She married Archibald Christie in December 1914, but the couple divorced in 1928.[3] After he was sent to the Western Front in the First World War, she worked with the Voluntary Aid Detachment and in the chemist dispensary, giving her a working background knowledge of medicines and poisons.[3] Christie's writing career began during the war, after she was challenged by her sister to write a detective story; she produced The Mysterious Affair at Styles, which was turned down by two publishers before being published in 1920.[3][6] Following the limited success of the novel, she continued to write and steadily built up a fan base. She went on to write over a hundred works, including further novels, short stories, plays, poetry, and two autobiographies. She also wrote six romantic novels under the pseudonym Mary Westmacott.[7]
Just curious. I've read 22 Christie books so far and I think there are very few couples I liked (Tommy and Tuppence, Charles and Sophia from Crooked House are probably the only ones I liked). Most of the time, Character A just randomly proposes to Character B after meeting once. So I wonder if Christie is just bad with writing romance (which is sus since I believe her Westmacott novels are romance) or if it's just the culture of (early 20th century) England.
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Sometimes I can just ignore them and forget about them so it doesn't affect my love for her novels. But I was reading The Man in the Brown Suit today and the romance made me cringe so hard which brought me to ask others' opinion of her novels' romances
tag_hash_112Hello! I'm new to this site, and I'm hoping someone can answer what I think are valid questions and concerns about the extremely different versions I've found of one of Agatha Christie books, 'The Moving Finger'. I don't know at this point if any more of Agatha Christie's novels have been changed like this.
My questions are: Were major changes made to Ms. Christie's writings when they were published in the US (vs the UK)? Or perhaps did Dell heavily edit and re-write? Or are Amazon or the publisher of the new paperback somehow involved in these changes? Or, did Agatha Christie herself re-write a lot of her novels for an American market? (I know about all the title changes, but I'm talking about the actual text.) Nowhere in either my Dell copy or the new paperback did I notice any notation that they were abridged or edited versions. What the heck? And, I LOVE my Dell paperback version -- For instance, the 5th paragraph on the first page: "I see that I have begun badly. I haven't explained Lymstock." I did not see this line in the new version. If Agatha Christie didn't write that line in the Dell book, who did? Another question I have is if more, or all of Ms. Christie's novels have been changed like 'The Moving Finger' has.
The name "Agatha Christie" is nearly synonymous with upper-class British mysteries, for good reason. Christie (1890-1976) set the standard for the genre in more than 60 novels and dozens of short stories, creating two iconic detectives along the way: the fastidious Belgian Hercule Poirot, and the English spinster Jane Marple in the Miss Marple series. No one could match her knack for weaving clues into her stories. Widely considered her masterpiece, And Then There Were None has been adapted into a number of films.
Edited to add: I've found another passage that's been changed (I've updated the original post in r/agathachristie to avoid spoilers for anyone here). This time a phrase containing some offensive language about Egyptian children has simply been removed from the updated text. I have no idea how extensive these text changes are in the novel, but I doubt they are simply due to issues with American vs. European interpretations given the new example.
Agatha Christie is one of the most famous mystery writers of all time. She was born in England in 1890 and wrote her first book, The Mysterious Affair at Styles, in 1920. Agatha Christie then wrote more than 70 novels and short story collections during her lifetime, many of which are considered classics of the mystery genre. In addition, her books have been adapted for stage, film, and television and translated into over 100 languages. According to the Guinness Book of World Records, Christie remains the bestselling fiction writer, with global sales exceeding over two billion copies worldwide.
The breakdown of Poirot-only novels and Marple-only novels is fascinating in the context of gender differences between the two detectives. Again, you can read more in the attached paper. I discuss the gender-based explanations for subtle differences in the sub-formula for each detective, and how these differences relate to the social constraints of a female writer in the early- to mid-20th century.
BRAWN: There's something to be said about the mystery novel being something you can escape into. All good mystery novels end up with some kind of happy ending. Justice is done. The perpetrators are found out and locked away, and you've had a very enjoyable experience helping to solve the puzzles.
