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A Flavia de Luce Mystery

Written by Alan BradleyAuthor Alerts:  Random House will alert you to new works by Alan Bradley



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On Sale: April 28, 2009
Pages: 384 | ISBN: 978-0-440-33846-8
Published by : Delacorte Press Bantam Dell

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On Sale: January 25, 2011
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Synopsis|Excerpt

Synopsis

It is the summer of 1950–and at the once-grand mansion of Buckshaw, young Flavia de Luce, an aspiring chemist with a passion for poison, is intrigued by a series of inexplicable events: A dead bird is found on the doorstep, a postage stamp bizarrely pinned to its beak. Then, hours later, Flavia finds a man lying in the cucumber patch and watches him as he takes his dying breath.

For Flavia, who is both appalled and delighted, life begins in earnest when murder comes to Buckshaw. “I wish I could say I was afraid, but I wasn’t. Quite the contrary. This was by far the most interesting thing that had ever happened to me in my entire life.”

Excerpt

Chapter One


It was as black in the closet as old blood. they had shoved me in and locked the door. I breathed heavily through my nose, fighting desperately to remain calm. I tried counting to ten on every intake of breath, and to eight as I released each one slowly into the darkness. Luckily for me, they had pulled the gag so tightly into my open mouth that my nostrils were left unobstructed, and I was able to draw in one slow lungful after another of the stale, musty air.

I tried hooking my fingernails under the silk scarf that bound my hands behind me, but since I always bit them to the quick, there was nothing to catch. Jolly good luck then that I'd remembered to put my fingertips together, using them as ten firm little bases to press my palms apart as they had pulled the knots tight.

Now I rotated my wrists, squeezing them together until I felt a bit of slack, using my thumbs to work the silk down until the knots were between my palms—then between my fingers. If they had been bright enough to think of tying my thumbs together, I should never have escaped. What utter morons they were.

With my hands free at last, I made short work of the gag.

Now for the door. But first, to be sure they were not lying in wait for me, I squatted and peered out through the keyhole at the attic. Thank heavens they had taken the key away with them. There was no one in sight; save for its perpetual tangle of shadows, junk, and sad bric-a-brac, the long attic was empty. The coast was clear.

Reaching above my head at the back of the closet, I unscrewed one of the wire coat hooks from its mounting board. By sticking its curved wing into the keyhole and levering the other end, I was able to form an L-shaped hook which I poked into the depths of the ancient lock. A bit of judicious fishing and fiddling yielded a gratifying click. It was almost too easy. The door swung open and I was free.


I skipped down the broad stone staircase into the hall, pausing at the door of the dining room just long enough to toss my pigtails back over my shoulders and into their regulation position.
Father still insisted on dinner being served as the clock struck the hour and eaten at the massive oak refectory table, just as it had been when Mother was alive.

"Ophelia and Daphne not down yet, Flavia?" he asked peevishly, looking up from the latest issue of The British Philatelist, which lay open beside his meat and potatoes.

"I haven't seen them in ages," I said.

It was true. I hadn't seen them—not since they had gagged and blindfolded me, then lugged me hog-tied up the attic stairs and locked me in the closet.

Father glared at me over his spectacles for the statutory four seconds before he went back to mumbling over his sticky treasures.

I shot him a broad smile, a smile wide enough to present him with a good view of the wire braces that caged my teeth. Although they gave me the look of a dirigible with the skin off, Father always liked being reminded that he was getting his money's worth. But this time he was too preoccupied to notice.

I hoisted the lid off the Spode vegetable dish and, from the depths of its hand-painted butterflies and raspberries, spooned out a generous helping of peas. Using my knife as a ruler and my fork as a prod, I marshaled the peas so that they formed meticulous rows and columns across my plate: rank upon rank of little green spheres, spaced with a precision that would have delighted the heart of the most exacting Swiss watchmaker. Then, beginning at the bottom left, I speared the first pea with my fork and ate it.

It was all Ophelia's fault. She was, after all, seventeen, and therefore expected to possess at least a modicum of the maturity she should come into as an adult. That she should gang up with Daphne, who was thirteen, simply wasn't fair. Their combined ages totalled thirty years. Thirty years!—against my eleven. It was not only unsporting, it was downright rotten. And it simply screamed out for revenge.

Next morning i was busy among the flasks and flagons of my chemical laboratory on the top floor of the east wing when Ophelia barged in without so much as a la-di-dah.

