The Life and Crimes of Agatha Christie: A biographical companion to the works of Agatha Christie

THE AGATHA CHRISTIE COLLECTION

1 The Mysterious Affair at Styles

2 The Secret Adversary

3 Murder on the Links

4 The Man in the Brown Suit

5 Poirot Investigates

6 The Secret of Chimneys

7 The Murder of Roger Ackroyd

8 The Big Four

9 The Mystery of the Blue Train

10 The Seven Dials Mystery

11 Partners in Crime

12 The Mysterious Mr Quin

* Black Coffee

13 The Murder at the Vicarage

14 The Sittaford Mystery

15 Peril at End House

16 The Thirteen Problems

17 Lord Edgware Dies

18 The Hound of Death

19 Murder on the Orient Express

20 The Listerdale Mystery

21 Why Didn’t They Ask Evans?

22 Parker Pyne Investigates

23 Three Act Tragedy

24 Death in the Clouds

25 The ABC Murders

26 Murder in Mesopotamia

27 Cards on the Table

28 Dumb Witness

29 Death on the Nile

30 Murder in the Mews

31 Appointment with Death

32 Hercule Poirot’s Christmas

33 Murder is Easy

34 And Then There Were None

35 Sad Cypress

36 One, Two, Buckle My Shoe

37 Evil Under the Sun

38 N or M?

39 The Body in the Library

40 Five Little Pigs

41 The Moving Finger

42 Towards Zero

43 Death Comes as the End

44 Sparkling Cyanide

45 The Hollow

46 The Labours of Hercules

47 Taken at the Flood

48 Crooked House

49 A Murder is Announced

50 They Came to Baghdad

51 Mrs McGinty’s Dead

52 They Do It With Mirrors

53 After the Funeral

54 A Pocket Full of Rye

55 Destination Unknown

* Spider’s Web

56 Hickory Dickory Dock

57 Dead Man’s Folly

58 4.50 From Paddington

* The Unexpected Guest

59 Ordeal By Innocence

60 Cat Among the Pigeons

61 The Adventure of the Christmas Pudding

62 The Pale Horse

63 The Mirror Crack’d from Side to Side

64 The Clocks

65 A Caribbean Mystery

66 At Bertram’s Hotel

67 Third Girl

68 Endless Night

69 By the Pricking of My Thumbs

70 Hallowe’en Party

71 Passenger to Frankfurt

72 Nemesis

73 Elephants Can Remember

74 Postern of Fate

75 Poirot’s Early Cases

76 Curtain: Poirot’s Last Case

77 Sleeping Murder

78 Miss Marple’s Final Cases

79 Problem at Pollensa Bay

80 While the Light Lasts

* ADAPTED BY CHARLES OSBORNE

THE LIFE AND CRIMES

OF

AGATHA CHRISTIE

CHARLES OSBORNE

HarperCollinsPublishers 77–85 Fulham Palace Road, Hammersmith, London W6 8JB

www.harpercollins.co.uk

First published in Great Britain by

William Collins Sons & Company Limited 1982

Revised and updated edition 1999

Copyright © Charles Osborne 1982, 1999

Charles Osborne asserts the moral right to be identified as the author of this work

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HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.

Source ISBN: 9780006531722

Ebook Edition © JULY 2011 ISBN: 9780007455508

Version: 2014-07-15

For Joe Hansen, crime novelist in the Christie mould, in Los Angeles; and Ken Thomson, his sometime accomplice in publishing, in London.

Contents

Cover

Title Page

Copyright

Dedication

Preface

1 Appearance and Disappearance

2 The Vintage Years

3 War and Peace

4 ‘The Mousetrap’ and After

5 Towards the Last Cases

Plate Section

Keep Reading

Bibliography

Index

Notes

Illustration Acknowledgements

About the Author

About the Publisher

PREFACE

‘Who Cares Who Killed Roger Ackroyd?’ was the title of an article by the American critic and novelist Edmund Wilson,1 who had no taste for crime fiction. It was a silly question, for millions cared.

W. H. Auden began an essay, ‘The Guilty Vicarage’,2 with the words ‘For me, as for many others, the reading of detective stories is an addiction like tobacco or alcohol’, and went on to confess that ‘if I have any work to do, I must be careful not to get hold of a detective story for, once I begin one, I cannot work or sleep till I have finished it.’

The Life and Crimes of Agatha Christie is a book for the likes of W. H. Auden, rather than for the likes of Edmund Wilson. It examines not only the crime novels but also everything else that Agatha Christie published, including the non-fiction, the stories for children, the poetry, the plays (both those written by her and those adapted from her novels by other hands), the films based on her works, and the six novels she produced under the pseudonym of Mary Westmacott.

