Agatha Christie’s Murder in the Making: Stories and Secrets from Her Archive - includes an unseen Miss Marple Story

Agatha Christie’s Murder in the Making: Stories and Secrets from Her Archive - includes an unseen Miss Marple Story
John Curran

Agatha Christie’s life and career told through the decades, from the never-before-published original ending to her first book to the unused ideas for her last, complete with two unpublished Agatha Christie stories - including a lost Miss Marple.In this follow-up volume to the acclaimed Agatha Christie's Secret Notebooks, Christie archivist and expert John Curran leads the reader through the six decades of Agatha Christie's writing career, unearthing some remarkable clues to her success and a number of never-before-published excerpts and stories from her archives.Starting his investigation in the 1920s, John Curran examines the conventions of detective novels as they existed then and how Agatha Christie's publisher talked her into changing the ending of her very first book, The Mysterious Affair at Styles, a move that almost certainly changed the fortunes of not only her career but the future of the whole crime writing genre. For the very first time, this book prints Agatha's original ending, painstakingly transcribed from her notebooks.Every decade saw Agatha Christie's success grow to new heights. The emergence of the world-famous Collins Crime Club in 1930 brought with it the very first Miss Marple mystery, the austerity of the 1940s had Agatha Christie preparing to kill off Hercule Poirot, and the 1950s saw her experiment increasingly with formats influenced by more modern thrillers. Focusing on the detail of more than 20 Christie novels to illustrate this, John Curran shows the evolution of Agatha's writing through the decades, including the influence of the swinging sixties and seventies, concluding the book with a look at Agatha's last notebook, using his Christie knowledge to speculate about what she had in mind based on her brief notes for an unwritten final book.Also includes a number of short stories from the archives reproduced in full, including the unpublished The Man Who Knew, How I Created Hercule Poirot, and an early draft for a Miss Marple story, The Case of the Caretaker's Wife.

Agatha Christie’s Murder in the Making

Stories and Secrets from her Archive

John Curran

Dedication

For

Mathew, Lucy and Mahler,

without whom …

Contents

Cover (#ulink_0ab38847-78c4-53cf-998a-33ea156f57b4)

Title Page

Dedication

Preface

Introduction

1 Rule of Three

2 The First Decade 1920–1929

Unused Ideas – One

3 Favourite Stories and ‘The Man Who Knew’

4 The Second Decade 1930–1939

Unused Ideas – Two

5 ‘How I Created Hercule Poirot’

6 The Third Decade 1940–1949

Unused Ideas – Three

7 Miss Marple and ‘The Case of the Caretaker’s Wife’

8 The Fourth Decade 1950–1959

Unused Ideas – Four

9 Agatha Christie and Poison

10 The Fifth Decade 1960–1969

Unused Ideas – Five

11 The Dark Lady …

12 The Sixth Decade 1970–1976

Unused Ideas – Six

13 Agatha Christie’s Booklists

Appendix 1: Agatha Christie Chronology

Appendix 2: Alphabetical List of Agatha Christie Titles

Index of Titles

Acknowledgements

Copyright

About the Publisher

From Notebook 4 a tantalising glimpse of a project, never realised, from the 1960s. See Unused Ideas Three.

PREFACE

Victoria Station, March 1931

Although she is by now an experienced traveller, the sights, sounds and even smells of the great railway station never fail to excite her. This is the start of her journey and she takes a moment to savour the sense of anticipation that bustling railway stations have always engendered in her – harassed and luggage-laden passengers hurrying along platforms, imperious-looking porters issuing instructions and shouting to invisible colleagues, the great trains snorting and bellowing clouds of smoke. She walks purposefully along the continental platform and hails a porter. As soon as she is installed in her seat she has an opportunity to observe, at her leisure, her fellow passengers. She can’t help speculating about the life of these strangers with whom she is to share a few hours in close proximity. This covert observation has, by now, become almost an occupational hazard and provided she is left to her own devising it’s all potential material. Now let’s see …

The moth-eaten looking man sitting opposite … studying his railway timetable and jotting down the details as he turns the pages could be … an office worker planning his holiday? a Civil Servant checking a business trip? a salesman plotting his sales route? His only luggage is a smallish case … probably for his samples … too small for encyclopaedias … brushes, perhaps, or … pens or … hosiery?

And that very handsome young man opposite … reading … what, exactly? It’s not a book … or a magazine … it seems to be typed pages, loosely bound, printed on only one side of the page and laid out very specifically. And he is studying it intensely and underlining sections of it … a business report? A manuscript perhaps and he’s correcting it? No … the corrections seem too regular. Ah, I’ve got it – it’s a script and he’s marking his lines … he’s an actor and that makes sense … matinee-idol good looks.

The older, haughty-looking woman in the far corner … seems to be waiting for someone, as evidenced both by her exasperated demeanour and by the continual checking of her wristwatch and her scanning of the platform for … her husband? No … no wedding ring … a friend, maybe … a travelling companion?

A harassed-looking older woman, struggling with a fox terrier on a lead and carrying a suitcase, a handbag, an umbrella and an assortment of magazines, hurries along the platform. In response to an imperious gesture she clambers into the carriage, managing to drop the magazines as she does so. Any lingering doubt as to her status is removed by the recriminations which follow.

Yes, definitely a companion … almost certainly a paid companion … nobody else would accept that sort of abuse.

At last, to the accompaniment of final shouts and whistles, the train glides out of the station and passengers settle down for the journey. As London begins to disappear her thoughts turn to the reunion ahead of her in a few days. Although married six months ago she has not seen her husband for almost four of those months. And despite a constant flow of letters in both directions she is anxious that, when they finally meet again, there should be no awkwardness. She knows that the best remedy for worry is work and she can easily and unobtrusively do some here where she sits.