"Where's my pearl necklace?"

I shrugged. "I'm not the keeper of your trinkets."

"I know you took it. The Mint Imperials that were in my lingerie drawer are gone too, and I've observed that missing mints in this household seem always to wind up in the same grubby little mouth."

I adjusted the flame on a spirit lamp that was heating a beaker of red liquid. "If you're insinuating that my personal hygiene is not up to the same high standard as yours you can go suck my galoshes."

"Flavia!"

"Well, you can. I'm sick and tired of being blamed for everything, Feely."

But my righteous indignation was cut short as Ophelia peered shortsightedly into the ruby flask, which was just coming to the boil.

"What's that sticky mass in the bottom?" Her long manicured fingernail tapped at the glass.

"It's an experiment. Careful, Feely, it's acid!"

Ophelia's face went white. "Those are my pearls! They belonged to Mummy!"

Ophelia was the only one of Harriet's daughters who referred to her as "Mummy": the only one of us old enough to have any real memories of the flesh-and-blood woman who had carried us in her body, a fact of which Ophelia never tired of reminding us. Harriet had been killed in a mountaineering accident when I was just a year old, and she was not often spoken of at Buckshaw.

Was I jealous of Ophelia's memories? Did I resent them? I don't believe I did; it ran far deeper than that. In rather an odd way, I despised Ophelia's memories of our mother.

I looked up slowly from my work so that the round lenses of my spectacles would flash blank white semaphores of light at her. I knew that whenever I did this, Ophelia had the horrid impression that she was in the presence of some mad black-and-white German scientist in a film at the Gaumont.

"Beast!"

"Hag!" I retorted. But not until Ophelia had spun round on her heel—quite neatly, I thought—and stormed out the door.

Retribution was not long in coming, but then with Ophelia, it never was. Ophelia was not, as I was, a long-range planner who believed in letting the soup of revenge simmer to perfection.

Quite suddenly after dinner, with Father safely retired to his study to gloat over his collection of paper heads, Ophelia had too quietly put down the silver butter knife in which, like a budgerigar, she had been regarding her own reflection for the last quarter of an hour. Without preamble she said, "I'm not really your sister, you know . . . nor is Daphne. That's why we're so unlike you. I don't suppose it's ever even occurred to you that you're adopted."

I dropped my spoon with a clatter. "That's not true. I'm the spitting image of Harriet. Everybody says so."

"She picked you out at the Home for Unwed Mothers because of the striking resemblance," Ophelia said, making a distasteful face.

"How could there be a resemblance when she was an adult and I was a baby?" I was nothing if not quick on the uptake.

"Because you reminded her of her own baby pictures. Good Lord, she even dragged them along and held them up beside you for comparison."

I appealed to Daphne, whose nose was firmly stuck in a leather-bound copy of The Castle of Otranto. "That's not true, is it, Daffy?"

" 'Fraid so," Daphne said, idly turning an onionskin page. "Father always said it would come as a bit of a shock to you. He made both of us swear never to tell. Or at least until you were eleven. He made us take an oath."

"A green Gladstone bag," Ophelia said. "I saw it with my own eyes. I watched Mummy stuffing her own baby pictures into a green Gladstone bag to drag off to the home. Although I was only six at the time—almost seven—I'll never forget her white hands . . . her fingers on the brass clasp."

I leapt up from the table and fled the room in tears. I didn't actually think of the poison until next morning at breakfast.

As with all great schemes, it was a simple one.

Buckshaw had been the home of our family, the de Luces, since time out of mind. The present Georgian house had been built to replace an Elizabethan original burnt to the ground by villagers who suspected the de Luces of Orange sympathies. That we had been ardent Catholics for four hundred years, and remained so, meant nothing to the inflamed citizenry of Bishop's Lacey. "Old House," as it was called, had gone up in flames, and the new house which had replaced it was now well into its third century.

Two later de Luce ancestors, Antony and William de Luce, who had disagreed about the Crimean War, had spoiled the lines of the original structure. Each of them had subsequently added a wing, William the east wing and Antony the west.

Each became a recluse in his own dominion, and each had forbidden the other ever to set foot across the black line which they caused to be painted dead center from the vestibule in the front, across the foyer, and straight through to the butler's W.C. behind the back stairs. Their two yellow brick annexes, pustulantly Victorian, folded back like the pinioned wings of a boneyard angel which, to my eyes, gave the tall windows and shutters of Buckshaw's Georgian front the prim and surprised look of an old maid whose bun is too tight.

