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Ten strangers, each with a dark secret, are lured to a remote island and drawn into a deadly game. As the body count rises, paranoia intensifies in this classic whodunit. Agatha Christie’s AND THEN THERE WERE NONE (1939) will keep you guessing until the very end. Check out the And Then There Were None notes below!

Special guest Ann Perramond joins us to discuss the best-selling crime novel of all time. Weigh in, and you might just get an on-air shoutout and a fab sticker!

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Justice Wargrave (good name) is described as looking cruel, predatory, and inhuman. He’s the logical choice for U.N. Owen, the man playing judge, jury, and executioner. How is the opening (and the narrator’s ability to dip in and out of all characters’ heads) a red herring? Were you misled?

Did you know anything about And Then There Were None before reading it? If so, did this impact your experience of the novel? (It reminded us of Knives Out. And the movie Clue!)

Who did you think the killer was before the identity is revealed? Was there anyone you suspected? Did you think someone was hiding on the island? (Sarah thought someone had to be hiking on the island.)

Suspense thriller author Dean Koontz says people are always living in a “constant state of suspense.” Do you feel that suspense is a fundamental part of human existence? Are people constantly wondering about the future, facing unknown situations, and dealing with uncertainty? PARANOIA

Did knowing the characters’ responsibility for the deaths of innocents impact how you felt when the characters themselves were murdered?

And Then There Were None notes about death order: Justice Wargrave arranges the deaths of the various characters in order of ascending culpability. “Anthony Marston and Mrs. Rogers died first, the one instantaneously, the other in a peaceful sleep.” Marston, I recognized, was a type born without that feeling of moral responsibility which most have. He was amoral–pagan. Mrs. Rogers, I had no doubt, had acted very largely under the influence of her husband.” Do you agree with his assessment of the characters’ relative guilt?

Incorporated into this is the level of guilt they felt about their crime. Wargrave gives Marston one of the easiest deaths. He killed two children he could barely remember and felt no remorse. Claythorne, who killed a child for love and felt remorse, has the worst death. This makes no sense. A lack of remorse feels more monstrous. Also, the general killed for revenge against the man sleeping with his wife behind his back. This feels again more understandable than Marston. Is Emily Brent really worse than Rogers, who committed actual murder? Both are witholders in some way. One withheld medicine. One withheld pity.

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David Morrell is the award-winning author of First Blood, the novel in which Rambo was created. He joins us to discuss Rogue Male (by Geoffrey Household) and First Blood.

He holds a Ph. D. in American literature from Penn State and was a professor in the English department at the University of Iowa. His many New York Times bestsellers include the classic spy trilogy that begins with THE BROTHERHOOD OF THE ROSE, the basis for the only television mini-series to premier after a Super Bowl. An Edgar, Anthony, and Macavity nominee, he’s the recipient of three Bram Stoker awards and the prestigious Thriller Master award from the International Thriller Writers organization.

Learn more about David Morrell below!

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David Morrell was born in Kitchener, Ontario, Canada. In 1960, at the age of seventeen, he became a fan of the classic television series, route 66, about two young men in a Corvette convertible traveling the US in search of America and themselves. The scripts by Stirling Silliphant combined action with ideas and so impressed Morrell that he decided to become a writer.

In 1966, the work of Hemingway scholar Philip Young prompted David Morrell to move to the United States, where he studied with Young at Penn State and received his M.A. and Ph. D. in American literature. There, he also met the esteemed science-fiction author William Tenn (real name Philip Klass), who taught Morrell the basics of fiction writing. The result was First Blood, a ground-breaking novel about a returned Vietnam veteran suffering from post-trauma stress disorder who comes into conflict with a small-town police chief and fights his own version of the Vietnam War.

That “father” of modern action novels was published in 1972 while Morrell was a professor in the English department at the University of Iowa. He taught American literature there from 1970 to 1986, simultaneously writing other novels, many of them international bestsellers, including the classic spy trilogy, The Brotherhood of the Rose (the basis for the only television mini-series to premier after a Super Bowl), The Fraternity of the Stone, and The League of Night and Fog.

Eventually wearying of two professions, Morrell gave up his academic tenure in order to write full time. Shortly afterward, his fifteen-year-old son Matthew was diagnosed with a rare form of bone cancer and died in 1987, a loss that haunts not only Morrell’s life but his work, as in his memoir about Matthew, Fireflies, and his novel Desperate Measures, whose main character lost a son.

David Morrell is a co-founder of the International Thriller Writers organization. Noted for his research, he is a graduate of the National Outdoor Leadership School for wilderness survival as well as the G. Gordon Liddy Academy of Corporate Security. He is also an honorary lifetime member of the Special Operations Association and the Association of Intelligence Officers.

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ROGUE MALE (1939) is an enduring masterpiece of mystery, adventure, suspense, and the sheer thrill of the chase. Described by author Geoffrey Household as a “bastard offspring of Stevenson and Conrad,” it’s “the best escape and pursuit story yet written, with lip-chewing tension right to the end.” –The Times (UK)

Special guest David Morrell, New York Times bestselling author of First Blood (the classic thriller that inspired the RAMBO movies) joins us. Check out the conversation starters below. Weigh in, and you might just get an on-air shoutout and a fab sticker!

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The NYT praised Geoffrey Household for developing suspense into an art form. The Times (UK) called it, “Simply the best escape and pursuit story yet written.”

What We Know About Geoffrey Household + the Narrator

A wealthy, well-known, unnamed Englishman, not yet 40, is a sportsman “who couldn’t resist the temptation to stalk the impossible.” He has no grievances and has a “sense of adventure.” He’s not an anarchist or fanatic. He becomes obsessed with stalking the biggest game of all, a European “great man” in a country near Poland. The country resembles Germany; the dictator, Hitler. He’s caught before the kill and pursued across Europe by Nazi assassins.

Geoffrey Household had a sales job for an ink manufacturer and loved his adventurous life (Europe, South America). Britain entered the war on 9/03/39. He served in British intelligence. He said his feeling toward Nazi Germany “had the savagery of a personal vendetta” (Against the Wind).

“The Almighty looks after the rogue male”

Geoffrey Household writes: “The behavior of a rogue may be described as individual, separation from its fellows appearing to increase both cunning and ferocity. These solitary beasts [are] found among all the larger carnivores and graminivores, and are generally male.”

PART I – ESCAPE / SURFACE – The Hunter Becomes the Hunted (AUGUST)

The narrator is tortured and thrown off a cliff. He walks, crawls, curses, and cries, slipping in and out of consciousness, doing rather than thinking, using the “reasoning of a hunted beast.”

“In these days of visas and identification cards it is impossible to travel without leaving a trail that can, with patience, bribery, and access to public records, be picked up.”

“It was a convenience to have no existence. Had I stolen a watch instead of stalking the head of a nation, my photograph would have been in all the police stations.”

He has a passport, maps, and money. He speaks the language well.

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