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Agatha Christie: A Biography
Janet Morgan
Janet Morgan’s definitive and authorised biography of Agatha Christie, with a new retrospective foreword by the author.Agatha Christie (1890–1976), the world’s bestselling author, is a public institution. Her creations, Hercule Poirot and Miss Marple, have become fiction’s most legendary sleuths and her ingenuity has captured the imagination of generations of readers. But although she lived to a great age and was prolific, she remained elusively shy and determinedly private.Given sole access to family papers and other protected material, Janet Morgan’s definitive biography unravels Agatha Christie’s life, work and relationships, creating a revealing and faithfully honest portrait. The book has delighted readers of Christie’s detective stories for more than 30 years with its clear view of her career and personality, and this edition includes a new foreword by the author reflecting on the longevity of Agatha Christie’s extraordinary success and popularity.
JANET MORGAN
Agatha Christie
A Biography
(#ulink_ee7c2869-6efb-5a42-aa59-3ad9dc22ff43)
HarperCollinsPublishers Ltd. 1 London Bridge Street London SE1 9GF
Previously published in paperback by Fontana 1985
First published by William Collins Sons and Co.Ltd 1984
Copyright © Janet Morgan 1984
Janet Morgan asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
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Source ISBN: 9780008243951
Ebook Edition © AUGUST 2017 ISBN: 9780007392995
Version: 2017-07-28
Dedication (#ulink_31b0b73a-12bf-58b8-a118-e9a2c21ac969)
For Shiela
Contents
Cover (#u77d5b9da-9309-56d5-b427-720d1037bc41)
Title Page (#u90c0afaa-1379-574e-b211-9954c5ff0ded)
Copyright (#u5b339a08-4590-56c8-99fb-e6af9411f5e4)
Dedication (#uc0aa0be5-5738-5edb-a96c-a52185f55f6c)
Foreword (#u2c06700f-4398-5f0b-9b6e-7e69dbdbe6fa)
Preface (#ucbc59069-226d-5d0c-83c3-47b420322f30)
1 ‘The Millers, a family’ (#u326e07c8-2c83-506d-a58b-e82a3aac1350)
2 ‘In private and in your own time’ (#u148a4172-3f01-57e4-bd03-40d2dfcde3fb)
3 ‘A possession that is yours to do what you like with’ (#u084ee000-2511-59e9-a963-54f53cff2c25)
4 ‘She will have to make up her mind between them some time’ (#u463fa8cf-f303-568a-9688-45a4b5b7184a)
5 ‘He will change your entire life’ (#u599a0ae6-3b2c-5c8c-aad1-33b05360e09b)
6 ‘This waiting is rather hard but all is ready’ (#u5fb648ae-923c-5cf1-bb60-84853b3f3afa)
7 ‘Menace and murder and sudden death’ (#u4607abc4-8d9c-5997-b3ab-1ffbc89c93e9)
8 ‘1st Class! Good oh! Right here’ (#u9617d362-d58a-52d7-9469-f2b12dc5f43a)
9 ‘The next I write will be the 5th’ (#u8f13967c-8a89-5c18-8004-c0964aabead7)
10 ‘I do not think she knows who she is’ (#ueaa4059a-9795-5a60-ac2d-7d33efcdfdae)
11 ‘A ghastly ten days’ (#u66b05091-fe3e-5f54-9eb2-14ce5e028041)
12 ‘An unquestionably genuine loss of memory’ (#u8ec76100-3473-5796-ad9e-fc71049c21fa)
13 ‘London – Paris – Lausanne – Milan – Venice’ (#ua1885895-9ba8-540c-aff7-6600cc55a023)
14 ‘An idea I’ve never ever considered’ (#ud934996a-cd1e-5a9b-abbc-ae73c7d134e7)
15 ‘Corpses and stiffs’ (#uefc851c9-d8e7-5260-9eba-41698c9052d2)
16 ‘A nice parallel track’ (#uae90ab32-d926-57d2-8e42-e79798a9429e)
17 ‘Things all seem to come at once’ (#u3d25c3e1-707f-5187-aad5-5cfa5ea28bb6)
18 ‘Only an interruption’ (#u5456a4f4-86a9-5f5d-a1ae-3708976e632c)
19 ‘A certain amount of fêting’ (#ua624ee13-dc61-59f5-a2a9-4bdc8e208fc3)
20 ‘Digging up the dead’ (#u19ba9d63-301e-5798-82b3-188102bce71c)
21 ‘All the panoply and misdirection of the conjuror’s art’ (#u7ffe4989-9ed3-5886-b751-df35f01f0ef4)
22 ‘I shall go on enjoying myself’ (#ufec26bc5-1b0d-508c-963b-9e536d12073e)
23 ‘An onlooker and an observer’ (#u3df899df-fa99-5063-b6ce-84716c838802)
24 ‘Like a cinema film run backwards’ (#ua68678c0-962b-52d8-991a-976b445ee4a1)
25 ‘An ordinary successful hard-working author’ (#ueaf991bd-edf5-50ee-aa11-e6d862176917)
26 ‘It will not, I think, be long’ (#u455f848d-2bf4-509e-a535-6e5e8c16deb8)
Index (#u7815dcc5-0aa9-505d-a6ca-6eac65044d84)
About the Author (#u08fad7d0-8665-57c6-9cf8-0825880a5f4c)
About the Publisher (#u9d7f18b7-37d6-5f21-a283-82069158d3b2)
Foreword (#ulink_0a703788-1ac4-5da3-ad82-8ff59ccf55a5)
It was not a predictable match.