A later de Luce, Tarquin—or Tar, as he was called—in the wake of a sensational mental breakdown, made a shambles of what had promised to be a brilliant career in chemistry, and was sent down from Oxford in the summer of Queen Victoria's Silver Jubilee.

Tar's indulgent father, solicitous of the lad's uncertain health, had spared no expense in outfitting a laboratory on the top floor of Buckshaw's east wing: a laboratory replete with German glassware, German microscopes, a German spectroscope, brass chemical balances from Lucerne, and a complexly shaped mouth-blown German Geisler tube to which Tar could attach electrical coils to study the way in which various gases fluoresce.

On a desk by the windows was a Leitz microscope, whose brass still shone with the same warm luxury as it had the day it was brought by pony cart from the train at Buckshaw Halt. Its reflecting mirror could be angled to catch the first pale rays of the morning sun, while for cloudy days or for use after dark, it was equipped with a paraffin microscope lamp by Davidson & Co. of London.

There was even an articulated human skeleton on a wheeled stand, given to Tar when he was only twelve by the great naturalist Frank Buckland, whose father had eaten the mummified heart of King Louis XIV.

Three walls of this room were lined from floor to ceiling with glass-fronted cabinets, two of them filled row upon row with chemicals in glass apothecary jars, each labeled in the meticulous copperplate handwriting of Tar de Luce, who in the end had thwarted Fate and outlived them all. He died in 1928 at the age of sixty in the midst of his chemical kingdom, where he was found one morning by his housekeeper, one of his dead eyes still peering sightlessly through his beloved Leitz. It was rumored that he had been studying the first-order decomposition of nitrogen pentoxide. If that was true, it was the first recorded research into a reaction which was to lead eventually to the development of the A-bomb.

Uncle Tar's laboratory had been locked up and preserved in airless silence, down through the dusty years until what Father called my "strange talents" had begun to manifest themselves, and I had been able to claim it for my own.

I still shivered with joy whenever I thought of the rainy autumn day that Chemistry had fallen into my life.

I had been scaling the bookcases in the library, pretending I was a noted Alpinist, when my foot slipped and a heavy book was knocked to the floor. As I picked it up to straighten its creased pages, I saw that it was filled not just with words, but with dozens of drawings as well. In some of them, disembodied hands poured liquids into curiously made glass containers that looked as if they might have been musical instruments from another world.

The book's title was An Elementary Study of Chemistry, and within moments it had taught me that the word iodine comes from a word meaning "violet," and that the name bromine was derived from a Greek word meaning "a stench." These were the sorts of things I needed to know! I slipped the fat red volume under my sweater and took it upstairs, and it wasn't until later that I noticed the name H. de Luce written on the flyleaf. The book had belonged to Harriet.

Soon, I found myself poring over its pages in every spare moment. There were evenings when I could hardly wait for bedtime. Harriet's book had become my secret friend.

In it were detailed all the alkali metals: metals with fabulous names like lithium and rubidium; the alkaline earths such as strontium, barium, and radium. I cheered aloud when I read that a woman, Madame Curie, had discovered radium.

And then there were the poisonous gases: phosphine, arsine (a single bubble of which has been known to prove fatal), nitrogen peroxide, hydrogen sulfide . . . the lists went on and on. When I found that precise instructions were given for formulating these compounds, I was in seventh heaven.

Once I had taught myself to make sense of the chemical equations such as K4FeC6N6 + 2K = 6KCN + Fe (which describes what happens when the yellow prussiate of potash is heated with potassium to produce potassium cyanide), the universe was laid open before me: It was like having stumbled upon a recipe book that had once belonged to the witch in the wood.

What intrigued me more than anything was finding out the way in which everything, all of creation—all of it!—was held together by invisible chemical bonds, and I found a strange, inexplicable comfort in knowing that somewhere, even though we couldn't see it in our own world, there was real stability.
Alan Bradley

About Alan Bradley

Alan Bradley - The Sweetness at the Bottom of the Pie

Photo © Shirley Bradley

Alan Bradley was born in Toronto and grew up in Cobourg, Ontario. With an education in electronic engineering, Alan worked at numerous radio and television stations in Ontario, and at Ryerson Polytechnical Institute (now Ryerson University) in Toronto, before becoming Director of Television Engineering in the media centre at the University of Saskatchewan, where he worked for twenty-five years before taking early retirement in 1994.
           