Agatha Christie is nearly synonymous with upper-class British mysteries, for good reason. She set the standard for the genre in over 60 novels and dozens of short stories, also creating two classic detectives: the fastidious Belgian, Hercule Poirot, and English spinster Jane Marple. No one could match Christie's knack for weaving clues into her stories, then turning the whole thing inside out -- shocking her readers every time.
Crime author Sophie Hannah is to write a new Agatha Christie novel, featuring the author's famous Belgian detective Hercule Poirot.
The book, which has been fully authorised by the Christie estate, now managed by Acorn Productions Ltd, will be published by HarperCollins in September 2014. It is the first ever Christie "continuation" novel to be written.
Hannah is a well-established crime writer whose novels, published by Hodder, include Kind of Cruel and The Other Half Lives. She is also a poet and has been shortlisted for the T S Eliot Prize.
The author, who picked Christie's Murder on the Orient Express as one of her Desert Island Books for We Love This Book, called herself an "obsessively" devoted Christie fan who read all her novels as a 13-year-old.
Christie wrote six novels under the pseudonym Mary Westmacott. These were (chronologically) Giant's Bread, Unfinished Portrait, Absent in the Spring, The Rose and the Yew Tree, A Daughter's a Daughter, and The Burden. Many critics have called these books semi-autobiographical, and Christie's daughter herself described these as "bitter-sweet stories about love". In these books, Christie explores,among other things, a passion for music and artistic genius (Giant's Bread), mother-child relationships (A Daughter's a Daughter), and how quickly love can turn to hate (The Burden). All these books are set in a world Christie knew very well: they are set in the First World War, for instance, or with the background of a rapidly-changing England in the early to mid-1900s. The first of these books, Giant's Bread, was published in 1930; The Burden in 1956. Critics have, over the years, also pointed out the similarities between Christie's own life and what's happening in the books (the heroine of Unfinished Portrait, for example, has been left by her husband for another woman; Christie's first marriage, too, ended in heartbreak).
I read the Mary Westmacott novel in my teens: my mother's library had a Collected Works with all 6 in one book. Maybe because I read them all together at a time in my life when I also regularly read Christie, I was able to pick up on the similarities with so much ease. A couple of years back, as a personal reading project, I re-read all the Christie novels chronologically (in order of publication). These included the Mary Westmacott novels. I was surprised to see how much they still resonate, how easy they are to read, and how much I still love them.
Absent in the Spring (1944) is my favourite of these novels. Christie herself has said of the novel that this was "one book that has satisfied me completely." She wrote the book in just three days according to agathachristie.com. The book has an aging woman who finds herself stranded due to bad weather on her way home to England from visiting her daughter in the middle-east. She has nothing to do (for the first time in very long) and plenty of time to think. Her reminiscences give us an insight into her world and her family. What has kept them apart, and what has held them together. It shows how dangerous our actions can be, even when motivated by love. It is also a breakdown of a single character: a contrast between what the character is and what she thinks of herself. The prose is poignant, and the story is an excellent exploration of how we see ourselves.
I think the Mary Westmacott novels fit so well in the Agatha Christie Universe (ACU, if you must) because these complex novels perfectly complement her crime novels. The demands of the detective novel don't allow Christie to really delve into themes and characters as she does here.
After the release of Murder on the Orient Express, Kenneth Branagh expanded on his Agatha Christie cinematic universe with two more films. The latest film in this universe is A Haunting in Venice, which adapts Agatha Christie's Hallowe'en Party. Kenneth Branagh brings to life the iconic Belgian detective Hercule Poirot in all three movies. Poirot is a classic detective in fiction and has featured in over thirty Agatha Christie novels.
With so many detective novels featuring Hercule Poirot, Kenneth Branagh has many to choose from. A Haunting in Venice also introduced another recurring character in Agatha Christie's novels, Ariadne Oliver. And while Poirot and Oliver have many stories together that Kenneth Branagh could adapt next, there are other Christie novels that would be perfect for the big screen as well. 006ab0faaa
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