In 1981 Agatha Christie’s daughter Rosalind, Mrs Anthony Hicks, was at last persuaded to allow Collins, publisher of her mother’s books, to commission a biography, its author to have unrestricted access to family archives. For years, Mrs Hicks had resisted this; like her mother, she believed that a writer’s work should stand by itself, the context of and motives for its production being irrelevant to readers’ enjoyment. As for her mother, for Rosalind private life was precious; once breached, all she valued would become the public’s property.
In the case of so well and worldwide-known an author as Agatha Christie, a brand (shudders from Rosalind), it was admittedly unrealistic to hope that the drawbridge would never be lowered. Agatha Christie was after all the writer so famous that her first book for Collins, The Murder of Roger Ackroyd, had been chosen in 1934, with As You Like It and The Gospels, as the first Talking Book produced in Britain for blind people. At some future time, an emissary would have to be given entrance. But would that be Mrs Hicks’ decision or one bequeathed to her son, Mathew Prichard, Agatha’s only grandchild?
Mrs Hicks understood the contract between Agatha Christie and her readers. Appreciating the comfort which financial security had given her, she saw it as her duty to protect the integrity of her mother’s work, spending hours in correspondence with agents and publishers, in checking proofs, appraising covers, scripts for film, television, radio, correcting slips in reviews. Rights brought responsibilities. She refused to engage in crude forms of commercial exploitation – invitations, for instance, to endorse the manufacture of teacups with Poirot moustaches – but an occasional celebration was allowed. (A memorable Nicaraguan commemorative postage stamp depicted little grey cells spilling from Hercule Poirot’s head.) The ultimate invasion, an Authorised Life, was strenuously repelled.
What led Mrs Hicks to change her mind? In 1979 a bomb was hurled through the defences. Sapping and mining had been underway for years via often dotty speculative biographies, focusing on the episode in December 1926 when Mrs Christie had vanished from her home in Surrey. As Agatha wrote years later in her Autobiography, she was exhausted after the death of her mother and ensuing house-clearing, and distressed by her husband Archie’s admission that he loved someone else. Her flight, to which she did not allude, was an escape. Thirteen days later, at the Hydropathic Hotel in Harrogate, North Yorkshire, Agatha was identified by her husband.
The story was now worked into a clever, if tasteless, film script, Agatha, written by Kathleen Tynan. The film’s plot, derived from sensational newspaper reports in 1926, was that Mrs Christie had arranged her disappearance in order to engineer a charge of murder. The film proposed that Agatha intended to kill herself in such a way as to make Miss Neele, the woman Archie loved and later married, the chief suspect for Agatha’s murder. In those days, if convicted, Miss Neele would have been hanged. This confection – foggy moors, helmeted policemen, steam engines, a grand spa hotel, pearl necklaces, cloche hats, reporters shouting telegrams, and, triumphantly, Vanessa Redgrave as Agatha and Dustin Hoffman her saviour – made a successful entertainment. So successful that, the family feared, people would come to believe it
(#ulink_c32e36aa-f4de-57d8-8d6d-d776c8960b0e). Rosalind’s objections went further. She believed in treating people fairly and was angry at this mockery of her mother, who had evidently been at her most vulnerable, by hard and careless people. Rosalind applied for an injunction. It was refused. Agatha Christie had died in 1976. The family was reminded, ‘You can’t libel the dead.’
