From the archive: Poirot’s last case #killerfest15

Category: Favourites
1975 – This quirky pamphlet showcases Agatha Christie’s last Poirot case – ‘Curtain: Poirot’s Last Case’. In the style of a play’s programme, it gives details of the cast and crew (prominent members of the Collins business) and a synopsis of scenes.

1975 – This quirky pamphlet showcases Agatha Christie’s last Poirot case – ‘Curtain: Poirot’s Last Case’. In the style of a play’s programme, it gives details of the cast and crew (prominent members of the Collins business) and a synopsis of scenes.

Sophie Hannah talks about Agatha Christie’s influence on her writing

Category: Book club

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This month’s Killer Reads Book of the Month is the first Poirot mystery, THE MYSTERIOUS AFFAIR AT STYLES.

You can join the debate on GoodReads here: http://bit.ly/1wWAv3F

When my agent first suggested to me that I ought to write a new Hercule Poirot novel for Agatha Christie’s publishers, I knew two things straight away: that this might be the most exciting creative challenge I could ever undertake, and that I would not want to write a continuation novel for any other writer, not even one that I loved.  I’ve always been a huge fan of Iris Murdoch, for example, but to try to write a novel featuring one of her characters wouldn’t have worked for me at all.  It would have been too contrived.  I’d have felt like an actor playing one half of a pantomime horse, out of synch with the other half and in an ill-fitting costume.

The idea of writing a Poirot novel did not feel like that at all – which, if you think about it, is rather odd.  Why didn’t it?  Why did it feel so natural and possible?  I think it’s because Agatha Christie’s influence is such an integral part of my writerly DNA, and always has been.  She was my main influence, and the writer who made me fall in love with mysteries.  I discovered her early – at twelve – and I’d read every word she’d published by the time I was fourteen.  I was hooked.  And a pattern had been firmly set up in my mind, the blueprint for what I believed an ideal detective story ought to be: an intriguing, structurally ambitious mystery – far more interesting and puzzling than simply ‘Here’s a corpse – who killed it?’; a super-clever detective who reliably and brilliantly solves every last puzzle at the end; an abundance of clues, indecipherable when we first encounter them, but making perfect sense once we’ve heard the detective’s explanation; the apparently impossible being shown to be possible; the combination of a fun, hooky read with psychological insight and an awareness of the depths of darkness in every human psyche.

When I set out to write crime fiction, I didn’t think to myself, ‘I’m going to model myself on Agatha Christie’ or ‘I am going to be a crime writer in the Christie tradition’.  Nevertheless, the Queen of Crime’s example must have been strong in my mind, because I wrote mystery novel after mystery novel that opened with what I thought of as ‘an Agatha-ish beginning’.  What I meant by this was: something so puzzling appears to be happening that readers cannot begin to speculate what might be going on, and fear that the only way the idea can be made to work is by resorting to the supernatural.  So, in my novel The Dead Lie Down (which is called The Other Half Lives in England), a man confesses to the murder of a woman who isn’t dead.  No matter how hard the police try to convince him that he can’t possibly have killed her because, look, there she is, alive and well and claiming never to have heard of him, this man continues to insist that she can’t possibly be still alive, because he killed her – yes, that very same woman – several years earlier.  My novel Kind of Cruel starts with a woman arrested for murder because she uttered the words ‘Kind, Cruel, Kind of Cruel’ in a confidential hypnotherapy session and those same words were the only clue found at the scene of a brutal murder – but how could detectives have known that the heroine said these words to her therapist in a private therapy session overheard by nobody?

The trick is to show, slowly and logically, how what appears to be impossible is in fact eminently possible.  Agatha Christie pulls it off brilliantly in Sleeping Murder, Murder on the Orient Express, And Then There Were None, Sparkling Cyanide and many other of her novels, and I try to do it in the crime fiction that I write.  I didn’t realise until I was asked to write a new Hercule Poirot novel that, from my very first attempt at crime fiction when I was a teenager, I had been trying to write like Agatha Christie in so many ways.  Being asked to do so openly and officially, and taking up that challenge, felt like a sort of literary coming out of the closet – a closet full of old paperback editions of Agatha Christie novels, the ones I collected as a teenager.  After coming out of it, I wanted to crawl back in and reread all those wonderful books!

Follow Christie on @queenofcrime and Sophie @sophiehannahCB1

 

November’s Killer Reads Book Club title is…

Category: Book club

We’re very excited that the next book in the Killer Reads book club is the very first Agatha Christie Poirot novel: The Mysterious Affair at Styles.

This is an absolute classic, and we can’t wait for everyone to get stuck in.

Want to win a copy? Register here for your chance to win!

Watch Estates Publisher David Brawn talking about the book, and telling some stories you might not know about how it came to be…