Elephants Can Remember (18 page)

13.
The ABC Murders
(1936)

Captain Arthur Hastings returns to narrate this account of a personal challenge made to ‘Mr Clever Poirot’ by a killer who identifies himself as ‘ABC’ and who leaves the
ABC Rail Guide
next to his victims — apparently intending to work through the English countryside (he has struck in Andover, Bexhill-on-Sea, and Churston) and exercise Poirot along the way. Serialized in London’s
Daily Express
,
The ABC Murders
became a cultural phenomenon as readers were invited to try to keep up with the famous Belgian detective. It is a challenge that remains fresh and thrilling to this day — and makes
The ABC Murders
one of the absolute must-reads of the Christie canon.

• Julian Symons: ‘A masterwork of carefully concealed artifice… most stunningly original.’
  
• Sunday Times
  : ‘There is no more cunning player of the murder game than Agatha Christie.’
  

14.
Murder in Mesopotamia
(1936)

Nurse Amy Leatheran had never felt the lure of the ‘mysterious East,’ but she nonetheless accepts an assignment at Hassanieh, an ancient site deep in the Iraqi desert, to care for the wife of a celebrated archaeologist. Mrs Leidner is suffering bizarre visions and nervous terror.
‘I’m afraid of being killed!’
she admits to her nurse. Her terror, unfortunately, is anything but unfounded, and Nurse Leatheran is soon enough without a patient. The world’s greatest detective happens to be in the vicinity, however: having concluded an assignment in Syria, and curious about the dig at Hassanieh, Hercule Poirot arrives in time to lead a murder investigation that will tax even his remarkable powers — and in a part of the world that has seen more than its share of misadventure and foul play.

• The New York Times
  : ‘Smooth, highly original, and completely absorbing.’
  

15.
Cards on the Table
(1936)

‘The deduction,’ Agatha Christie writes in her Foreword to this volume, ‘must ... be entirely
psychological
... because when all is said and done it is the
mind
of the murderer that is of supreme interest.’ There is probably no neater encapsulation of what makes Agatha Christie’s works so fresh, so fascinating, so many years after they were written. And this statement appropriately opens the novel that is regarded as Agatha Christie’s most singularly challenging mystery — it is, in fact, Hercule Poirot’s own favourite case.

Poirot is one of eight dinner guests of the flamboyant Mr Shaitana. The other invitees are Superintendent Battle of Scotland Yard (introduced in
The Secret of Chimneys
); Secret Service agent Colonel Race (who first appeared in
The Man in the Brown Suit
); Mrs Ariadne Oliver, a famous author of detective stories (introduced in
Parker Pyne Investigates
and who will figure in five more Poirots) — and four suspected murderers. After dinner, there will be a few rounds of bridge: the four investigators playing at one table; the four murder suspects at another. Mr Shaitana will sit by the fire and observe. This he does — until he is stabbed to death. The ultimate ‘closed-room murder mystery’ awaits the intrepid reader. Who is the murderer? And who will solve the crime?

Fair warning:
Poirot casually reveals the solution to
Murder on the Orient Express
in
Cards on the Table
.

• Daily Mail
  : ‘The finest murder story of her career… Mrs Christie has never been more ingenious.’
  

16.
Murder in the Mews
(1937)

In the title work in this collection of novellas, Poirot and Inspector Japp collaborate on the investigation of a suspicious suicide. The supernatural is said to play in the disappearance of top secret military plans in
The Incredible Theft
— an incredible claim, indeed, as Poirot will prove. The bullet that kills Gervase Chevenix-Gore shatters a mirror in
Dead Man’s Mirror
— just the clue Poirot needs to solve the crime. And, while basking on white Mediterranean sands, Poirot stares trouble in the face — the beautiful face of Valentine Chantry, now celebrating her fifth marriage — in
Triangle at Rhodes
.

• Daily Mail
  : ‘All four tales are admirable entertainment… Mrs Christie’s solutions are unexpected and satisfying.’
  