The challenge now was to defend Agatha’s reputation, not as a writer but as a human being. But what had happened in December 1926? In her Autobiography, written in the 1950s and ’60s, Agatha herself had not chosen to – indeed, even after help from psychiatrists, had been unable to – unravel the story, so Rosalind would have to investigate it herself. This was daunting, especially since so much time had passed. Rosalind had been seven years old when her mother had left the house in the winter night, when the house had filled with policemen, the garden with press, curious crowds pushing against the gates, the servants scared, her father haunted. For fifty years there had been no explanation. She did and did not wish to know. The living are as vulnerable as the dead.
Rosalind could not do this herself. She needed an outsider, someone at a distance. I don’t know who suggested me. I suspect that it was Rosalind’s husband, the kind, scholarly, amusing Anthony Hicks. He knew my tone of voice, having seen pieces I’d written in the TLS, and, I believe crucially, had understood the role I had acquired in being asked to edit the Diaries of the former Cabinet Minister, Richard Crossman, a voracious observer and vivid journalist. The diaries, at mazy length, had originally been dictated, and while he lived, Crossman himself clipped and sorted the first volume for publication. As well as providing essential editorial apparatus, my task was to assess the truthfulness of his tidied up version not so much as to the events and people he was describing but to the impressions he had recorded messily at the time. For later volumes, prepared for publication after Crossman’s death, both responsibilities had fallen to me.
An unexpected match. There was surprise and in some quarters irritation that this sought-after commission should be entrusted to a writer with experience neither of biography nor detective fiction. Looking back, I think that what Agatha’s family were hoping for was simply to find someone to assemble and assess evidence and apply judgement, as an apprehensive patient or litigant might put their case to a medical or legal specialist.
I was interested because I thought that writing a biography would be difficult. Trying to absorb and reflect a life. Understanding not just what I would be told, but why. Steering a course among strong currents. I remembered the ominous words of Philip Williams, biographer of Hugh Gaitskell: ‘Wait till the widow is dead.’ Here, a daughter was very much alive. Stipulations could to be made about non-interference with what I was to publish but an inclination to shape certain passages would surely be irresistible. It is significant that, when Rosalind agreed to an Authorised Life, she was much the same age as her mother had been when she decided to write her Autobiography. That was to be Agatha’s own life as she saw it, anticipating versions with which she might not agree, which she might find ridiculous.
What I hadn’t realised was the pervasive obsession that a large number of people had with this matter of Agatha Christie’s disappearance. As a child, I had read her detective stories in green-striped Penguin Crime paperbacks (and had preferred Michael Innes) and, before meeting her family at Greenway in Devon to discuss this biographical proposition, I had galloped through a selection of her novels and read her Autobiography, but I had no idea that at every turn I should expect this sinkhole, The Disappearance. I have begun here by alluding to it not to inflate its importance but, first, to explain what prompted Mrs Hicks to authorise and Collins to commission a biography, and, second, to suggest that in the broad sweep of Agatha Christie’s life this affair was relatively insignificant.
This biography described what took place in December 1926 and its aftermath, in as thorough a reconstruction as I was able to provide. Rosalind’s friends and family warned me not to explore the subject with her until I knew all I wanted to ask. ‘She will talk about it only once.’ This was not the case. On my second visit, and first long stay, at Greenway, Rosalind pulled from her handbag an account of those events written as a letter by her mother’s secretary-companion Carlo. Tea was on the table, beyond it, a fire, worryingly, burnt brilliantly. Anxious lest I should never see the letter again, I read it with what I hoped was the appropriate mixture of interest and nonchalance, and put it in my pocket.
Months later, I was ready to address this period in Agatha’s life, following her from Surrey to Yorkshire, putting what happened to her in the context of what came before and afterwards. As this biography describes, people who had been present at the time, including some at the Hydropathic Hotel in Harrogate, now felt able to talk about what they remembered. Persistent myths were exposed, notably Mrs Christie’s alleged reply to a reporter who accosted her on the staircase: ‘You are Agatha Christie.’ ‘Yes, but I’ve lost my memory.’ When I was writing this biography, I was shown an uncut draft of that reporter’s own memoir, in which he admitted that he’d invented the exchange.
