Formula

Almost all of Christie’s detective stories are whodunits, situated in the English middle or upper class. Usually, an important person is murdered, and a detective (Poirot or Miss Marple) is called on the crime scene. As the plot evolves, all the people involved are interrogated, revealing the circumstances of the murder and possible motives. Often a second and even third murder occurs, typically on a member of staff who has witnessed something about the murder, and who tried to blackmail the murderer. Some of the characters also may have something to hide, making them suspect, but this turns out to have nothing to do with the murder. Finally, all suspects are gathered in a meeting, and the detective reveals the logic behind the investigation and eventually the name of the murderer. Often, some ingenious piece of trickery is involved. The stories are notably strong on atmosphere and psychological suspense, derived from the gradual exposure of all the characters’ innermost secrets, as well as the slow build up of dread before the murder actually occurs.

Twice, the murderer surprisingly turns out to be the narrator of the story, in The Murder of Roger Ackroyd and Endless Night.

Thrice also, Agatha Christie lets the murderer get away with it (and implicitly almost approves of the murder), in Murder on the Orient Express, Curtain and The Unexpected Guest.

~ por agathachristiebiography em Setembro 18, 2008.