Читать книгу Agatha Christie’s Complete Secret Notebooks - Агата Кристи, Agatha Christie, Detection Club The - Страница 15

There is an irony in the fact that although Agatha Christie is seen as a quintessentially British writer, her most famous creation is ‘foreign’, a Belgian. The existence of detective figures with which she would have been familiar may have been a contributing factor. Poe’s Chevalier Dupin, Robert Barr’s Eugène Valmont, Maurice Leblanc’s Arsène Lupin and A.E.W. Mason’s Inspector Hanaud of the Sûreté were already, in 1920, established figures in the world of crime fiction. And a title Christie specifically mentions in An Autobiography is Gaston Leroux’s 1908 novel The Mystery of the Yellow Room, with its detective, Monsieur Rouletabille. Although largely forgotten nowadays, Leroux was also the creator of The Phantom of the Opera.

At the time it was also considered necessary for the detective figure to have a distinguishing idiosyncrasy, or, even better, a collection of them. Holmes had his violin, his cocaine and his pipe; Father Brown had his umbrella and his deceptive air of absent-mindedness; Lord Peter Wimsey had his monocle, his valet and his antiquarian book collection. Lesser figures had other no less distinctive traits: Baroness Orczy’s Old Man in the Corner sat in an ABC Teashop and tied knots, Ernest Bramah’s Max Carrados was blind and Jacques Futrelle’s Professor Augustus S.F.X. Van Dusen was known as The Thinking Machine. So Poirot was created Belgian with impressive moustaches, little grey cells, overweening vanity, both intellectual and sartorial, and a mania for order. Christie’s only mistake was in making him, in 1920, a retired member of the Belgian police force; this, in turn, meant that by 1975 and Curtain: Poirot’s: Last Case, he was in his thirteenth decade. Of course, in 1916 Agatha Christie had no idea that the fictional little Belgian would outlive herself.