A fake scoop, making Agatha’s whole adventure seem to have been a fake. Today, oddly, Agatha’s purported reply sounds more genuine. During the past half century, as neuro-science has developed with the support of advanced imaging technology, we have learnt more about the work of memory and the brain. Agatha’s condition sounds like Transient Global Amnesia, an isolated episode, in which the person affected becomes disorientated but remains alert, capable of general understanding and management of themselves: how to catch a train, book in to an hotel. No new memories are made of what must afterwards be a frightening blank, but afterwards those who have experienced it will remember who they are and recognise people in their circle. Nowadays the fictitious exchange with the reporter could have been a diagnosis.
Agatha herself tried for years to discover what had happened to her. This biography explores her return, in detective stories and in the novels she published as ‘Mary Westmacott’, to the subject of remembering and forgetting. As she aged, she became more detached about that unhappy time. I believe that, liking to be technically up to date, she would have found current neuro-scientific research dazzling and engaging. I hoped, when my account of Agatha’s disappearance was first published, that it would be understood for what it was: an extreme reaction to prolonged physical and emotional stress, a shock, a flight. Agatha’s family and friends understood it thus, and were relieved. I had too much faith in reason. Others continue to write nonsense about the Agatha Christie Mystery of 1926 but, then, romance generally trumps a rational explanation.
Let us put that early drama into proportion. More than half of Agatha’s long life was still to be lived. Other challenges were ahead – the war, absence and loss of people she loved, serious financial uncertainty – and the eventual satisfaction of having surmounted them. Chief among the surprises was her second marriage to the archaeologist, Max Mallowan. A scholar and a hands-on field-worker, fifteen years younger than Agatha, he guided her into a rich and fascinating world. Their work in the Near East in the 1930s, ’40s and ’50s was Agatha’s first real partnership, their camp life in the desert the opening for her to make an entirely different home.
New settings, spare landscapes and clear skies, crisp seasons, domestic privations (which she became skilful at overcoming), sharpened her energy and her wits. Her journeys during those years between England and Iraq, Syria, Turkey, gave sparkling material for two of her most picturesque stories, Death on the Nile and Murder on the Orient Express, She had fun with new characters, like the domineering wives of expedition leaders, a category into which she herself never fell, whose tyranny towards young male archaeologists Agatha had observed when she first met Max. Speculation about ancient civilisations led her to try new themes, Murder in Mespotamia, for example, and her play Akhnaton. In these years a gaiety about Agatha, an amused delight in life, fizzes to the surface and for the next half-century carries her through.
It was only in 1999 with the appearance of Charlotte Trümpler’s magnificent exhibition, Agatha Christie, Max Mallowan and the Near East, that I recognised the extent and significance of Agatha’s contribution to Near Eastern archaeological exploration
(#ulink_beb22153-3cb1-5d84-94d3-a1b81bd91ac0). Detection its evident theme, the exhibition’s title lured the larger public; its content was irresistible: evocative sound and film, photographs of Agatha in flowing skirts, floppy hat and stout boots plodding through the sand, of Max allocating bonuses to queuing labourers, of camels, tented camps, sunsets, and excavated hoards. A carriage from the Compagnie des Wagons-Lits, as from the Orient Express, was lifted by the British Museum (their idea) into the courtyard.
Imaginative and innovative but in no way frivolous, the exhibition and its catalogue memorably illustrated the work of Mallowan’s expeditions over successive seasons. It was known that Agatha’s household management had made the Mallowans’ camps happy and productive, that her earnings had helped fund the expeditions, and, later, endowed a chair in Near Eastern archaeology at the University of London. Her part in the conservation, recording and presentation of finds had not been acknowledged. Now we can appreciate how much she did: delicate work cleaning clay tablets and, special treasures, the Nimrud Ivories, learning how best to display and photograph them
Come, Tell Me How You Live, her recollection of those years, describes a world Agatha grew to love. Seventy years later, the places she describes – Aleppo, Raqqua, Nimrud, Mosul, Palmyra – have been violated, their people dispersed and worse, artefacts and archives pilfered, monuments destroyed. The Mallowans would have found this horrific. They loved the people of Iraq and Syria and their work at those sites was as important as, at home, Agatha’s books and plays. In some respects, Come, Tell Me How You Live seems uncomfortably light-hearted. Here and there, Agatha’s observations about religious and cultural difference sound superficial compared with the infinite, nuanced complexities of which we have become increasingly aware. We have to remind ourselves that she wrote the book for Max, a present when he came back from the war, a nostalgic memoir, a picture of expedition life that is essentially domestic.
