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Control And Pervasive Evil In Journey Into Fear And Murder On The Orient Express Analysis

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Control and Pervasive Evil in Journey Into Fear and Murder on the Orient Express In Eric Ambler’s Journey Into Fear, Graham literally descends into a persistent state of fear, fostering a grand scale perception of evil as the plot unfolds. Unlike Graham, Hercule Poirot in Agatha Christie’s Murder on the Orient Express has a firm grip on evil, as he expertly maneuvers through murder and his surroundings. At the heart of both these character’s journeys is evil and their ability to control it, based on their own perceptions of its pervasiveness in their respective worlds. Graham navigates through acceptance of his own death sentence, flickering between the weight of his own importance in the on-going war. To Kopeikin, Graham claims to be “the most harmless man alive,” to which Kopeikin replies: “Are you?” (Ambler 42-3). Kopeikin’s doubt is well-warranted and later supported by Graham’s recollection of a man maimed during one of his experimental gun tests. He describes the man’s agony as a “thin, high, inhuman sound; just like the singing of a kettle” (120). Graham likely owns a kettle similar to the one that conjures this memory, which waits for him unsuspectingly in his Northern England abode, next to a plate of freshly baked gingerbread, courtesy of his wife. The domestic implications of the kettle are not lost but suggest a new meaning for Graham’s life back home, that he faultily champions as peaceful normalcy. The association of the screaming “clot of blood” with the kettle, sheds light on the innate violence in Graham’s engineering career and puts into question his definition of “normal,” a term he uses to describe his life pre-Moeller. He is not only abnormal, but he is a complicit participant in the bloodshed of war, and consequently, inside Banat and Moeller’s realm of deviancy, that he names the “strange land with death for its frontiers” (160). However, Graham also expresses estrangement with his home-life, adding, “Stephanie… was a face and a voice dimly remembered with the other faces and voices of a world he had once known” (160). The more time he spends in the midst of Moeller and his henchmen, the more uncomfortable he is with his previous perception of his home-life’s cushy nature. A

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