17.
Dumb Witness
(1937)

Agatha Christie wrote this mystery for dog lovers. She was certainly one herself, dedicating the novel to her own pet. Captain Arthur Hastings, in his penultimate Poirot appearance (like Poirot,
Curtain
will be his last), again takes up narrative duties — along with, remarkably, the eponymous Bob, a wire-haired terrier who, upon careful inspection, declares Poirot ‘not really a doggy person.’ But Poirot is present to inquire into the natural-seeming death of Bob’s mistress, Miss Emily Arundell. Natural-
seeming
, except that Miss Emily had written Poirot of her suspicions that a member of her family was trying to kill her: a letter Poirot received too late — in fact,
two months
too late — to help. Poirot and Bob will sniff out the murderer nonetheless (and Bob will win a happy new home, with Captain Hastings who is, most decidedly, a ‘doggy person’).

Fair warning:
Dumb Witness
is best read after
The Mysterious Affair at Styles
;
The Murder of Roger Ackroyd
;
The Mystery of the Blue Train
; and
Death in the Clouds
— since the identity of the criminal in each is revealed in this novel.

• Glasgow Herald
  : ‘One of Poirot’s most brilliant achievements.’
  

18.
Death on the Nile
(1937)

Among the best-loved of Agatha Christie’s novels,
Death on the Nile
finds Hercule Poirot again trying to enjoy a vacation — this time aboard the S.S.
Karnak
, steaming between the First and Second Cataracts of the Nile, with stops at sites of archaeological significance. But Poirot (who, after all, had attempted to
retire
years before) seems to be perennially unlucky in his choice of holidays. Newlywed Linnet Ridgeway is, in the course of the journey, shot dead in the head, and Poirot has before him a boatload of suspects — and a useful sidekick in Colonel Race of the British Secret Service.

Of note: The producers of
Murder on the Orient Express
released a film version, also well received (though not by Mrs Christie, who had passed away two years prior), of
Death on the Nile
(1978), this time casting Peter Ustinov as Poirot.

• Daily Mail
  (of the novel): ‘Flawless.’
  

19.
Appointment with Death
(1938)

‘“I’m so sorry,” she said... “Your mother is dead, Mr Boynton.” And curiously, as though from a great distance, she watched the faces of five people to whom that announcement meant freedom...’

We have returned to the Middle East with Hercule Poirot, on our most colourful tour yet: to the Dome of the Rock, the Judean desert, the Dead Sea, and to Petra, ‘the rose-red city,’ that ancient place of heart-stopping beauty — but also of heart-stopping horror, for here sits the corpse of old Mrs Boynton, monstrous matriarch, loathed by one and all. A tiny puncture mark on her wrist is the only sign of the fatal injection that killed her. With only twenty-four hours available to solve the mystery, Hercule Poirot recalls a chance remark he’d overheard back in Jerusalem: ‘You see, don’t you, that she’s got to be killed?’

• The Observer
  : ‘Twice as brilliant as
  Death on the Nile
  , which was entirely brilliant.’
  

20.
Hercule Poirot’s Christmas
(1938)

This novel was the author’s gift to her brother-in-law, who had complained that her stories were, for him, ‘too academic.’ What he desired was a ‘good violent murder with lots of blood.’ From the epigraph — a quotation from
Macbeth
— to its startling end, Agatha delivered a gift made to order.

It is Christmas Eve. The Lee family reunion, never a lively affair, is interrupted by a deafening crash and a high-pitched scream. The tyrannical head of the Lee family, Simeon, lies dead in a pool of blood, his throat slashed. Hercule Poirot is spending the holidays with his friend Colonel Johnson, the chief constable of the local village. At the Lee house he finds an atmosphere not of mourning but of mutual suspicion. Christmas with family — survive it this year with Hercule Poirot.

Fair warning:
In an exchange between Poirot and Colonel Johnson, the solution of
Three-Act Tragedy
is revealed.

21.
Sad Cypress
(1940)

Beautiful, young Elinor Carlisle stands serenely in the dock, accused of the murder of Mary Gerrard, her rival in love. The evidence is damning: only Elinor had the motive, the opportunity, and the means to administer the fatal poison. Inside the hostile courtroom, one man is all that stands between Elinor and the gallows — Hercule Poirot.

• Daily Mail
  : ‘Poirot solves another exciting case.’
  
• Charles Osborne, Agatha Christie’ biographer: ‘One of the most real, least schematic of crime novels. It is also unusual in that it employs the device of the possible miscarriage of justice ... And it works superbly as a murder mystery.’
  

