It Shouldn’t Happen to a Vet
by James Herriot (Michael Joseph, 1972)
audiobook read by Nicholas Ralph (Macmillan, 2020) [as part of “All Creatures Great and Small”]
![Book cover: “It Shouldn’t Happen to a Vet” by James Herriot (Michael Joseph, 1972); review of the audiobook read by Nicholas Ralph (Macmillan, 2020) [as part of “All Creatures Great and Small”]](https://www.derelictspacesheep.com/wp-content/uploads/2023/06/Herriot_It-Shouldnt-Happen-to-a-Vet.jpg)
The second book carries on much as the first, only with more attention paid to Herriot’s personal life. The sense of an awkward, not-quite-funny romantic comedy trying to break through detracts a little from the quirky, back-of-beyond comedy already plying its trade.
A Pony in the Luggage
by Gunnel Linde
trans. Anne Parker; ill. Richard Kennedy (J. M. Dent & Sons, 1968) [Puffin, 1972]
![Book cover: “A Pony in the Luggage” by Gunnel Linde; trans. Anne Parker; ill. Richard Kennedy (J. M. Dent & Sons, 1968) [Puffin, 1972]](https://www.derelictspacesheep.com/wp-content/uploads/2023/06/Linde_Pony-in-the-Luggage.jpg)
Two Swedish children win a pony while holidaying in Copenhagen, and try to smuggle it home. Linde captures not only the protagonists’ unassailable child logic but also an offhandedly droll understatedness of expression. Kennedy’s jittery illustrations are very much in the spirit.
Doctor Who: The Abominable Snowmen
by Mervyn Haisman & Henry Lincoln
dir. Gerald Blake (BBC, 1967/2022)
The animation is serviceable (the yeti in fact look slightly less cuddly in cartoon form!) but the original story is terribly ponderous and presents vast chunks of ‘dead’ time where there is neither dialogue nor incidental music to offset the visual limitations.
The Creature in the Dark
by Robert Westall (Penguin, 1988)
audiobook read by Richard Aspel (Bolinda, 2021)
Marketed as horror but actually an historical middle-grade set in rural England during the Second World War. Cleverly rendered, in that the dark vibes come as much from the young protagonist’s fear of his abusive father as from the creature killing livestock.
I Own the Racecourse!
by Patricia Wrightson; ill. Margaret Horder (Hutchinson, 1968)
A nuanced middle-grade story set half a century ago in Sydney’s inner west. Andy, a mentally disabled boy, believes he has bought the local racecourse—and if people treat him like the owner, what real difference is there between fantasy and reality?
The Hound of the Baskervilles
adapted by Alexander Baron; dir. Peter Duguid (BBC, 1982)
A watchable if unadventurous four-part adaptation. Tom Baker’s search for Holmes’s mastery has him deliver lines with commanding eloquence but often a fraction of a second early. Terence Rigby makes for an unsteady Watson, balancing things out with delays of corresponding magnitude.
Hamlet, Revenge!
by Michael Innes (Gollancz, 1937); audiobook read by Matt Addis (2015)
Poetic and engaging. A clever, complicated mystery, rendered slightly unsatisfying by the lengthy preamble and the shifting narrative perspective. Innes has everything planned out but cannot contrive for Appleby to solve the case alone (or even with the help of Giles Gott).
Faster, Pussycat! Kill! Kill!
dir. Russ Meyer (1965)
Affected and stilted exploitation film. The three desperados display uninhibited busts and unmotivated aggression against all and sundry (themselves included). The relentless musical backdrop affords a sense of silent comedy or spoof, though whatever humour Meyer was aiming for fails to materialise.
Dark Thoughts at Noon
by Timothy Zahn (Analog, December 1982)
A diverting enough novelette, more workmanlike than mesmerising. Zahn has a knack for layering a speculative development onto regular society and then postulating pitfalls and repercussions. In this instance, though, the telepathic protagonist has little say in the outcome of his misadventure.
The Thirteen Problems
by Agatha Christie (Collins Crime Club, 1932)
audiobook read by Juliet Stevenson (HarperCollins, 2022)
This first collection of mysteries shows Miss Marple well-suited to the short form. Some of the stories are better than others, some crimes more ingenious, but Christie usually plants enough clues to have the reader exclaim, “Oh, of course!” at the end.