Dame Ngaio Marsh DBE (/ˈnaɪ.oʊ/; 23 April 1895 – 18 February 1982), born Edith Ngaio Marsh, was a New Zealand crime writer and theatre director. She was made a Dame Commander of the Order of the British Empire in 1966.
Internationally Marsh is known primarily for her creation Inspector Roderick Alleyn, a gentleman detective who works for the Metropolitan Police (London). Thus she is one of the "Queens of Crime" alongside Agatha Christie, Dorothy L. Sayers, Gladys Mitchell, and Margery Allingham.
Marsh was born in the city of Christchurch, New Zealand, where she also died. Her father neglected to register her birth until 1900 and there is some uncertainty about the date.
She was educated at St Margaret's College in Christchurch, where she was one of the first students when the school was founded. She studied painting at the Canterbury College (NZ) School of Art before joining the Allan Wilkie company as an actress and touring New Zealand. From 1928 she divided her time between living in New Zealand and in the United Kingdom.
Internationally she is best known for her 32 detective novels published between 1934 and 1982. Along with Dorothy L. Sayers, Margery Allingham and Agatha Christie, she has been classed as one of the four original "Queens of Crime"—female writers who dominated the crime fiction genre in the Golden Age of the 1920s and 1930s.
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.
Most of the novels are set in England, but four are set in New Zealand, with Alleyn either on secondment to the New Zealand police (Colour Scheme, and Died in the Wool), or on holiday (Vintage Murder and Photo Finish); Surfeit of Lampreys begins in New Zealand but continues in London.
Marsh's great passion was the theatre. In 1942 she produced a modern-dress Hamlet for the Canterbury University College Drama Society (now UCDS), the first of many Shakespearean productions with the society until 1969. In 1944, Hamlet and a production of Othello toured a theatre-starved New Zealand to rapturous acclaim. In 1949, assisted by entrepreneur Dan O'Connor, her student players toured Australia with a new version of Othello and Pirandello's Six Characters in Search of an Author. In the 1950s she was involved with the New Zealand Players, a relatively short-lived national professional touring repertory company.
She lived long enough to see New Zealand set up with a viable professional theatre industry with realistic Arts Council support, with many of her protégés to the forefront. The 430-seat Ngaio Marsh Theatre at the University of Canterbury is named in her honour. Her home on the Cashmere Hills is preserved as a museum.
Marsh never married or had children. In 1965 she published an autobiography, Black Beech and Honeydew. British author and publisher Margaret Lewis wrote an authorized biography, Ngaio Marsh, A Life in 1991. New Zealand art historian Joanne Drayton's biography, Ngaio Marsh: Her Life in Crime was published in 2008.
"This brilliant New Zealander Ngaio March claims a high level as to sheer writing and still more as a view of humanity."
ELIZABETH BOWEN
"The finest writer in the English language of the pure, classical puzzle whodunnit. Among the crime queens, Ngaio Marsh stands out as an express."
THE SUN
After all, a great many suicides as well as homicides have been rigged to look like accidents. 总而言之,不少自杀与凶杀案都被人搞得像是意外。 ——Roderick Alleyn 本书书名就隐隐透露出,这又是一部典型的Ngaio Marsh作品,戏剧的场景、戏剧的人物、戏剧的设计,一...
评分After all, a great many suicides as well as homicides have been rigged to look like accidents. 总而言之,不少自杀与凶杀案都被人搞得像是意外。 ——Roderick Alleyn 本书书名就隐隐透露出,这又是一部典型的Ngaio Marsh作品,戏剧的场景、戏剧的人物、戏剧的设计,一...
评分After all, a great many suicides as well as homicides have been rigged to look like accidents. 总而言之,不少自杀与凶杀案都被人搞得像是意外。 ——Roderick Alleyn 本书书名就隐隐透露出,这又是一部典型的Ngaio Marsh作品,戏剧的场景、戏剧的人物、戏剧的设计,一...
评分After all, a great many suicides as well as homicides have been rigged to look like accidents. 总而言之,不少自杀与凶杀案都被人搞得像是意外。 ——Roderick Alleyn 本书书名就隐隐透露出,这又是一部典型的Ngaio Marsh作品,戏剧的场景、戏剧的人物、戏剧的设计,一...
评分After all, a great many suicides as well as homicides have been rigged to look like accidents. 总而言之,不少自杀与凶杀案都被人搞得像是意外。 ——Roderick Alleyn 本书书名就隐隐透露出,这又是一部典型的Ngaio Marsh作品,戏剧的场景、戏剧的人物、戏剧的设计,一...
