will find that it is faithful to the personalities Dorothy L. Sayers created and the plot is one that certainly resembles the original Wimsey/Vane pattern.
--- Reviewed by Barbara Lipkien Gershenbaum
25 von 27 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen unreadable for technical reasons 7. Mai 2010
Von janeinmia - Veröffentlicht auf Amazon.com
Format:Kindle Edition|Verifizierter Kauf
I bought this book without getting a sample because I was leaving the country and needed to load up on books for my trip. What a mistake as the book turned out to be unreadable due to all kinds of random punctuation marks and other formatting errors. I never got past the first few pages.

I often see errors on Kindle that I wonder about -- were they in the print version, too? But this time I feel pretty sure the problems came with the transition to digital.

Hey, amazon, how about cleaning up messes like this?
20 von 21 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Full of typos 9. Mai 2010
Von Charlotte A. Moore - Veröffentlicht auf Amazon.com
Format:Kindle Edition|Verifizierter Kauf
I think this is probably a good book, but there are so many typos, several per page, plus funny spacing, in the Kindle version that it is distracting. It seems to have been scanned and not proofed, and in a few places it's incoherent. I recommend buying the print version.
14 von 14 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen A competent novel, but less Lord Peter-ish than ever... 21. August 2013
Von Angela Mitchell - Veröffentlicht auf Amazon.com
Format:Kindle Edition|Verifizierter Kauf
I read somewhere that Jill Paton Walsh was such a fan of Harriet Vane's that "Gaudy Night" inspired her to attend Oxford.

That's a wonderful little detail, and I love hearing stuff like that. But unfortunately for me as a Lord Peter Wimsey fan, it seems that Walsh's identification with Harriet means that Lord Peter is being winnowed out of her version of Sayers's stories almost completely.

So once again, as with "Thrones, Dominations," we have a solid, competently written book that doesn't feel much like part of the "Lord Peter" series except in name only. Most of the book takes place in WWII England, at Talboys (Harriet's childhood home, and the setting of "Busman's Honeymoon"), and Peter is absent for most of the book, off on mysterious wartime missions.

I really felt like this Harriet-centric narrative device was a mistake. We're left with Harriet's rather straightforward, plainer personality, and without even a little of the Wimsey sparkle, the book drags for long sections. The only relief is a surprisingly enjoyable portrait of Bunter, whose character is believably expanded and who is one of the book's bright spots. But nobody else really feels like themselves. Harriet is more humorless than ever, Kirk and Twitterton are both rather grim and seem to return just for fan-service (and they're completely unlike their "Busman's Honeymoon" selves). But it's the bright, mercurial characters that suffer most -- the Dowager is, like Peter, a shadow of her usually wonderful, funny self, Jerry (Pickled Gherkins) is unrecognizable and lacking his usual charm, and worst of all, Walsh cannot even seem to write Miss Climpson, who is presented without her ever-present breathless over-emphasis and italics (surely Climpson's distinctive voice could have and should have been better captured). It's as if Walsh is writing these faintly dry, academic, competent fan-fictions that happen to include Sayers characters, but she can't seem to capture the real vividness of the characters themselves.

Lord Peter does return eventually, but he's once again rather sparkless. It's not that I think he should be dancing jigs in wartime, but Lord Peter does tend to whistle in the dark, and in addition to that, a sense of humor can be slyly evident as a personality trait even under pressure. With Lord Peter, in fact? Especially under pressure!

But not here. As before, the character just doesn't feel much like Lord Peter at all -- once again, Walsh's take on Lord Peter is rather humorless and stuffy, with little wit or wordplay. Worst of all, she has Lord Peter apologizing repeatedly for being so "foolish" in the past -- this comes up repeatedly, and annoyed me a lot. Lord Peter's 'laughing on the outside' tomfoolery isn't actually foolish, and that's what's fun about the character. He's usually clowning around right when the danger is greatest or when his heart is breaking -- so for Walsh to essentially dismiss and criticize the earlier Sayers (real) Lord Peter as some kind of flighty annoyance is upsetting if you're a fan of the series.

While this was an interesting story that brought to life WWII Britain, I ultimately felt this one was less successful than "Thrones, Dominations," which I also felt was an okay novel, but a substandard attempt at Lord Peter. However, where "Thrones" offered a mystery that felt like Sayers, the mystery here not only is very oddly presented and explored, it's almost thrown away by the end of the book -- almost incidental, as if it doesn't matter. Both books are well-researched and presented, and Walsh obviously enjoys Sayers's works, but it's like hearing a barely competent musician play Mozart -- there's little real feeling to what feels like an almost academic exercise.

I will keep reading Walsh's take -- substandard Lord Peter is better in a weird way than none at all, and I'm interested to see where she takes the characters. But it's been a quiet disappointment, as she has taken so much of the dazzle and dash of one of my favorite characters and made him rather ordinary -- that's the real crime here.

I hope I'm explaining myself well. It's a decent book. But not one to introduce Lord Peter to newcomers, certainly, and only a pale reflection of one of the great literary characters. As an example -- one of my favorite moments in the Lord Peter Wimsey series is a moment in the book "Strong Poison," when Lord Peter is rambling humorously at Harriet about the case (while making yet another marriage proposal), and charmed in spite of herself, she tells him that if anyone ever does marry him, it will be for the pleasure of hearing him "talk piffle."

That's my problem with Walsh's take on the characters. There's plenty of mystery but no piffle.
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