John Curran – Agatha Christie’s Murder in the Making: Stories and Secrets from Her Archive - includes an unseen Miss Marple Story (страница 4)

She reused plot devices throughout her career; and she recycled short stories into novellas and novels – she often speculates in the Notebooks about the expansion or adaptation of an earlier title. The Notebooks demonstrate how, even if she discarded an idea for now, she left everything there to be considered again at a later stage. And when she did that, as she wrote in her Autobiography, ‘What it’s all about I can’t remember now; but it often stimulates me.’

Many of Christie’s best plots did not necessarily spring from a single devastating idea. She considered all possibilities when she plotted and did not confine herself to one idea, no matter how good it may have seemed. She rattled off possibilities and variations on the basic idea so that, for instance, in very few cases is the identity of the murderer settled from the start of the plotting. An example from the notes for Mrs McGinty’s Dead, as she considers the possible identity both of the killer from the past and from the present, illustrates this:

1 A. False – elderly Cranes – with daughter (girl – Evelyn) B. Real – Robin – son with mother son

2 A. False Invalid mother (or not invalid) and son B. Real – dull wife of snob A.P. (Carter) Dau[ghter]

3 A. False artistic woman with son B. Real middle-aged wife – dull couple – or flashy Carters (daughter invalid)

4 A. False widow – soon to marry rich man

5 [A] False man with dogs – stepson – different name [B] Real – invalid mother and daughter – dau[ghter] does it

Throughout the Notebooks murder methods, motives, settings and even the detective are apt to change between the early notes and the published book; names, in particular, change, sometimes radically. I try, where possible, to identify which character Christie may have had in mind when this occurs.

In Agatha Christie’s Secret Notebooks I examined over 25 novels, almost a dozen short stories and the genesis of all 13 of The Labours of Hercules; I also included some stage scripts and presented two ‘new’ Hercule Poirot investigations. Agatha Christie’s Murder in the Making includes the rest of her novels, as well as an ‘unknown’ stage script. And, unlike Agatha Christie’s Secret Notebooks, this new volume contains some more personal glimpses – her reading lists, her own account of the creation of Hercule Poirot, a fascinating letter to The Times. As well as a new version of a Miss Marple short story I also include, from either end of her career, the original denouement of The Mysterious Affair at Styles and her notes for a final, unwritten novel.

If any further proof were needed of the universal and timeless appeal of Agatha Christie, the appearance of Agatha Christie’s Secret Notebooks provided it. Since its appearance I have received correspondence from Christie devotees the world over: from Australia, Russia, Croatia, Brazil, Argentina and Italy as well as the UK, the USA and Ireland; I have been interviewed for magazines, radio and TV in France, Portugal, Turkey, the USA, Iceland, Finland, Spain and Brazil as well as the UK and Ireland; I have been invited to Tokyo, Helsinki, Istanbul and New York, and to literary festivals throughout the UK and Ireland. And the book itself has been translated into 17 languages including Vietnamese and Croatian.

As a certain Belgian might say, ‘It gives one furiously to think, does it not …?’

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