22.
One, Two, Buckle My Shoe
(1940)

‘Nineteen, twenty, my plate’s empty.’
But the reader’s plate is full indeed, as Hercule Poirot must follow a familiar nursery rhyme through a course of murder. The adventure is kicked off by the apparent suicide of a Harley Street dentist — who would also appear to have murdered one of his patients. Hercule Poirot has himself been this dentist’s patient on this very day, and suspects foul play. A shoe buckle holds the key to the mystery. But — five, six — will Poirot pick up sticks, and — seven, eight — lay them straight... before a murderer can strike again?

• The New York Times
  : ‘A swift course of unflagging suspense leads to complete surprise.’
  

23.
Evil Under the Sun
(1941)

‘There was that about her which made every other woman on the beach seem faded and insignificant. And with equal inevitability, the eye of every male present was drawn and riveted on her.’

Including Hercule Poirot’s. She is Arlena Stuart, the famous actress, enjoying — like the famous detective — a summer holiday on Smugglers’ Island, and she will become a common enough sight, sunbathing on the hot sands. Then one azure morning her beautiful bronzed body is discovered in an isolated cove, in the shade. She is dead, strangled. And Poirot, as luckless as ever when he attempts some down-time, will learn in the course of his investigation that nearly all the guests of this exclusive resort have some connection to Arlena. But who had the capacity and the motive to kill her?

Of note: The producers of
Murder on the Orient Express
and
Death on the Nile
released a film version of
Evil Under the Sun
in 1982; again, as in
Nile
, they cast Peter Ustinov as Poirot.

• Daily Telegraph
  : ‘Christie has never written anything better than
  Evil Under the Sun
  , which is detective story writing at its best.’
  
• Times Literary Supplement
  : ‘Christie springs her secret like a land mine.’
  
• Sunday Times
  : ‘Vivacious and entertaining.’
  

24.
Five Little Pigs
(1943)

A staggering bestseller upon its publication — running through 20,000 copies of its first edition —
Five Little Pigs
(published in the U.S. as
Murder in Retrospect
) concerns a murder committed sixteen years earlier. Carla Crale prevails upon Hercule Poirot to investigate the crime that sent her mother, Caroline, to prison for life (where she died). Caroline had been found guilty of poisoning her estranged husband, Carla’s father, Amyas Crale, the famous artist. Poirot’s investigation centers upon five suspects, still living, whom he convinces to speak to him and to record their own memories of the long-ago incident.

Brilliantly intersplicing the past and the present, memory and reality, the search for truth and ongoing attempts to thwart it,
Five Little Pigs
has no antecedent. Almost a decade before Akira Kurosawa’s famous film introduced the term “Rashomon effect” into the vernacular, Agatha Christie invited her readers to view a crime from multiple perspectives and to consider the vagaries of such an exercise. Fortunately, however, the great Belgian detective does not deal in vagaries — Hercule Poirot is in the business of precision, and he will reveal the identity of the true killer.

• Observer
  : ‘Mrs Christie as usual puts a ring through the reader’s nose and leads him to one of her smashing last-minute showdowns.’
  
• Times Literary Supplement
  : ‘The answer to the riddle is brilliant.’
  

25.
The Hollow
(1946)

A murder tableau staged for Poirot’s ‘amusement’ goes horribly wrong at The Hollow, the estate of Lady Lucy Angkatell, who has invited the great detective as her guest of honour. Dr John Christow was to have been ‘shot’ by his wife, Gerda, to ‘expire’ in a pool of blood-red paint. But when the shot is fired, it is deadly, and Dr. Christow’s last gasp is of a name other than his wife’s: ‘Henrietta.’ What was to have been a pleasant country weekend becomes instead one of Poirot’s most baffling cases, with the revelation of a complex web of romantic attachments among the denizens of The Hollow.

Of note: The phenomenon of
The Mousetrap
tends to distract from Agatha Christie’s other stage successes. An adaptation of
The Hollow
was one such triumph, premiering in Cambridge in 1951 and subsequently playing for over a year in the West End. Poirot, however, is not a character in the stage version — the diminutive Belgian with the oversized personality was replaced by a perfectly neutral Scotland Yard inspector. In her
Autobiography
, Mrs Christie notes that she wishes she had made a similar swap in the novel — so rich are the characters in
The Hollow
— but Poirot fans then (
The Hollow
was a tremendous bestseller) and today would have it no other way.