As was Agatha herself. Her interest was in houses, their fabric and furnishings (a wooden lavatory seat was indispensable), provision of supplies and transport, selection of clothing and, sustaining all, the preparation and consumption of food and drink: Come, Tell Me How You Live. Against this background she describes what might be daily life in any large house: tensions among her husband’s team, servants’ rivalries and quarrels, the locals’ rapacities, imbalances suddenly injected by arrivals from the world outside. Famous for comfort and ingenious contrivance, the Mallowans’ camps were Agatha’s household. Come, Tell Me How You Live is, from one who wrote much about death, a joyful book about Living.
Agatha enjoyed good things: books, music, the theatre, pictures, conversation, houses and gardens, outings, her family and friends, delicious things to eat. A wise, civilised manner of life, suffused with humour, generosity and good temper, achieved with effort. I used to think that Agatha Christie was strange, manipulative, fertile in thinking of ways to murder and trick. With older eyes, I realise that this verdict was too severe. Ultra-professional, honest about what she had found she could do, she gratefully did it, to earn her living and keep herself and her readers entertained. As Max used to say: ‘The world is full of two kinds of people, ladies and gentlemen, and both work until they drop.’ The language is dated but, in Agatha’s case, his description is true.
Janet Morgan
April 2017
(#ulink_c6ac9742-e5bb-5079-a7da-7166a25fcf41)A letter by Ted Hughes about Sylvia Plath, published in the TLS of 24 April 1992, reprinted 6 January 2017, describes similar anguish and his frustration at the failure of, in this case, an academic even to imagine the consequences of self-indulgent theorising.
(#ulink_7ad24619-7e0d-5fa2-9dea-7800b4569640)First exhibited at the Rurhlandsmuseum, Essen. Agatha Christie und der Orient. Kriminalistik und Archäologie, Scherz Verlag, (Bern), 1999; Agatha Christie and Archaeology, The British Museum Company Ltd, (London), 2001.
Preface (#ulink_937698d6-c6df-5adf-bd62-dcdaabfc9f14)
Agatha Christie valued her privacy. She rarely gave interviews and never put herself on display: ‘Why,’ she asked, ‘should writers talk about what they write?’ Her reputation, she believed, should stand or fall by her work, and that wish was respected by her family, friends and advisers. They were ready to assist serious analysts of her writing but kept at a distance those who sought to discuss her life. There have been, nonetheless, many biographies of Agatha Christie, in many languages. Some have been no more than fantasies. Others have relied on material from published sources – newspaper reports, reviews, books published by people who knew her or worked with her (though the better acquainted they were, the more circumspectly they wrote) – and have drawn on her own books, plays and poems, especially her recollections of Syria in Come, Tell Me How You Live and her Autobiography, and on her second husband’s reflections in Mallowan’s Memoirs.
In 1980 it was felt that the time had come for a full and thorough account of Agatha Christie’s life, and her daughter, Mrs Anthony Hicks, invited me to write it. Her view was that there was no point in embarking on this venture unless all her mother’s papers were opened to me, with complete freedom to use them as I thought best. This book is based, therefore, on the letters Agatha wrote and received, on her manuscripts and plotting books, photograph albums and scrapbooks, diaries and address books, receipts and accounts, saved from well before her grandparents’ time to the present day. My chapter headings, all quotations, are taken from these sources.
Biographers, however, do not look only at papers. Agatha’s houses and gardens, furniture and possessions have been equally revealing; her family have given me generous access to all these, particularly to Greenway, her house in Devon. Here, with the books she read as a child still in the library, her china in the cupboards and the trees she planted in the garden, I have written most of this book. Mr and Mrs Hicks have been welcoming and hospitable; their greatest kindness has been to read every word of this biography, several times, to point out factual errors, chase references, and talk about Agatha Christie, without once insisting on a view of her character or work that might differ from my own. No biographer could ask for more and I would like to thank them here.