Bradley was the first President of the Saskatoon Writers, and a founding member of the Saskatchewan Writers Guild. His children’s stories were published in The Canadian Children’s Annual and his short story “Meet Miss Mullen” was the first recipient of the Saskatchewan Writers Guild Award for Children’s Literature.
           
For a number of years, Alan regularly taught scriptwriting and television production courses at the University of Saskatchewan. His fiction has been published in literary journals and he has given many public readings in schools and galleries. His short stories have been broadcast by CBC Radio, and his lifestyle and humour pieces have appeared in The Globe and Mail and The National Post.
           
Alan Bradley was also a founding member of The Casebook of Saskatoon, a society devoted to the study of Sherlock Holmes and Sherlockian writings. There, he met the late Dr. William A.S. Sarjeant, with whom he collaborated on the classic book Ms. Holmes of Baker Street (1989). This work put forth the startling theory that the Great Detective was a woman, and was greeted upon publication with what has been described as “a firestorm of controversy.” As he’s explained in interviews, Bradley was always an avid reader of mysteries, even as a child: “My grandmother used to press them upon us when we were very young. One of the first books she gave me was Dorothy L. Sayers’ Busman’s Holiday. I was profoundly influenced by it.”
           
Upon retirement, Bradley began writing full time. His next book, The Shoebox Bible (2006), has been compared with Tuesdays With Morrie and Mister God, This is Anna. In this beautiful memoir, Bradley tells the story of his early life in southern Ontario, and paints a vivid portrait of his mother, a strong and inspirational woman who struggled to raise three children on her own during tough times.
           
In July of 2007, Bradley won the Debut Dagger Award from the British Crime Writers’ Association for The Sweetness at the Bottom of the Pie (2009), based on a sample that would become the first novel in a series featuring eleven-year-old Flavia de Luce. As Bradley has explained, it was the character of Flavia that inspired him to embark upon the project: “I started to write The Sweetness at the Bottom of the Pie in the spring of 2006. Flavia walked into another novel I was writing as an incidental character, and she hijacked the book. Although I didn’t finish that book, Flavia stuck with me.” The Dagger award brought international attention to Bradley’s fiction debut, and Sweetness and the additional novels planned for the series will be published in twenty-eight languages and in more than thirty countries.
           
Alan Bradley lives in Malta with his wife Shirley and two calculating cats.
Praise | Awards

Praise

"While Flavia De Luce is winning your heart, she may also be poisoning your tea. She's the most wickedly funny sleuth in years, brilliant, unpredictable, unflappable—and only eleven. The Sweetness at the Bottom of the Pie offers the freshest new voice in mystery yet."—Charles Todd, author of The Ian Rutledge series

"A wickedly clever story, a dead true and original voice, and an English country house in the summer: Alexander McCall Smith meets Sir Arthur Conan Doyle. Please, please, Mr. Bradley, tell me we'll be seeing Flavia again soon?"—Laurie R. King, author of the Mary Russell series

“Alan Bradley’s marvelous book, The Sweetness at the Bottom of the Pie, is a fantastic read, a winner. Flavia walks right off the page and follows me through my day. I can hardly wait for the next book. Bravo!”Louise Penny, author of Still Life

The Sweetness at the Bottom of the Pie offers the reader the precious gift of a richly imagined and luscious new world–but uniquely so, for this is the world of Flavia Sabina de Luce: an eleven-year-old, utterly winning, and altogether delightfully nasty piece of work. An outright pleasure from beginning to end.”—Gordon Dahlquist¸ author of The Glass Books of the Dream Eaters

"Alan Bradley brews a bubbly beaker of fun in his devilishly clever, wickedly amusing debut mystery, launching an eleven-year-old heroine with a passion for chemistry–and revenge! What a delightful, original book!"—Carolyn Hart, author of the Death on Demand series

“Utterly charming! Eleven-year-old Flavia de Luce proves to be one of the most precocious, resourceful, and well, just plain dangerous, heroines around. Evildoers–and big sisters–beware!”—Lisa Gardner, author of Say Goodbye

"Flavia is an engagingly smart new sleuth with a flair for bringing out the child–and the detective–in all of us."—Christopher Fowler, author of the Peculiar Crimes Unit series