My qualifications for writing this book are slender: (i) I began reading Agatha Christie surreptitiously during a Latin lesson at school in 1943, and I have stopped, temporarily, only because I have read everything she wrote and, blessed with a highly selective memory, have actually read several of the murder mysteries more than once over the years; (ii) I played Dr Carelli in Agatha Christie’s Black Coffee during a summer season of repertory in Tunbridge Wells in 1955 (‘Nearer the Latin temperament was Charles Osborne as the slick Dr Carelli,’ said the local newspaper critic, after savaging the leading lady); (iii) I once met Dame Agatha at a party given by her publishers to celebrate the publication of Passenger to Frankfurt in 1970. Suddenly and uncharacteristically nervous at finding myself momentarily alone with the eighty-year-old author whom I had admired for so many years, I found myself offering her an engagement to take part in an Arts Council Writers’ Tour, and address audiences in the provinces. ‘Oh, I’m afraid I couldn’t do that,’ Dame Agatha replied immediately. ‘I wouldn’t be any good at it, and in any case, you see, the reason I began to write more than sixty years ago was in order to avoid having to talk to people.’

Let me assure potential readers of this book that they may proceed in perfect safety. Nowhere in these pages do I reveal the identity of any of Agatha Christie’s murderers.

Unless otherwise indicated, dates given after the titles of books are those of first publication. In the majority of cases only a few weeks separate American and British publication dates. Where a title was not published in both countries, this is made clear.

My thanks for help of various kinds are due to the following individuals and institutions: Jonathan Barker, Jacques Barzun, Agatha Christie Ltd, Allan Davis, Sebastian Faulks, Joseph Hansen, Jennifer Insull, Mathew Prichard, Sir Peter Saunders, Brian Stone, Julian Symons, Kenneth Thomson, John Wells, Philip Ziegler; Arts Council Poetry Library, Brighton Area Library, British Library, British Theatre Institute Library, William Collins Sons & Co., Crime Writers’ Association, Daily Telegraph, Library of Congress, London Library. I am especially grateful to my editor, Elizabeth Blair.

C.O.

1 Appearance and Disappearance

The Mysterious Affair at Styles POIROT (1920)

It was while she was married to Archie Christie that Agatha Christie, neé Miller, wrote and published her first novel, The Mysterious Affair at Styles. That marriage lasted for less than fourteen years, ending in divorce at about the time of publication of her ninth book, The Mystery of the Blue Train, but her career as a writer of crime fiction continued for a further half-century and a further eighty-five titles (excluding the plays). Having become known to a vast reading public as Agatha Christie, the author continued to use that name for professional purposes throughout the rest of her life, although privately she became Mrs Max Mallowan soon after her divorce from Christie.

Agatha Miller was born in the elegant, sedate seaside resort of Torquay, Devonshire, on the south coast of England, on 15 September 1890, at Ashfield, the home of her parents, Frederick and Clarissa Miller. Frederick Alvah Miller was a well-to-do young American who lived as much in England, where he had relatives, as in America, on an income derived from the family business. After he married Clarissa Margaret Beochmer (his stepmother’s niece) he and his wife planned to live in America. However, they first spent some time in Torquay, at the height of the winter season, and Mr Miller, who loved the sea, became enchanted with the town, its attractive bay and the dramatic south Devon coast. The Millers’ first child, Marjorie (Madge) was born in Torquay, shortly after which the family left for America, where they expected to make their permanent home. It was while they were staying with Frederick Miller’s grandparents in New England that their second child, Louis (Monty), was born.

The Millers returned to England for a visit, but Mr Miller was almost immediately recalled to New York by business concerns, and therefore suggested to his wife that she should take the children and rent a furnished house in Torquay until his return. What Clara Miller did, instead, was to buy a house in Torquay from a Quaker family called Brown. Extremely placid by temperament, Mr Miller, though surprised, did not remonstrate. The house could, after all, be sold again in a year’s time. The Millers and their two children moved into the house, Ashfield, and Mr Miller found life in Torquay so agreeable that in due course he decided that they may as well settle there. Ashfield, a large and comfortable villa with green lawns, a garden of about two acres, and great beech trees, made a splendid home for Mrs Miller and the children even though it was not in the most fashionable part of Torquay but in Barton Road, in the older, upper-middleclass district of Tor Mohun.