At Greenway, too, I first met many of Agatha’s family and friends. There, and later at their own houses, they told me more about her. I am particularly grateful to her grandson, Mathew Prichard, his wife, Angela, and their children; to Mr and Mrs Archibald Christie, the son and daughter-in-law of Agatha’s first husband, Archie, and his wife Nancy; and to Mrs Cecil Mallowan, Mr and Mrs John Mallowan and Mr and Mrs Peter Mallowan, the family of Agatha’s second husband, Max. I would also like to thank Lady Mallowan, who, as Miss Barbara Parker, first knew Agatha and Max on their archaeological expeditions to Iraq and who later married Max. She has not only described them both to me but has also explained a great deal about their work at Nimrud. Agatha’s family have all spoken freely and thought carefully about my many questions; they have made letters, papers and possessions available without hesitation and smoothed my path towards other witnesses.
Apart from the odd name-dropper (and there are only a couple), people who knew Agatha have hitherto refrained from discussing her with strangers. Old friends kept their stories to themselves, professional colleagues and advisers confined their published remarks to diverting anecdotes about her books and plays, and, by and large, those who worked for her, however briefly or casually, maintained a silence as deep as that of any doctor, priest or lawyer. They knew her as a person, not as a phenomenon; they saw how she shrank from publicity and sympathised. Only the password ‘authorised biographer’ unlocked those doors. Reassured, Agatha’s friends and acquaintances gave me their time, their recollections and their correspondence. Others, who did not know Agatha Christie but were interested in her work and character, guided me to new sources and gave me expert advice. My portrait of Agatha Christie is composed of these memories and reflections and I would like to thank the following people for their part in making it: Mrs Edward Allen; Jeffrey Andrews; Mr and Mrs Tom Ayling; Larry Bachmann; Dr and Mrs Richard Barnett; Mrs J. Barrett; William W. Baxter; the Hon. Mrs Guy Beauchamp; Guilford Bell; Sir Isaiah Berlin; Mrs Connie Bessie; Miss Kathleen Bird; Mrs Anthony Boosey; the late Sir James Bowker; Lady Bowker; Miss Christianna Brand; Richard Buckmaster; Nigel Calder; Miss Elizabeth Callow; Lady Campbell-Orde; Lady Camoys; Sir Simon and Lady Cassels; Mrs Rose Coles; Lady Collins; Edmund Cork; Miss Jill Cork; Miss Pat Cork; Denis Corkery; Miss Ann Disney; Jonathan Dodd; Edward Dodd; Sergeant Durrant of the Surrey Constabulary; Eiddon Edwards; Michael Evelyn; Anthony Fleming; Mr and Mrs Peter Fleming; Richard Fletcher; Mr and Mrs G. Gardner; Sir Julian Gascoigne; Mrs Raleigh Gilbert; Hugh Goodson; Mrs D. Gould; Mr and Mrs Basil Gray; Miss Deborah Greenep; Mr and Mrs Donald Griggs; Caroline Grocholski; Mrs John Gueritz; Professor and Mrs Oliver Gurney; Mr and Mrs C. Hackforth-Jones; Dr Donald Harden; Sir Peter and Lady Hayman; Sir William and Lady Hayter; the late Sir John Hedges; Lady Hedges; Mrs Diana Helbaek; the late Mrs Arthur Hicks; Brigadier and Mrs William Hine-Haycock; Mrs Daphne Honeybone; Mrs Irene Hunter; Mr and Mrs Peter Hulin; Sir Geoffrey Jackson; Mrs Frank James; Dennis Joss; Mr Rodney Kannreuther and the late Mrs Kannreuther; Mr and Mrs Austen Kark; Mr and Mrs Arthur Kellas; James Kelly; Denis Kelynack; Mr and Mrs Richard Kindersley; Sir Laurence and Lady Kirwan; Frank Lavin; Richard Ledbetter; Mr and Mrs Maurice Lush; the late Mrs Ernest Mackintosh; Harvey McGregor Q.C.; Mr and Mrs Richard Mallock; Mrs M. Marcus; Commander Marten and the Hon Mrs George Marten; Mr and Mrs A.R. Maxwell-Hyslop; the Hon Mrs John Mildmay-White; Dr and Mrs Philip Mitchelmore; Charles Monteith; John Murphy; Professor and Mrs David Oates; Miss Jennifer Oates; Miss Dorothy Olding; James Paterson; S. Phelps Platt Jr; Sir John Pope-Hennessy; Professor and Mrs Nicholas Postgate; Briton Potts; Mr and Mrs J.B. Priestley; Dr and Mrs