“Sure in its story, pace and voice, The Sweetness at the Bottom of the Pie deliciously mixes all the ingredients of great storytelling. The kind of novel you can pass on to any reader knowing their pleasure it assured.”—Andrew Pyper, author of the The Killing Circle

“Told through the observations of science-experimenting snoop of an 11-year-old girl, this jolly-good-fun murder mystery is as indulgent as a Bunty annual. Flavia de Luce, daughter to a philatelist colonel father and late mother, who dies when she was a baby, finds a body in the cucumber patch. In the twists and turns that ensue, centering around the nesting habits of the snipe and the last word of the dead man, she proves herself as indomitable a sleuth as you would expect a girl who says “Oh, piffle” to be.—Good Housekeeping, UK

“In June 1950’s, very-nearly-eleven year old Flavia de Luce, rising above the torments of her two older sisters and plotting revenge in her Victorian chemistry lab, is intrigued by the mystery of snipe with a rare stamp in its beak, found on the doorstep of the crumbling de Luce country seat. And she is astonished by the effect the dead bird has on her stamp-obsessed father, the Colonel. When something much worse is found in the cucumber patch and family secrets begin to unravel, Flavia has to use all her deductive powers to solve a mystery and a crime. At once precocious and endearing, Flavia is a marvelous character. Quirkily appealing, this is definitely a crime novel with a difference.” –Choice Magazine, “Book of the Month.”

“Brilliant, irresistible and incorrigible, Flavia has a long future ahead of her…Bradley’s mystery debut is a standout. “—Kirkus Reviews, starred review

“Fun for the reader…. Fans of Louise Fitzhugh's iconic Harriet the Spy will welcome 11-year-old sleuth Flavia de Luce, the heroine of … Bradley's rollicking debut.”—Publishers Weekly

“A delightful whodunit.…hilarious, eccentric and mischievous.”—Tangled Web, UK

“An absolute treat. It is original, clever, entertaining and funny….an extraordinary maze of mystery and intrigue…driving the reader to turn those pages in glorious anticipation….a terrific book, so different to anything.”—Material Witness

“Oh how astonishing and pleasing is genuine originality!....I simply cannot recall the last time I so enjoyed being the company of a first-person narrator….Bradley has a simply astonishing gift for putting simile and analogy in Flavia’s mouth…the plot is a splendid piece of hokum with some pleasing deduction and an excellent historical back-story….This is a book which triumphantly succeeds in its objectives of charming and delighting. And on top of that it is genuinely original….we may well be talking in a few years about one of the great voices and great series of mystery fiction. I resort to — and it is very, very rarely that I use this — that old cliché, a must-read.” –Reviewing the Evidence

“A wonderfully written, engaging novel….It’s rare that a book of which I feel quite passionately enraptured crosses my desk, and this is one of those special books that fully deserves five stars. The plot is well-paced, the dialogue is thoughtful and succinct, and being inside the head of Flavia de Luce is delightful. Her wry, dry humour and resigned frustration with the adult world are seriously entertaining….I loved her to bits.” –Oh Baby Magazine, NZ

“Delightfully entertaining.” –The Guardian, UK

“The first page…is so delicious, that I actually had to stop in the middle of The Girl Who Played with Fire to read the rest of it. Flavia deserves the Nobel Prize for Chemistry and Alan Bradley the Edgar Award. Does anyone collect stamps anymore?” –Paul Ingram

“If there ever was a heroine set for stardom it would be Flavia de Luce….Think Agatha Christie crossed with the Mitfords and laced with mischievous humour.” –Sunday Herald, Australia

“If you condensed Sherlock Holmes’s deductive abilities, Madame Curie’s talent for chemistry, and Dr. Jekyll’s zeal into the mind of an 11-year-old, her name would be Flavia de Luce….full of mystery, charm, and chemistry. Its quick-witted dialogue, tongue-in-cheek humour and colourful characters will linger long after the book is back on the shelf.”—Discovery Channel, in print

“She’s a fictional 11-year-old girl detective living in England in 1950. He’s a very real 70-year-old retired television engineer living today in Kelowna, B.C. Together they are soaring to great heights in the international literary world.”—Ottawa Citizen

“Bradley adroitly brews a biting yet empathetic read that’s anchored in the English countryside and public schools, and haunted by secrets. His fresh and innovative Flavia de Luce…is a new voice that’s brilliant and fierce, funny and vulnerable….I couldn’t read the book fast enough…Another serving, please!” –Marie Ary, Seattle Mystery Bookshop; Seattle, Washington