When a third child was born to the Millers, a good eight years after the second, she was christened Agatha May Clarissa. The second and third were family names, but ‘Agatha’ appears to have been suggested by a friend of Mrs Miller on the way to the christening. A chubby redhead, Agatha turned out to be a quiet, imaginative child who played a great deal on her own or with her elderly nannie, ‘Nursy’, since her brother and sister were away at school for much of the time and were, in any case, so much older than she. Agatha did not go to school but taught herself to read, and learned something of elementary mathematics from her father. Her formal education did not begin until, at the age of sixteen, she was sent to a finishing school in Paris. Her father had died when she was eleven, and the family income had dwindled. Mrs Miller considered selling Ashfield but was prevailed upon by her two elder children merely to reduce the number of servants and make certain other economies.

The Millers were still able to live comfortably. With Madge married and living in New York, and Monty serving with the army in India, Mrs Miller decided shortly after Agatha’s return from finishing school in Paris that she would let Ashfield furnished for three months and take her teenage daughter off to Egypt. Her own health had not been good, but three months with Agatha in and around Cairo, sight-seeing, going to dances and parties and on excursions to the sites of antiquity, seemed to improve her condition and certainly helped Agatha to overcome her childhood and adolescent gaucherie. The attractive young lady even received several proposals of marriage from officers serving in the British Army in Egypt, but took none of them seriously. She was still very young, and she was also now her mother’s only comfort and companion. When they returned to Torquay, Agatha continued to live at home with her mother, though she also led an active social life with friends of her own age.

Agatha had already begun to write. During her childhood, when she was lying in bed recovering from influenza, her mother had suggested that, instead of telling stories which she enjoyed doing, she should write one of them down. Soon Agatha had produced a number of stories, and began to write poems as well. It was as a poet that she made her first appearance in print, at the age of eleven, with a poem about the new electric trams which she had seen when visiting her grandmother at Ealing, a suburb of London. The poem, which was printed in the local Ealing newspaper, began: ‘When first the electric trams did run/In all their scarlet glory,/’Twas well, but ere the day was done,/ It was another story.’

Her poems improved, and by the time she was in her late teens Agatha had won a few prizes with them, usually of a guinea or so offered by the Poetry Society, and had had several poems published in The Poetry Review. She had also written a number of stories which, as she said later, usually revealed the influence of whomever she had been reading the previous week, as often as not D. H. Lawrence. Under various pseudonyms, among them Mack Miller and Nathanael Miller (her grandfather’s name), she would send her stories off to magazines and they would invariably come back to her accompanied by a printed rejection slip. She even attempted a novel, which she called Snow Upon the Desert, and at the suggestion of her mother sent it off to Eden Phillpotts, the author of popular novels of Devon rural life in the tradition of Thomas Hardy. (In the twenties and thirties, Phillpotts was to write murder mysteries, both under his own name and as Harrington Hext.)

Phillpotts, who was a neighbour of the Millers and a friend of the family, gave generously of his time and advice. Though he was critical of Snow Upon the Desert, and advised its author to cut out the moralizing of which he considered she was much too fond, he thought Agatha had a ‘great feeling for dialogue’, and introduced her to his literary agent, Hughes Massie. Agatha went to London and was interviewed by Mr Massie, a large, swarthy man who, she said, terrified her. Massie read her novel, and advised her to put it aside and begin another. Instead, she returned to writing her poems and stories.

Agatha was now in her early twenties and fending off young men who wished to marry her. After what she referred to as two near escapes, she became engaged in 1912 to Reggie Lucy, a Major in the Gunners, but while Lucy was serving with his regiment in Hongkong, she fell in love with a handsome young Lieutenant in the Royal Field Artillery, whom she had met at a house party in Chudleigh, not far from Torquay. He was Lieutenant Archibald Christie, the son of a Judge in the Indian Civil Service. They danced together several times at their first meeting, and a few days later Christie arrived on his motorcycle at Ashfield and was allowed by Mrs Miller to stay to supper. Within days, he and Agatha had become engaged, and Agatha eventually plucked up the courage to write to Reggie Lucy in Hongkong ending their engagement.

It was eighteen months later that Agatha Miller married Archie Christie, now a Captain in the Royal Flying Corps. The wedding took place on Christmas Eve, 1914. During the period of their engagement, the Miller family income had been further depleted by the liquidation of a firm in New York, and Britain had declared war on Germany. Captain Christie went off to war two days after the wedding, while his bride went to work at the Torbay Hospital in Torquay, nursing the first casualties who were being brought back from the Front. After two years of nursing, and a number of reunions with Archie when he came home on leave, Agatha transferred to the hospital’s dispensary, where she acquired the accurate knowledge of poisons which was later to prove so useful to her.

Years earlier, Agatha and her sister Madge had one day been discussing a murder mystery they were reading, and Agatha had mentioned, idly, that she would like to try her hand at a detective story. Madge was of the opinion that Agatha would find this too difficult a task, an opinion which Agatha remembered in 1916, while working in the hospital dispensary at Torquay. She decided to devote her occasional slack periods at the dispensary to the composition of a detective novel, in the hope of proving her sister wrong.