Julian Reade; Sir John and Lady Richmond; Mrs Betty Rivoli; Miss Patricia Robertson; Sergeant Geoffrey Rose of the Thames Valley Police; Mrs Adelaide Ross; Raymond Ross; Lady le Rougetel; Sir Steven Runciman; Mrs Herta Ryder; Sir Peter Saunders; Mrs Reginald Schofield; Professor and Mrs Seton Lloyd; Mr and Mrs Guy Severn; Madame de Soissons; Mr and Mrs J.C. Springford; Dr Anthony Storr; Julian Symons; Miss Geraldine Talbot; Mrs M. Thompson; Miss Barbara Toy; Lord and Lady Trevelyan; Dr Alan Tyson; John Vaughan; Algernon Whitburn; the late Mr Albert Whiteley; Stephen Whitwell; Mr and Mrs Michael Wildy; Professor Donald Wiseman; Mr and Mrs John Wollen; Nigel Wollen; Sir Denis and Lady Wright; and Rolando Bertotti, the head waiter at Boodle’s. There are others, too, whom I would like to thank but their names are obscured by a blot where a raindrop has fallen on my pages. I will thank them properly when we next meet and in the meantime they have my apologies.
I am especially grateful to those who have allowed me to quote from letters to or from Agatha Christie and from family papers. Mrs Anthony Hicks, Mr and Mrs Mathew Prichard, John Mallowan and Peter Mallowan have been immensely helpful and I am also indebted to Edmund Cork and his family. I would also like to thank: Anthony Fleming, for permitting me to quote from the letters of his mother, Miss Dorothy L. Sayers; Mrs Frankfort, for an extract from a letter from her father, Professor Stephen Glanville; Lord Hardinge of Penshurst, whose reports to Collins are quoted here; Lady Kirwan, for quotations from letters from Agatha and Max; Mrs Anne McMurphy, formerly Miss Marple, whose letter from Agatha revealed the origins of that heroine’s name; James Paterson, for extracts from his correspondence about the Churston window; Miss Dorothy Olding, whose exchanges with Edmund Cork I have plundered; Sir Peter Saunders, for quotations from letters and telegrams about plays; Professor Harry Smith, for allowing me to quote from a letter from his father, Professor Sidney Smith; and Miss Barbara Toy, whose correspondence I have cited in writing about Murder at the Vicarage.
I also wish to thank the directors of Agatha Christie Ltd, and the board of Booker McConnell Ltd, for allowing me to use their records; the BBC Written Archives Centre, and Mrs J. Kavanagh, Neil Somerville and Jeff Walden, for permission to quote from their records; the British Red Cross, and the archivist, Miss Margaret Wade, for details of Agatha Christie’s service in the First World War; the directors of William Collins Ltd, for opening their files and allowing me to quote from them; Harrods Press Office, for their efforts to trace a letter Agatha Christie sent them in 1926; the Harrogate Advertiser and Herald, whose archive gave an illuminating picture of the town and its visitors in the ‘twenties; the Home Office Library and the Departmental Records Officer, for their invaluable help in my search through the accounts of Agatha’s disappearance; Hughes Massie Ltd, for permission to examine the records of Agatha’s dealings with her agent; the Imperial War Museum for giving me access to the tape-recording Agatha made for their oral archive; the Trustees of the Allen Lane Foundation, and Dr Michael Rhodes, the archivist, for allowing me to cite extracts from Agatha’s correspondence with The Bodley Head; the Trustees of the Mountbatten Foundation, for enabling me to quote from Earl Mountbatten’s correspondence with Agatha about The Murder of Roger Ackroyd; the trustees of the Harold Ober estate, who made the correspondence of Agatha’s American agent available to me, the Rare Books and Manuscripts Section of the Firestone Library at Princeton University, which houses it, and Miss Jane Snedeker, who guided me to it; the Surrey Record Office, and Dr Robinson, for their help in disentangling the events of 1926; and the University of Manchester Library, and Miss J. Sen, for supplying details of the careers of the doctors who attended Agatha in 1926.
