Miss Marple Literary Universe and the Tommy and Tuppence Literary Universe are one and the same!!
I don't know if anyones talked about this before but in Sleeping Murder, when Gwenda and Giles visit a sanatorium (aka "a mental home"), there's "a very charming old lady[...]holding a glass of milk". Her first line, spoken to Gwenda, is "Is it your poor child, my dear?". She mentions that the clock is "always at half past ten", and that something is "behind the fireplace". Her name is never mentioned and the entire interaction is less than half a page long. And thats the entirety of this character... in this Miss Marple story.
In the Tommy and Tuppence novel By the Pricking of My Thumbs, there's an old lady called Mrs. Lancaster in a nursing home whose first scene involves her love for milk, asking Tuppence "was it your poor child?", mentioning that the time is always "ten past eleven", and that something is "behind the fireplace".
By the Pricking of My Thumbs is set sometime in the late 1940s to the early 1950s according to Wikipedia, and Mrs. Lancaster was put in a nursing home roughly 20 years before that. Sleeping Murder, though published in 1976, is set in ~1944 (source: my dubious math based on a wedding certificate and backed up by wikipedia lol). So the timeline makes sense: if Mrs. Lancaster was originally put in a nursing home in ~1930, she could definitely have been in Sleeping Murder.
It's safe to say that it was the same person in both books. Which is wild to me because I often wonder if all these different Agatha Christie stories are happening in the same literary universe? Now I know at least that Miss Marple and Tommy & Tuppence are running around in the same world sniffing around a bunch of crimes.
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Alex shuffles along the darkened street, hands shoved in his pockets to ward off the damp cold. He wonders for the hundredth time why he feels compelled to answer Nigel's invitation. Alex still cannot explain the pull this infuriating boy has over him, the way he's trapped in the grip of his own fascination. Nigel is insane, of course; he knows that. But there are notes in his mad song that resonate in Alex's heart. Maybe that makes him a little crazy, too.
He reaches the front yard of the Colbie house to find a car parked askew in the drive, keys in the ignition, engine running, radio announcing the evening prayer. Something is wrong here.
There must be a way.
The thought spikes into his mind from nowhere, and he thinks for a moment it's the voice from the radio. He pauses briefly to glance inside the car but finds no enlightenment there.
He moves with uncertain steps up the front walk, knowing now that Nigel's parents must be at home. He hears raised voices and feels himself drawn to the golden light beaming through lace curtains in the front window. It takes him a few moments to decipher the tableau inside the bedroom. He supposes this is what a normal home looks like: the fancy patterned wallpaper, the marital bed lit by the soft glow of two lamps, the wardrobe looming tall and heavy on the far wall. Something is wrong here.
Nigel sits passive and still beside his mother, his bare arms tucked up tight against his torso. Helen is agitated and dismayed as her husband paces back and forth. The man brandishes his beloved shotgun.
Alex cannot look away as this drama unfolds: the photos, the accusations, the growing rage. Nigel’s father bares his teeth in a rictus of fury, unable or unwilling to listen to his wife's pleas. Not once amid all this bluster does John look at his son or acknowledge his presence.
Nigel draws inward as the scene plays on. He does not look at his parents. He winces when John waves the gun back and forth.
There must be a way.
Alex flinches. The voice inside his head is his own, but it feels as though it comes from somewhere distant. There is no context for these words. They nag at him like a pebble in his shoe.
He does not understand the part he is meant to play in this story. Perhaps Nigel needs an audience for the climax of the plot he has so cleverly constructed.
Alex stands alone in the dark. Something is wrong here.
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(This is my first ever fanfic, and I will love you forever if you comment or reblog and let me know what you think!)
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#(if Jongwoo needed new teeth he would just fetch them. how hard could it be to pull them out like Moonjo amiright??)
sudden mental image of postcanon jongwoo coming home and wordlessly dropping a handful of half-shattered bloody teeth on the table in front of moonjo. His knuckles are split, his shirt is torn, he's obviously just come home from beating someone to death in an alley somewhere and their teeth just fell out when he hit them in the mouth a few dozen times, okay, and moonjo likes teeth so he brought them home
meanwhile moonjo is just sitting there like *hearteyes* babe
I'm sorry that's my first reaction but... Aw~ 🥰 How lovely of Jongwoo. I'm sure Moonjo would have appreciated that more than flowers or a sweet. Not as much as the image of Jongwoo coming home to him with his knuckles bloody, after ending someone's meaningless life, but still. It means Jongwoo thinks of him, right?
Hmm. You know, in the tags that included the one you mentioned, I was talking about Jongwoo fetching new teeth to substitute the ones from the bracelet, in the unfortunate scenario of them getting lost/broken, and Moonjo no longer being around to do that for him. I can't really imagine Jongwoo coming to feel as much satisfaction as Moonjo in the act of claiming someone's teeth for himself, but your ask got me thinking that the association might be a good enough incentive.
Teeth don't interest Jongwoo as they do Moonjo. They don't particularly tempt him. But when you're interested in someone, the things they are interested in might get new significance to you, by association. You might want them around, just because they remind you of your person, and it's a presence that is familiar/comforting.
Perhaps, to Jongwoo, the bracelet is more than enough, but it's possible that, in a scenario where Moonjo is not there, Jongwoo would take some of his victims' teeth as well, just to feel closer to him—either in the moment, or in the aftermath.
He's not the type to keep trophies, and he probably wouldn't want to do anything with the teeth he got. He's not that kind of artist. They, by themselves, don't mean anything to him. But they mean something to Moonjo, and Moonjo means something to Jongwoo. So he keeps them. Like gemstones that are not particularly beautiful, but he knows are valuable.
Like offerings, like bait, that he keeps under the bed, to attract a mystical creature.
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