Her first problem, as Agatha Christie revealed many years later in her autobiography, was to decide what kind of detective story she would write. Since she was surrounded by poisons, it was natural that death by poisoning should be the method she selected. She settled on one particular fact or donné which seemed to her to have possibilities, toyed with the idea for a time, and finally decided upon it. Next she turned to the dramatis personae. Who should be poisoned? Who would be the poisoner? When? Where? How? Why? It would, she decided, have to be ‘very much of an intime murder’, because of the method chosen. It would have to be all in the family, so to speak.

And, of course, there would have to be a detective to unravel the mystery and unmask the evil-doer. An avid reader of the Sherlock Holmes stories of Sir Arthur Conan Doyle, Agatha pondered upon the personality and methods of Holmes and his relationship with Dr Watson, his friend and the chronicler of his cases. Her detective, she decided, would have to be as different in personality from Sherlock Holmes as possible. However, the device of the friend and helper, the Dr Watson-figure whose obtuseness sets off the brilliant deductive powers of the great detective, was too useful to discard. Her detective would, therefore, have such a figure in attendance, and he could be the narrator of the story. The budding crime writer now had an idea for the actual crime, and a detective and his aide. But who were the other characters to be? Who was to be murdered? Husbands frequently murdered their wives, of course, but perhaps it would be better to opt for a more unusual kind of murder and for a very unusual motive. But then the whole point of a really good murder mystery was that the criminal should be someone obvious, whose obviousness was not apparent until pointed out in the last chapter by the brilliant detective. At this point in her reasoning, Agatha Christie confessed later, she became confused and went away to make up a couple of extra bottles of hypo-chlorous lotion, so that she would have more free time the following day to give further consideration to her crime project.

Over the next few days, her plot began to develop in some detail, though in a somewhat unorthodox manner. Having first decided what she wanted her murderer to look like, Agatha next began to search around among her acquaintances for someone who fitted the description, in order to study his physical characteristics. She soon realized, however, that it was pointless to attempt to base a fictional character upon a real person’s characteristics. Later, with experience, she would find ways of doing this to some extent, but for the present she was in need of a starting-off point. She found it when, sitting in a tram, she saw exactly what she wanted: ‘a man with a black beard, sitting next to an elderly lady who was chattering like a magpie.’ As she did not know these people, her imagination was unfettered; she could invent characters for them, and place them in situations of her own invention.

She continued to give consideration to the question of the detective. It was important that he should not be simply an imitation Sherlock Holmes. What other models were there? Arsène Lupin? The young journalist Rouletabille in The Mystery of the Yellow Room?1 Perhaps the detective could be a scientist. Or a schoolboy? A schoolboy would be too difficult, and Agatha was not acquainted with any scientists. Then she remembered the colony of Belgian war refugees who were living in the parish of Tor, in Torquay. Might not one of them be a Belgian police officer? A retired Belgian police officer, not too young:

I allowed him slowly to grow into his part. He should have been an inspector, so that he would have a certain knowledge of crime. He would be meticulous, very tidy, I thought to myself, as I cleared away a good many untidy odds and ends in my own bedroom. A tidy little man. I could see him as a tidy little man, always arranging things, liking things in pairs, liking things square instead of round. And he should be very brainy – he should have little grey cells of the mind – that was a good phrase: I must remember that – yes, he would have little grey cells. He would have rather a grand name – one of those names that Sherlock Holmes and his family had. Who was it his brother had been? Mycroft Holmes.2

Since he was to be a little man, it seemed an amusing idea to name the retired detective Hercules, the hero of Greek myth. Where did ‘Poirot’ come from? Did Agatha Christie think of her little detective as also being pear (poire)-shaped? Later, she was unable to remember. But she liked the sound of ‘Hercule Poirot’, and enthusiastically set to work on the other characters and on the plot, inventing situations, revelations and false clues during her leisure time at the dispensary and at home. Eventually, she began to write her novel, using a battered old typewriter that had belonged to her sister. Her method was to produce a first draft of each chapter in longhand and then revise the chapter as she typed it.

About halfway through, Agatha began to find herself in difficulties with her complicated plot, at which point her mother suggested that, if she was ever going to bring her novel to a successful conclusion, she should take the typescript away with her on her holiday from the hospital, and work at it with nothing else to distract her. And so, in the summer of 1916, Mrs Archibald Christie took herself off to beautiful, grey, remote Dartmoor, quite near Torquay in distance, but a world away in atmosphere with its rugged moorland, giant granite tors on craggy hills, ancient stone circles, and prehistoric remains.