Curtain - Agatha Christie [79]
Just after midnight, a snowstorm stops the Orient Express dead in its tracks in the middle of Yugoslavia. The luxurious train is surprisingly full for this time of year. But by morning there is one passenger less. A ‘respectable American gentleman’ lies dead in his compartment, stabbed a dozen times, his door locked from the inside... Hercule Poirot is also aboard, having arrived in the nick of time to claim a second-class compartment — and the most astounding case of his illustrious career.
Regarding chronology: Agatha Christie seems not much concerned in the course of her books with their relationship to each other. It is why the Marples and the Poirots may be ready in any order, really, with pleasure. However, the dedicated Poirotist may wish to note that the great detective is returning from ‘A little affair in Syria’ at the start of Murder on the Orient Express. It is a piece of business after this ‘little affair’ — the investigation into the death of an archaeologist’s wife — that is the subject of Murder in Mesopotamia (1936). If one wishes to delay a tad longer the pleasures of Orient Express, Murder in Mesopotamia offers no better opportunity.
Fair warning: Along these lines, it is advisable that one not read Cards on the Table (1936) prior to Orient Express, since Poirot himself casually gives away the ending to the latter novel.
Of note: Murder on the Orient Express is one of Agatha Christie’s most famous novels, owing no doubt to a combination of its romantic setting and the ingeniousness of its plot; its non-exploitative reference to the sensational kidnapping and murder of the infant son of Charles and Anne Morrow Lindbergh only two years prior; and a popular 1974 film adaptation, starring Albert Finney as Poirot — one of the few cinematic versions of a Christie work that met with the approval, however mild, of the author herself.
Dorothy L. Sayers, Sunday Times: ‘A murder mystery conceived and carried out on the finest classical lines.’
Saturday Review of Literature: ‘Hard to surpass.’
Times Literary Supplement: ‘Need it be said — the little grey cells solve once more the seemingly insoluble. Mrs Christie makes an improbable tale very real, and keeps her readers enthralled and guessing to the end.’
11. Three-Act Tragedy (1935)
The novel opens as a theatre programme, with this telling credit: ‘Illumination by HERCULE POIROT.’ Light must be shed, indeed, on the fateful dinner party staged by the famous actor Sir Charles Cartwright for thirteen guests. It will be a particularly unlucky evening for the mild-mannered Reverend Stephen Babbington, whose martini glass, sent for chemical analysis after he chokes on its contents and dies, reveals no trace of poison. Just as there is no apparent motive for his murder. The first scene in a succession of carefully staged killings, but who is the director?
The New York Times: ‘Makes for uncommonly good reading.’
12. Death in the Clouds (1935)
From seat No. 9, Hercule Poirot is almost ideally placed to observe his fellow air travelers on this short flight from Paris to London. Over to his right sits a pretty young woman, clearly infatuated with the man opposite. Ahead, in seat No. 13, is the Countess of Horbury, horribly addicted to cocaine and not doing too good a job of concealing it. Across the gangway in seat No. 8, a writer of detective fiction is being troubled by an aggressive wasp. Yes, Poirot is almost ideally placed to take it all in — except that the passenger in the seat directly behind him has slumped over in the course of the flight... dead. Murdered. By someone in Poirot’s immediate proximity. And Poirot himself must number among the suspects.
Times Literary Supplement: ‘It will be a very acute reader who does not receive a complete surprise at the end.’
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