“Amazingly entertaining…The Sweetness at the Bottom of the Pie introduces a charming and engaging sleuth.”—Booklist, starred review

“A fresh, engaging first novel.”—Library Journal

Praise from the Debut Dagger Award Judges of the UK Crime Writers’ Association:


"Really adored the voice of the characters in this- especially Flavia, the spirited main protagonist- and the sense of place is beautifully described, particularly when telling the history of the house and its inhabitants. The family unit, comprising of the taciturn, introspective Colonel and his three daughters is well written, humorous and the sibling relationships very realistic. The author should be praised for creating a work that has nostalgic interest as well as a murder mystery, in places this almost reads like an Enid Blyton novel for adults!"

"I adored this! Our heroine is refreshingly youthful, funny and sharp and the author creates such a strong sense of time and place. Flavia’s eccentric family are delightful and I love seeing them interact within their crazy home. There are also interesting depths to the plot — the stamp collecting, the chemistry experiments, and the acknowledgement of past events and how they have affected these characters. The author’s tone is very tongue-in-cheek and offers something quite different in this genre, and the story is cleverly structured and beautifully written. This doesn’t read like a first novel. Assuming the mystery itself will be as enticing and smoothly handled as the opening, I can see Flavia solving crimes into adulthood. Great title too!" 

"The most original of the bunch, I think, with a deliciously deceptive opening which really sets the tone of macabre fun. Flavia is a wonderful creation, along with the rest of her eccentric family, and makes for a highly engaging sleuth. Think the Mitfords, as imagined by Dorothy L Sayers. The plot, with its intriguing philatelic elements, is nicely ingenious and delivers a very good end, with a fun twist. Would make very good Sunday night telly, I think." 

Awards

WINNER 2009 Agatha Award (Best First Novel)
WINNER 2009 Dilys Winn Award
Discussion Questions

Discussion Guides

1. With her high level of knowledge, her erudition and her self-reliance, Flavia hardly seems your typical eleven-year-old girl. Or does she? Discuss Flavia and her personality, and how her character drives this novel. Can you think of other books that have used a similar protagonist?

2. The Sweetness at the Bottom of the Pie falls within the tradition of English country house mysteries, but with the devilishly intelligent Flavia racing around Bishop’s Lacey on her bike instead of the expected older woman ferreting out the truth by chatting with her fellow villagers. Discuss how Bradley uses the traditions of the genre, and how he plays with them too.

3. What is your favorite scene from The Sweetness at the Bottom of the Pie?

4. With her excessive interest in poisons and revenge, it’s no surprise that Flavia is fascinated, not scared, as she watches the stranger die in her garden. In your view, is her dark matter-of-factness more refreshing or disturbing?

5. Flavia reminds us often about Harriet, the mother she never knew, and has many keepsakes that help her imagine what she was like. Do you think the real Harriet would have fit into Flavia’s mold?

6. Flavia’s distance from her father, the Colonel, is obvious, yet she loves him all the same. Does their relationship change over the course of the novel in a lasting way? Would Flavia want it to?

7. Through Flavia’s eyes what sort of a picture does Alan Bradley paint of the British aristocracy? Think as well about how appearances aren’t always reality, as with the borderline bankruptcy of Flavia’s father and Dr. Kissing.

8. Discuss the meaning (or meanings) of the title The Sweetness at the Bottom of the Pie.

9. What twists in the plot surprised you the most?

10. Buckshaw, the estate, is almost a character in its own right here, with its overlarge wings, hidden laboratory, and pinched front gates. Talk about how Bradley brings the setting to life in this novel – not only Buckshaw itself, but Bishop’s Lacey and the surrounding area.

11. What does Flavia care about most in life? How do the people around her compare to her chemistry lab and books?

12. Like any scientist. Flavia expects her world to obey certain rules, and seems to be thrown off kilter when surprises occur. How much does she rely on the predictability of those around her, like her father and her sisters, in order to pursue her own interests (like solving the murder)?

Related Videos

On the Web


The Sweetness at the Bottom of the Pie/Flavia DeLuce video trailer

  • The Sweetness at the Bottom of the Pie by Alan Bradley
  • January 19, 2010
  • Fiction - Mystery & Detective; Fiction
  • Bantam
  • $15.00
  • 9780385343497

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