Poirot’s faithful partner in crime for many of his early cases, narrated their first adventure together, then met his wife in the course of The Murder on the Links, eventually departing to live in Argentina after Dumb Witness (1937), and returning only for Curtain.
Poirot owes his nationality to the presence of Belgian refugees in Torquay during World War I. Christie also endowed him with an overweening vanity and a neurotic precision, as well as magnificent moustaches and his famous little grey cells. If she could have known at the time how he would come to dominate her life, she might well have amended some of these characteristics. But he, and she, embarked on a career of singular success with little idea that almost a century later the investigations of the little Belgian would still be read in every language in the world.
While he waited for his first full-length case to follow The Mysterious Affair at Styles, Poirot solved a series of short investigations in The Sketch magazine throughout 1923 and much of 1924. In 1926, he appeared in what was to become his most famous (some might say infamous) case, The Murder of Roger Ackroyd (1926). In many ways a typical detective story of the time—small village, wealthy landowner found dead in his study, a mysterious butler, a house full of suspects, an incompetent police investigation, all explained satisfactorily in the last chapter—this novel transformed the careers of Christie and Poirot beyond recognition. Considered by many to be the most brilliant detective novel ever written and decried by others as a shameless cheat, The Murder of Roger Ackroyd has divided opinion ever since its first appearance in May 1926. Its stunning last-chapter revelation was a unique and daring masterstroke which shot Christie straight into the upper echelon of crime writing, where she remained for the rest of her life.
For the next fifty years, Poirot solved cases throughout England, in France in The Murder on the Links (1923), in Yugoslavia in Murder on the Orient Express (1934), in Iraq in Murder in Mesopotamia (1936), in Egypt in Death on the Nile (1937), and, in the course of The Labors of Hercules (1947), in Ireland, Switzerland, Italy, and Austria. The little Belgian is the most famous export of that country and, thanks to a brilliant television portrayal by David Suchet, is now firmly fixed in the public consciousness and affection for all time.
Miss Marple
Jane Marple made an inauspicious debut in the short story “The Tuesday Night Club,” published in December 1927. There, she is described as dressed completely in black and having “faded blue eyes, benignant and kindly” and she is knitting “something white and soft and fleecy.” Despite being overlooked by the armchair detectives gathered together in her house in St. Mary Mead to discuss unsolved mysteries, she is shown to be the most acute and observant of them all. Her unorthodox style of detection is based on her village parallels, small and seemingly insignificant events familiar to her from a lifetime of village living, which she adopts as a basis for comparison when faced with more sinister events.
Although her detective career is less extensive than Poirot, covering twelve novels and twenty short stories, Miss Marple’s status as the most famous female detective in literature is assured. There was a twelve-year gap, from 1930 to 1942, between her first and second book-length investigations, The Murder at the Vicarage and The Body in the Library. Her greatest case, A Murder Is Announced, was Agatha Christie’s fiftieth title and the occasion of a celebratory party at the Savoy Hotel in London in June 1950. Miss Marple travelled to the West Indies for her only foreign case, A Caribbean Mystery, in 1964, and to London to solve a murder At Bertram’s Hotel (1965).
Unlike Poirot, the last glimpse we have of the elderly sleuth is of her alive and well, sitting on the terrace of Torquay’s Imperial Hotel at the conclusion of Sleeping Murder, explaining, for the last time, the intricacies of murder.
Tommy and Tuppence
Tommy and Tuppence Beresford are the only Christie characters to age gradually, as they did between their first appearance in 1922, in Christie’s second published novel, to their last adventure in 1973. Beginning as bright young things in the aftermath of World War I, they track down The Secret Adversary (1922) before marrying and opening a detective agency in the short story collection Partners in Crime (1929), in which they investigate crimes in the manner of famous detectives such as Sherlock Holmes and Father Brown. Their final investigation, “The Man Who Was No. 16,” is, in a nice example of self-parody, solved in the style of that famous Belgian sleuth, Monsieur Hercule Poirot!
By the time of the WWII thriller, N or M? (1941), Tommy and Tuppence are the parents of twins (and also adopt a baby at the end of that novel), and as By the Pricking of My Thumbs (1968) opens they are a middle-aged couple reminiscing about their adventurous youth and investigating a sinister retirement home. Finally, we meet them as a retired couple moving into a new house with a mysterious past in Postern of Fate (1973), the last novel Christie wrote.
Stand-alone titles
Although she achieved her greatest fame as the creator of Hercule Poirot and Miss Marple, some of Agatha Christie’s best books are to be found among her stand-alone titles. These included traditional whodunits, domestic and international thrillers, and a few unclassifiable items. Through her life she experimented with the crime novel and, as Ellery Queen once wrote of her, “the only thing you can expect from Agatha Christie is the unexpected.”
Without doubt her most famous title, and the bestselling crime novel of all time, is And Then There Were None (1939). Part detective story and part thriller, this novel first appeared in print in the Saturday Evening Post beginning at the end of May 1939. It received rapturous reviews on both sides of the Atlantic when it was published in book form at the end of that year. The much-copied plot concerns the fate of ten characters invited to an island off the coast of southern England, where, over the course of a weekend, they are all systematically killed in line with the macabre nursery rhyme that hangs in each of their bedrooms. The Christie twist is that the killer is one of the ten. It has been brought to the screen countless times, the best version being the famous 1945 Rene Clair film.
Years before the historical murder mystery became popular, Christie published Death Comes as the End (1945), a domestic murder mystery set in Egypt in 2000 B.C. This fascinating novel of mass murder in a family consumed with greed and jealousy, living on the banks of the Nile, was written at the suggestion of an archaeologist friend of her husband Max Mallowan. In 1949, she published Crooked House, very much a typical Christie—large family living in a rambling house with a poisoner at work—until the last chapter, which propounded such a shocking solution that her publishers asked her to change it; she refused and it remains one the Christie classics. Two of her strongest and most unexpected titles appeared in the last chapter of her writing life: The Pale Horse (1961) concerns a murder-to-order venture with suggestions of black magic, while Endless Night (1967), with its stunning surprise in the last chapter, is often considered her last great novel.
Thrillers, both international—The Man in the Brown Suit (1924), They Came to Baghdad (1951), Destination Unknown (1954), Passenger to Frankfurt (1970)—and domestic—The Secret of Chimneys (1925), The Seven Dials Mystery (1929), The Boomerang Clue (1934)—appeared periodically throughout her writing life and Christie considered these a holiday from the clues-and-alibis plotting of her detective fiction. With an emphasis on physical rather than cerebral activity, these thrillers all show the Christie magic at work. Stolen jewels, missing state papers, unidentified spies, and criminal masterminds jostle for attention in plots involving organized anarchy and international terrorism. Almost all of these titles feature young women—Lady Eileen (Bundle) Brent, Lady Frances (Frankie) Derwent, Anne Beddingfeld, Victoria Jones—who are in the mold of Tuppence Beresford: brave, resourceful, enterprising, and incurably inquisitive.
Dotted throughout her classic period Christie also wrote, with enviable ease, non-Poirot and non-Marple whodunits. The Sittaford Mystery (1931) begins with a séance accurately foretelling a murder; Murder Is Easy (1939) is regular Christie territory—a country village with a suspiciously high number of unexplained deaths; Sparkling Cyanide (1945) features
