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2.1 Style Features of Lady Agatha Christie
In fact, it all comes down to finding and collecting evidence, while the offender is often a person who seems to be irrelevant. In the novels of this period, the inexhaustible fantasy of the writer cannot help but amaze, inventing more and more tricks that allow her to “hide” the killer for the time being. The beauty of these seemingly purely “game” puzzle novels is that emotionality and psychologism are manifested not in the relationship of the characters, but in the author’s interaction with the reader. In this “duel”, Agatha Christie showed so much cunning and ingenuity that among her colleagues there is not one who could compare with her. Critics rightly claim that she owns the vast majority of the most original detective moves.
The second period, which is planned around the middle of the 30s, in her work, opposing trends begin to take shape. In novels such as "Cards on the Table", "Death on the Nile" or "Ten Little Indians", instead of hiding the killer, she almost immediately outlines the circle to which the criminal belongs. Accordingly, the accents are differently placed: psychological factors come to the fore, and not material evidence (cigarette butts, accidentally dropped objects, etc.), or a thorough - up to a minute - report of time. The main place is entirely given to human drama, and the detective intrigue is now completely subordinated to it. The reader is now offered not only to compare the facts, but, having delved into the intricacies of the relationships and characters of the characters, to correctly determine the motive for the crime. In addition, the novels of that time reflected Christie's interest in the eternal riddles of being, in philosophical and religious problems, such as the category of time (she is very passionate about Danno's book “An Experiment with Time”) or the Buddhist worldview.10
In the third period of her work, the tendency to give the “detective” element far from first place became especially pronounced in the late 40s and early 50s. Now the killings are no longer at the very beginning of the novel, but closer to the middle and are more likely the culmination rather than the starting point (the classic example is “To Zero”). The investigation as such generally ceases to interest her and is often taken out of the scope of the plot, and if it does occur, then, as a rule, it concerns a crime “from the past,” a crime committed before the described period of time. The works of this period are considered the weakest, but among them there are strong things that caused a storm of applause from critics and a noisy reaction from readers, such as “Five Piglets” (1943), “Memorial Day” (1945), “The Test of Innocence” ( 1958).
Lady Agatha Christie's style has always delighted readers. Despite the fact that Agatha Christie has maintained relative fidelity to the rules and norms that were born along with the genre of the detective story, it was she who managed to bring the art of mystification of the simple-minded reader to perfection. In fact, all the efforts of the writer are given to this: to make sure that the reader does not guess who the true killer is, although the killer is in plain sight. Agatha Christie knows for sure at what point the reader can be lulled into the ordinaryness of the narrative or intonation, and at what point to rely on the stereotypical nature of his thinking.
However, her style has some features that we highlighted in the study of her work. Features may affect both all works, and some part of them.
1. The presence of a love line on the background of the detective in the works. Examples: “Gray mask”, “Pale horse”, “Curse for a lady”, “A man in a brown suit”, “Date with death”, etc.
2. The limited space in which the murder takes place. Examples: “Murder in Mesopotamia,” “Sad Cypress,” “Death on the Nile,” “Death Comes to the End,” “Five Piglets,” etc.
3. In the course of the action, it seems that no one had the opportunity to commit the murder. The most striking example is “The Pale Horse”, as well as “Ten Little Indians” and “Murder in Mesopotamia”, etc.
4. A good detective move Agatha Christie: the killer is the one who was previously acquitted. Examples: The Witness of Prosecution, Death on the Nile, Zero Hour, Death in the Clouds.
5. The possibility and motive of the murder were for all, or most of the current characters; the question arises before the reader: who is the killer? Examples: “Murder on the Orient Express,” “Memorial Day,” “Cards on the Table,” etc.
6. The watch is being translated to create an alibi or imitate the time of the murder. Examples: “The Assassination of Roger Ackroyd,” “Assassination on the Orient Express,” “Ivory Dagger,” “Glowing Spot.”
7. The murder is suspected of the one who in fact was only a thief or a blackmailer. Examples: “Cards on the table”, “Evil under the sun”, etc.
8. The use of nursery rhymes and counters. Examples: “Five Piglets”, “One, two, the buckle is barely held”, “The case is closed”, “Mrs. McGinty parted with her life”, “Hickory, digori, dock ...”, etc.
9. Agatha Christie extremely rarely describes children's images in detail. The exception to this is only “Evil under the Sun”, and, perhaps, “Crooked House”.
10. Paying more attention not to evidence, but to the psychology of the killer, neglect of evidence. Examples: Second Gong, Cards on the Table, Five Piglets, etc.
And also it is worth noting two detective moves owned by Agatha Christie, which brought her great fame, but violated the basic canons of the detective:
1. the narrator may be a killer;
2. The killers can be absolutely all the actors.
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