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

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СКАЧАТЬ of time she is transformed from an awed and inexperienced neophyte perched nervously on the edge of a chair in John Lane’s office to a confident and business-like professional with a resolute interest in every aspect of her books – jacket design, marketing, royalties, serialisation, translation and cinema rights.

      The readers’ reports on the Styles manuscript were, despite some misgivings, promising. One gets right to the commercial considerations: ‘Despite its manifest shortcomings, Lane could very likely sell the novel …. There is a certain freshness about it.’ A second report is more enthusiastic: ‘It is altogether rather well told and well written.’ And another speculates on her potential future ‘if she goes on writing detective stories and she evidently has quite a talent for them’. The readers were much taken with the character of Poirot – ‘the exuberant personality of M. Poirot who is a very welcome variation on the “detective” of romance’; ‘a jolly little man in the person of has-been famous Belgian detective’. Although Poirot might take issue with the use of the description ‘has-been’, it was clear that his presence was a factor in the manuscript’s acceptance. In a report dated 7 October 1919 one very perceptive reader remarked, ‘but the account of the trial of John Cavendish makes me suspect the hand of a woman’. Because her name on the manuscript appears as A.M. Christie, another reader refers to ‘Mr. Christie’.

      Despite these favourable readers’ reports, there were further delays and after a serialisation in The Weekly Times – the first time a ‘first’ novel had been chosen – beginning in February 1920, Christie wrote to Mr Willett at The Bodley Head in October that year wondering if her book was ‘ever coming out’ and pointing out that she had almost finished her second one. This resulted in her receiving the projected cover design, which she approved. Eventually, The Mysterious Affair at Styles was published later that year in the USA. And, almost five years after she began it, Agatha Christie’s first book went on sale in the UK on 21 January 1921. Even after its appearance there was much correspondence about statements and incorrect calculations of royalties as well as cover designs. In fairness to John Lane and The Bodley Head, cover design and blurbs also featured regularly throughout her career in her correspondence with Collins.

      As we have seen, one of the readers’ reports mentioned the John Cavendish trial. In the original manuscript, Poirot’s explanation of the crime is given in the form of his evidence in the witness box during the trial. In her Autobiography Christie describes John Lane’s verdict on her manuscript, including his opinion that this courtroom scene did not convince and his request that she amend it. She agreed to a rewrite and although the explanation of the crime itself remains the same, instead of giving it in the course of the judicial process, Poirot holds forth in the drawing room of Styles in the kind of scene that was to be replicated in many later books.

      Incredibly, almost a century later – it was written, in all probability, in 1916 – the deleted scene has survived in the pages of Notebook 37, which also contains two brief and somewhat enigmatic notes about the novel. Equally incredible is the illegibility of the handwriting. It was written in pencil, with much crossing out and many insertions. This is difficult enough, but an added complication lies in the fact that Christie often replaced the deleted words with alternatives, squeezed in, sometimes at an angle, above the original. And although the explanation of the crime is, in essence, the same as the published version, the published text was of limited help. The wording is often different and some names have changed. Of the Notebooks, this exercise in transcription was the most challenging of all. The fact that it is Agatha Christie’s and Hercule Poirot’s first case made the extra effort worthwhile.

      In the version that follows I have amended the usual Christie punctuation of dashes to full stops and commas, and I have added quotation marks throughout. I use square brackets where an obvious, or necessary, word is missing in the original; a few illegible words have been omitted. Footnotes have been used to draw attention to points of particular interest.

      The Mysterious Affair at Styles

      The story so far …

      When wealthy Emily Inglethorp, owner of Styles Court, remarries, her new husband Alfred is viewed by her stepsons, John and Lawrence, and her faithful retainer, Evelyn Howard, as a fortune-hunter. John’s wife, Mary, is perceived as being over-friendly with the enigmatic Dr Bauerstein, a German and an expert on poisons. Also staying at Styles Court, while working in the dispensary of the local hospital, is Emily’s protégée Cynthia Murdoch. Then Evelyn walks out after a bitter row. On the night of 17 July Emily dies from strychnine poisoning while her family watches helplessly. Hercule Poirot, called in by his friend Arthur Hastings, agrees to investigate and pays close attention to Emily’s bedroom. And then John Cavendish is arrested …

      Poirot returned late that night.³ I did not see him until the following morning. He was beaming and greeted me with the utmost affection.

      ‘Ah, my friend – all is well – all will now march.’

      Notebook 37 showing the beginning of the deleted chapter from The Mysterious Affair at Styles.

      ‘Why,’ I exclaimed, ‘You don’t mean to say you have got—’

      ‘Yes, Hastings, yes – I have found the missing link.⁴ Hush …’

      On Monday the hearing was resumed⁵ and Sir E.H.W. [Ernest Heavywether] opened the case for the defence. Never, he said, in the course of his experience had a murder charge rested on slighter evidence. Let them take the evidence against John Cavendish and sift it impartially.

      What was the main thing against him? That the powdered strychnine had been found in his drawer. But that drawer was an unlocked one and he submitted that there was no evidence to show that it was the prisoner who placed it there. It was, in fact, a wicked and malicious effort on the part of some other person to bring the crime home to the prisoner. He went on to state that the Prosecution had been unable to prove to any degree that it was the prisoner who had ordered the beard from Messrs Parksons. As for the quarrel with his mother and his financial constraints – both had been most grossly exaggerated.

      His learned friend had stated that if [the] prisoner had been an honest man he would have come forward at the inquest and explained that it was he and not his step-father who had been the participator in that quarrel. That view was based upon a misapprehension. The prisoner, on returning to the house in the evening, had been told at once⁶ that his mother had now had a violent dispute with her husband. Was it likely, was it probable, he asked the jury, that he should connect the two? It would never enter his head that anyone could ever mistake his voice for that of Mr. A[lfred] Inglethorp. As for the construction that [the] prisoner had destroyed a will – this mere idea was absurd. [The] prisoner had presented at the Bar and, being well versed in legal matters, knew that the will formerly made in his favour was revoked automatically. He had never heard a more ridiculous suggestion! He would, however, call evidence which would show who did destroy the will, and with what motive.

      Finally, he would point out to the jury that there was evidence against other persons besides John Cavendish. He did not wish to accuse Mr. Lawrence Cavendish in any way; nevertheless, the evidence against him was quite as strong – if not stronger – than that against his brother.

      Just at that point, a note was handed to him. As he read it, his eyes brightened, his burly figure seemed to swell and double its size.

      ‘Gentlemen of the jury,’ he said, and there was a new ring in his voice, ‘this has been a murder of peculiar cunning and complexity. I will first call the prisoner. He shall tell you his own story and I am sure you will agree with me that he cannot be guilty. Then I will call a Belgian gentleman, a very famous member СКАЧАТЬ