THE
MOONSTONE: A detective story done right
The
story of The Moonstone revolves around a large Indian diamond that is said to
carry a terrible curse. It is given as a birthday gift to Rachel Verinder, and
its theft at her party draws her whole household into a locked-room puzzle.
Now, it is only Sergeant Cuff’s detective skills that give the victims hope in
solving the mystery.
In
truth, I’m not really a fan of stories with Prologues. They are often exploited
for excessive exposition and information dumping, which should be, most of the
time, interwoven inside the story itself. The Moonstone suffers from this, and
it renders the beginnings of the story very slow.
But
it does pick up in the first narrative. The story, characters, and other key
elements are established well. What I really like about the key elements is the
fact that they seem random -- that they will not have a bearing to the core of
the mystery. By the end of the narrative, they give the impression that nothing
is random at all.
This
impression, however, is not very consistent in the other narratives. This is
particularly obvious in the second narrative. There are certain elements in it
that don’t contribute to the overall scheme of things. Some of the familial
details are overcomplicated and unnecessary. Don’t get me wrong. This narrative
has major elements that lead to the core of the mystery, but I couldn’t help
but be bored in it because there are sequences that don’t really drive the
story to the right direction. The third narrative is almost the same case.
Aside from that, the major events in these narratives are not as explosive as
that of the first narrative. The partial diverting of the story to familial
matters is partly to blame here.
Again,
the story picks up in the fourth narrative, as significant clues are
discovered. This is the point where the novel really becomes a page-turner.
From here, it is a rollercoaster ride.
What
I really like about the mystery that shrouds this book is its execution. Most
mystery stories present only the threads that will point to the inevitable
solving of the puzzle. But in the case of The Moonstone, there are threads that
lead to false suspects. These threads are also very justifiable because of the
actions of the characters. In a sense, this makes the mystery not just purely
plot-oriented, but also character-driven. Aside from that, the threads lead to conclusions
so impossible that they seem ridiculous. But these conclusions, in the end,
turn out to be justifiable as well.
As
for the writing style, the author exploits different voices and speech patterns
to make use of the epistolary effectively. This gives birth to the very
interesting character Gabriel Betteredge. But he’s not the only well-made
character. Even though she doesn’t have her own narrative, Rachel Verinder is a
very fleshed-out character. And Sergeant Cuff shouldn’t be overlooked as well,
for he is a good contender for Best Detective in Fiction, both in personality
and skill. The writing is not perfect, however. There are instances where the
author uses too much adverbs. Sure, adverbs are good to amplify the effect of
certain words. But sometimes, they also have the opposite effect. They tend to
disengage the readers because of too much description. This flaw, however, is
not exclusive for the author. It is pretty common in classic literature. I just
feel that it should be pointed out.
The
Moonstone, overall, is a must-read for those who enjoy detective stories. It
may not be as good as the author’s other masterpiece, The Woman in White, but
it has its own share of stories to tell that cannot be found in the other one. The
mystery of this book is complicated enough to be considered multilayered. The
advice I give them is that they should pay attention to the details, because
those that are seemingly random are not random at all. They should also
tolerate the ridiculous conclusions of Sergeant Cuff because they will all fit
in the end -- but not in the way they think!
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