DEATH AT THE SIGN OF THE ROOK

In his sixth outing, Jackson Brodie finds himself trapped in an Agatha Christie novel that is also a Jackson Brodie novel.

The story begins with Jackson attending a murder-mystery weekend at “one of England’s premier stately homes.” Lady Milton, the doyenne of Burton Makepeace House, is confused by the large cast of characters. The private investigator himself can’t wait for this farce to be over. “It hasn’t even begun properly yet,” Detective Constable Regina Chase informs him. This setup is as delicious as it is improbable; there is no one in popular fiction less likely to enjoy a whodunit starring Reverend Smallbones and Countess Voranskaya than Atkinson’s world-weary (but intensely empathetic) private investigator. Before we get a chance to see how this situation unfolds, though, the narrative jumps backward a week to introduce Jackson’s latest clients. Hazel and Ian, the twin offspring of the late Dorothy Padgett, have hired the former police detective because someone—probably Dorothy’s carer—has stolen a Renaissance painting that hung in her bedroom. Next, Atkinson reintroduces Lady Milton, whose estate boasted a Turner until someone—probably the housekeeper—absconded with it. This chapter, which is just over 20 pages, is followed by a chapter spent in the company of Reverend Simon Cate. This is 16 pages that feels like a lot more. Rereading the opening scene at this point gives one the sense that Atkinson is describing her own novel: There are too many characters, and it’s a bit slow. This is funny in the way that Atkinson is often funny, but the critique stands. By the time he returns, even Jackson seems attenuated. Reading about him reading about art theft is about as exciting as it sounds. The pace does pick up, eventually, and fans who stick around will get what they came for.

Even when she’s not at her best, Atkinson is still pretty good.