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Similarly it has been said that the murders she describes could never happen in actuality. But then, Agatha never thought they could. Why would anyone imagine that she intended these plots to be seen as credible events?
But all, in a way, sublimely irrelevant. The puzzle in Agatha Christie has nothing to do with the actual fact of murder: It is there to be solved, not to be compared with reality.
And what is being solved is not the act of murder, but the human dynamic. That is where the reader seeks clarity: Now this, of course, is the opposite of the accepted view, which says that Agatha Christie writes brilliant puzzles devoid of insight into either emotion or character.
Her books are still read because readers want to solve the puzzle; having done so, they do not read the book again; or, if they do, it is because they are guiltily fascinated by the image of a vanished era in which servants are adenoidal, ladies never show their feelings in public, etc.
Can it really be due to the quality of the puzzle, when half the world knows that the narrator did it, they all did it or the policeman did it?
Might it not be due to something else, something within the puzzle, invisible most of the time and yet sensed, all the same? Both books turn upon the vexed question of justice versus legality: When she is working at her best—by no means always the case—the satisfaction of the solution is intense and profound, because it solves the puzzle and resolves the human dynamic.
In a book like Five Little Pigs , the plot shadows the characters so closely that the workings of the mystery are the workings of human nature, and the solution depends entirely upon the revealed truth of human nature.
What a magnificent premise, that a painter should be killed because his model has fallen in love with him, and he is pretending to be in love with her because he wants to finish his painting!
A remarkable, satisfying idea. Not real, but true. And then the idea that lies within the plot of Towards Zero: He commits a murder for no other reason than to have his ex-wife hanged for it.
A powerful, violent, sick idea, not described as such because Agatha did not do that; she simply let the idea become the plot. Towards Zero in which the film director Claude Chabrol saw possibilities is the sort of book that might have been imagined by Ruth Rendell, who would certainly have probed more deeply into the darkness and perversity of the motive.
The character of Nevile Strange, the murderer, would have been written very differently. Ruth Rendell would have laid bare the inner workings of his psyche; Agatha Christie does no such thing, and because she merely presents a man like Nevile, rather than analyzing him, she is said to be unable to create fully rounded people.
In fact she is penetrating the gentlemanly persona with cool-eyed accuracy. So it is not Agatha Christie, but Nevile himself, who is faking character; insofar as that phrase means anything at all.
Surely not; surely this is an absurd idea, positively sixth-form, thrown at Agatha Christie by critics who disapprove of her on other grounds.
Stereotypes, her detractors say: And, as with Nevile Strange, the books are at least as intent upon subverting stereotypes as upholding them: In Evil Under the Sun the line throughout is that the murdered vamp Arlena has been killed in consequence of her irresistibility to men.