There are others who, out of enthusiasm, curiosity or both, contributed to this book by producing new ideas and surprising references. I particularly wish to thank: Dr Marilyn Butler; Professor John Carey; Christopher Campbell; Stephen Hearst; Leofranc Holford-Strevens; Miss Frances Irwin; Edward Jospé; Mrs Cécil Jospé; Gordon Lee; Douglas Matthews; Mrs Alexandra Nicol; Miss Olivia Stewart; and Miss Anne Willis. I am equally grateful to those who interpreted, typed, arranged and copied my manuscript as I moved from one house, hotel, office and country to the next: Mrs Rigby Allen; Mrs Berry; Miss Michelle Cooper; Vincent Jones; Mrs Daisy Sasso; Mrs Jean Smith; and, as choreographers, Mrs Sheila George and Ray Walters. I would also like to thank Mr Bobby Burns and the Hon. Mrs Burns for their patience and hospitality while I cut and shuffled the text in their house in Jamaica.
The encouragement and guidance of my publishers have been indispensable and I am grateful to Bob Gottlieb of Alfred A. Knopf, Philip Ziegler of William Collins, Elizabeth Burke, Elizabeth Bowes Lyon and Elizabeth Walter.
This book is not only for people who like detective stories but also for those who are interested in a writer’s development and experience, in Agatha Christie’s character and the instinct which made her work a success. Like the lives of many writers, hers changed pace as she reached middle age. There was less incident, more consolidation. She was, moreover, quiet and reflective by temperament, and increasing age and fame made her more so. Though her energy remained immense, she gave most of it to her work. This book looks at the way in which she distilled her experience in her novels, plays and detective stories. Only in one case, however, does it reveal the solution to a plot and then only where Agatha Christie has done so in her own memoirs.
Agatha Christie lived to a great age and she was prolific. I have not given a chronological list of her work at the end of this book, for it is already long and readers who would like such a bibliography may find it in one of the interesting critical accounts of Agatha’s writing. The Agatha Christie Chronology by Nancy Blue Wynne (New York: Ace Books, 1976) is particularly useful; less accurate but more daring is Charles Osborne’s The Life and Crimes of Agatha Christie (Collins, 1982). Robert Barnard has published an excellent study in A Talent to Deceive (Collins, 1980); Gordon C. Ramsey’s Agatha Christie: Mistress of Mystery (Collins, 1972) is thoughtful and was examined before publication by Agatha Christie herself. Sir Peter Saunders’s autobiography, The Mousetrap Man (Collins 1972), gives a producer’s perspective on her work for the theatre, while Tom Adams and Julian Symons have compiled a volume that is stimulating to look at as well as to read, by writing about the jacket designs for some of her paperbacks, in Tom Adams’s Agatha Christie Cover Story (Paper Tiger, 1982). Those who need assistance in keeping track of the characters in Agatha Christie’s work will find, as I have done, that Randall Toy’s The Agatha Christie Who’s Who (Muller, 1980) is painstaking and invaluable. Citations from the reviews of books and plays may be found in many books about Agatha Christie, notably Dennis Sanders and Len Lovallo’s Agatha Christie Companion (Delacorte Press, NY 1984), which is devoted to this theme. I have preferred, however, not to draw greatly on such material, for, apart from their remarkable geographical spread, reviews of Agatha Christie’s work are interesting mainly for their predictability.
There is one more group whom, at the end of this preface, I would like to thank: the secret army of those who gave good advice, pursued elusive references and raided libraries and bookshops across the world, so that they could telephone to Devon – and remoter spots – with answers to questions I thought urgent. Though these friends are anonymous here, I will write their names, with gratitude and affection, in their copies of this biography.
Janet Morgan
1 ‘… the Millers – a family’ (#ulink_b5c3ebf9-42fc-59cf-9b6e-148ad01fcfde)
Even the beginnings were deceptive. To comfortable middle-class households in Torquay, the airy coastal resort in Devon where Agatha was born, the end of the nineteenth century seemed to be a Victorian afternoon. They did not notice that twilight was stealing over the terraces, the gardens and the pier. Agatha’s own family, the Millers, looked equally prosperous and secure, but their fortunes, too, were imperceptibly growing shakier. And, like most families, the Millers were not as ordinary as they first appeared. In fact, they were decidedly unconventional.