这本书的结构设计简直是一场精妙的布局,仿佛是钟表匠在制作一个极其复杂的机械装置。每一个看似不重要的细节,最终都会在某个关键时刻发挥作用,成为解开谜团的钥匙。我常常发现自己在脑海中试图抢在主角之前找出凶手,但每次都差那么一点点。作者的误导手法非常高超,她埋下的“红鲱鱼”(误导物)多得让人眼花缭乱,而且这些误导物本身也足够有趣,它们本身就是一段段微型故事。更让我欣赏的是,即便是配角,他们的形象也立体饱满,绝非推动情节的工具人。比如那位总是出现在不合时宜场合的旁观者,他的每一次插话或沉默,都带着深意。这本书的阅读体验是需要全神贯注的,你需要像侦探本人一样,对环境、对话、甚至是空气中的味道都保持警惕,否则很容易错过那些决定性的蛛丝马迹。
评分我对这部作品的节奏感给予最高的评价。它并非那种从头到尾都保持着肾上腺素飙升的快节奏小说,而是有着明显的波浪线。在案件初期的搜集和铺垫阶段,节奏沉稳,充满了古典推理的韵味,信息量巨大但呈现方式优雅。随后,随着几起关键性发现的出现,紧张度开始陡然上升,就像是钢琴演奏进入了赋格段,多个旋律线索交织缠绕,让人喘不过气来。作者深知何时该放慢脚步,让读者消化信息,何时又该猛然加速,抛出惊人转折。这种节奏的控制,使得阅读过程充满了期待感和满足感。此外,关于时代背景的描绘也十分到位,那种特定历史时期的社会风貌,被巧妙地融入到犯罪动机和现场氛围中,让整个故事显得更加有血有肉,而不是悬浮在真空中的一个谜题。
评分这本侦探小说的开篇就将我牢牢地抓住了,作者在营造氛围上简直是个天才。那种老派英式庄园的压抑感和隐藏在精致礼仪下的暗流涌动,随着情节的推进愈发清晰。我特别欣赏作者对于人物心理的细腻刻画,每一个主要角色似乎都有着多重面具,你永远无法确定谁是受害者,谁又是真正的幕后黑手。那位警探的登场,不是那种鲁莽闯入的典型形象,他更像一个冷静的观察者,用一种近乎艺术家的眼光去审视犯罪现场和人性弱点。初读时,我感觉自己像是在一个迷宫中摸索,线索和假象交织在一起,每一次以为自己接近真相时,作者又会巧妙地抛出一个新的疑点,让我不得不重新审视之前所有的判断。整体的节奏把握得非常好,张弛有度,尤其是在高潮部分的推理推理的逻辑链条,严密得让人拍案叫绝,没有任何为了戏剧效果而牺牲合理性的感觉,这点对于硬核推理迷来说,绝对是福音。
评分读完之后,我最大的感受是关于“道德模糊地带”的探讨。这本书的厉害之处在于,它没有简单地将好人与坏人泾渭分明地划分开来。书中的“罪犯”的行为逻辑,虽然不能被法律原谅,但在某种扭曲的叙事中,似乎又有着一丝可以被理解的动机。这让我不禁思考,在极端的情境下,普通人会做出何种选择。叙事视角的变化处理得非常高明,作者在不同的章节之间切换,让你从不同当事人的角度去体验事件的发生,这使得“真相”本身变成了一个多棱镜,折射出复杂的人性光芒与阴影。我尤其喜欢那种细微的社会阶层对比描写,那种不经意间流露出的对财富、地位的执念,正是推动一系列悲剧发生的根本原因。这本书的文字功底非常扎实,用词精准,读起来有一种沉静而有力的美感,绝非一般流水账式的侦探小说可比拟。
评分这本书的魅力在于其深植于人性弱点之中的悲剧色彩。它不仅仅是一个“谁干的”的问题,更深层次探讨了“为什么会发生”的伦理困境。阅读体验中,我感觉自己仿佛被拉入了一个充满阴影的剧场,演员们在命运的剧本下挣扎表演。作者对细节的关注达到了近乎偏执的程度,无论是关于特定领域(比如园艺、古董鉴赏)的专业知识,还是对人物日常习惯的描摹,都显示出作者做了大量的研究。这使得整个故事的基石异常坚固,让人完全信服于这个虚拟世界的运作逻辑。结尾的揭示部分处理得非常干净利落,没有冗长的解释或自我辩护,而是用一种近乎冷酷的清晰度,将所有散落的碎片拼接完整。对于追求智力挑战和深度思考的读者来说,这无疑是一次令人难忘的阅读旅程,它留下的回味远超合上封面的那一刻。
评分Collins Crime Club 女流看板作家 No.2 (No.1当然是阿加莎啦)中期的作品。戏剧性十足,每个人物的刻画特很细致,凶手嘛……我买书的时候手贱先翻了最后一页……总体来说我觉得相当不错,和阿加莎很相似的行文风格,但是有更强的人物塑造,读完后还能对其中部分人物念念不忘。
评分Collins Crime Club 女流看板作家 No.2 (No.1当然是阿加莎啦)中期的作品。戏剧性十足,每个人物的刻画特很细致,凶手嘛……我买书的时候手贱先翻了最后一页……总体来说我觉得相当不错,和阿加莎很相似的行文风格,但是有更强的人物塑造,读完后还能对其中部分人物念念不忘。
评分Collins Crime Club 女流看板作家 No.2 (No.1当然是阿加莎啦)中期的作品。戏剧性十足,每个人物的刻画特很细致,凶手嘛……我买书的时候手贱先翻了最后一页……总体来说我觉得相当不错,和阿加莎很相似的行文风格,但是有更强的人物塑造,读完后还能对其中部分人物念念不忘。
评分Collins Crime Club 女流看板作家 No.2 (No.1当然是阿加莎啦)中期的作品。戏剧性十足,每个人物的刻画特很细致,凶手嘛……我买书的时候手贱先翻了最后一页……总体来说我觉得相当不错,和阿加莎很相似的行文风格,但是有更强的人物塑造,读完后还能对其中部分人物念念不忘。
评分Collins Crime Club 女流看板作家 No.2 (No.1当然是阿加莎啦)中期的作品。戏剧性十足,每个人物的刻画特很细致,凶手嘛……我买书的时候手贱先翻了最后一页……总体来说我觉得相当不错,和阿加莎很相似的行文风格,但是有更强的人物塑造,读完后还能对其中部分人物念念不忘。
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