Originally published on my blog
here
in January 2000.
In the life of Ngaio Marsh, there are three major themes: her New Zealand background, her love of the theatre, and her writing of detective novels. Her autobiography, first published in the sixties and revised a few years before her death, concentrates on the first two to the virtual exclusion of the third. More is said of the journalism which began her writing career than of the Alleyn series. There are many possible reasons why she might do
Originally published on my blog
here
in January 2000.
In the life of Ngaio Marsh, there are three major themes: her New Zealand background, her love of the theatre, and her writing of detective novels. Her autobiography, first published in the sixties and revised a few years before her death, concentrates on the first two to the virtual exclusion of the third. More is said of the journalism which began her writing career than of the Alleyn series. There are many possible reasons why she might do this, but I suspect that it is mainly that writing is not a spectacularly interesting activity to write about. Once a writer has answered the questions "Where do you get your ideas from?" and "Are your characters based on real people?" there isn't much to say. Marsh doesn't really answer the first question, but the answer to the second is definitely yes.The reader is introduced to the Lampreys, close friends of Marsh only marginally less irritating than their fictional versions.
The major interest in the autobiography is the story of Marsh's involvement in the theatre. Her contributions to the development of New Zealand based theatre were important enough for them to be the reason she was awarded the DBE rather than her writing. She was an actress, but was best known for her direction, especially of Shakespeare. Shakespeare was considered too difficult for New Zealand audiences, but British touring companies had some success, and so did Marsh with companies made up principally of students. It always seems that a good production of Shakespeare can be understood and enjoyed by any audience; it is the way that he is taught in schools and the immensity of his reputation that put people off.
In the end, this is not an autobiography which reveals much about its subject; it tells us little that cannot be picked up from the detective stories - the love of theatre and of her country of origin comes across quite strongly in several of them.
...more
This memoir of a naive girl and young woman whose life in the theater began in the early 1920s was appealing for its evocation of place - Christchurch and Westland - and characters - especially her parents - more than for any great insights or revelations into her life. She is deliberately discreet and says very little about her detective novels, though fans of "A Surfeit of Lampreys" will meet the real family (under the Lamprey pseudonym) in these pages. Gets a fourth star because of its NZ set
This memoir of a naive girl and young woman whose life in the theater began in the early 1920s was appealing for its evocation of place - Christchurch and Westland - and characters - especially her parents - more than for any great insights or revelations into her life. She is deliberately discreet and says very little about her detective novels, though fans of "A Surfeit of Lampreys" will meet the real family (under the Lamprey pseudonym) in these pages. Gets a fourth star because of its NZ setting.
...more
If you're interested in life in New Zealand and theatre and art, this is a lovely book. But if you were hoping to hear about Ngaio Marsh's life as a novelist and mystery writer, it's just not there. She mentions the books she's writing... throws in a comment here and there about characters... but there's really nothing about the writing life. On the other hand, for the theatre buff, it's chock full of plays, actors, quirks of theatres, touring stories, etc.
I thought I'd try Ngaio Marsh's autobiography, thinking her life in New Zealand and on the stage and writing could be interesting. I just couldn't really get into it---the writing style is roundabout, dwelling on one memory, then the next. Still kind of interesting, but I decided to leave it I realized I'd read five or six books from the to-read shelf while I was still "reading" this one.
very very frustrated with this book as it didnt give any real prominence to her life as a writer of crime novels. I wanted to understand why she had started writing them, where she got her ideas from and how her own life was reflected in her novels. What I read was all about her life as an actor, a producer and director of plays....
Read this because of her detective novels, and learned next to nothing about that aspect of her life. As they do include a lot about the theatre it was interesting to see how much a part of her life that was
Ngaio Marsh's autobiography--a very entertaining picture of a fascinating life of a writer, theater director and actor, who lived a long, full life on several continents.
I read this as part of an omnibus with "Photo-finish" and "Light thickens". I enjoyed it but I should mention that she hardly says anything about her detective novels.
Dame Ngaio Marsh, born Edith Ngaio Marsh, was a New Zealand crime writer and theatre director. There is some uncertainty over her birth date as her father neglected to register her birth until 1900, but she was born in the city of Christchurch, New Zealand.
Of all the "Great Ladies" of the English mystery's golden age, including Margery Allingham, Agatha Christie, and Dorothy L. Sayers, Ngaio Marsh
Dame Ngaio Marsh, born Edith Ngaio Marsh, was a New Zealand crime writer and theatre director. There is some uncertainty over her birth date as her father neglected to register her birth until 1900, but she was born in the city of Christchurch, New Zealand.
Of all the "Great Ladies" of the English mystery's golden age, including Margery Allingham, Agatha Christie, and Dorothy L. Sayers, Ngaio Marsh alone survived to publish in the 1980s. Over a fifty-year span, from 1932 to 1982, Marsh wrote thirty-two classic English detective novels, which gained international acclaim. She did not always see herself as a writer, but first planned a career as a painter.
Marsh's first novel, A MAN LAY DEAD (1934), which she wrote in London in 1931-32, introduced the detective Inspector Roderick Alleyn: a combination of Sayers's Lord Peter Wimsey and a realistically depicted police official at work. Throughout the 1930s Marsh painted occasionally, wrote plays for local repertory societies in New Zealand, and published detective novels. In 1937 Marsh went to England for a period. Before going back to her home country, she spent six months travelling about Europe.
All her novels feature British CID detective Roderick Alleyn. Several novels feature Marsh's other loves, the theatre and painting. A number are set around theatrical productions (Enter a Murderer, Vintage Murder, Overture to Death, Opening Night, Death at the Dolphin, and Light Thickens), and two others are about actors off stage (Final Curtain and False Scent). Her short story "'I Can Find My Way Out" is also set around a theatrical production and is the earlier "Jupiter case" referred to in Opening Night. Alleyn marries a painter, Agatha Troy, whom he meets during an investigation (Artists in Crime), and who features in several later novels.