Agatha Christie's Secret Notebooks

Notes

I have ‘tidied up’ Agatha Christie’s notes as little as possible. Every page of every Notebook is littered with dashes, brackets and question marks; complete sentences are the exception rather than the rule. I have removed some capital letters, brackets and dashes, solely in the interests of legibility. In some cases I have amended a paragraph of words, broken only by dashes, into separate sentences. All remaining question marks, underlining, crossing-out, exclamation marks and dashes, as well as some grammatical errors, are as they appear in the Notebooks. If I have omitted text from within extracts I indicate this by the use of dots.

Spellings have not been corrected but marked as [sic].

Square brackets are used for editorial clarification or remarks.

Dates of publication refer to the UK edition. They have been taken, for the most part, from contemporary catalogues in Collins archives. Traditionally, Crime Club titles were published on the first Monday of the month and in the few instances where actual dates were not available, I have used this guideline.

I have reinstated the title Ten Little Niggers, rather than the more politically correct And Then There Were None, throughout. This accurately reflects both the Notebooks and the book as Agatha Christie first saw it in November 1939.

At the beginning of each chapter I have included a list of titles whose solutions are revealed within. It proved impossible to discuss a title intelligently or to compare it to the Notebooks unless I disclosed some endings, and in many cases the notes mention the vital name or plot device anyway. Christie’s creative ruthlessness in deciding her killer is a vital part of her genius and to try circumventing this with ambiguous verbal gymnastics cannot do her justice.

In deciding which titles to include and which to omit, I intentionally avoided an alphabetical or a chronological listing. The former is meaningless in the context of this book and the latter resulted in all the classic titles appearing together in the middle years of Christie’s career. I decided on a thematic arrangement, thereby incorporating variety and simultaneously illustrating Christie’s exploitation of a motif. The grouping of titles within categories is somewhat arbitrary. Some titles might fit under a few headings, e.g. A Caribbean Mystery could appear in either ‘A Holiday for Murder’ or ‘Murder Abroad’; Five Little Pigs could fit neatly into ‘The Nursery Rhyme Murders’ and ‘Murder in Retrospect’. I selected and arranged them with an eye to variety and balance.

Relatively few short stories have detailed notes. I have chosen those with sufficient notes to make their inclusion worthwhile.

It is not possible in a book of this size to mention every title and if your favourite is missing I apologise; I hope to remedy this situation in a subsequent and expanded edition.

It is important for readers to note that the Notebooks are not available for viewing. It is hoped in a few years to be able to grant limited access to them but at present this is not possible.