Bombs were dropping, people were dying, and Christie had no guarantee that she would live through it. You see, Christie was British during a time when it sucked to be British: namely, during the Blitz of World War II, when the Nazis had Britain under siege.
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That said, Christie was great at writing murder mysteries, and in her own way, she had the perfect murder cooked up for Poirot himself. She saw her relationship with Poirot as a sort of shotgun marriage he’d gotten her far, and she was obliged to stay with him for the sake of her fans, despite her hatred for the character. The script has seen some loose reinterpretation over the years.īut for Christie, it was all about Poirot. Poirot was huge, but so was Christie’s mystery-solving granny Miss Marple, and the author also received plenty of accolades for her stage play The Mousetrap. With words like that, you might think Christie was a one-hit wonder with Poirot, but that wasn’t the case at all. In the essay, she advises young writers of detective fiction to “be very careful what central character you create – you may have him with you for a very long time!” She even acknowledged her fear of the Holmes effect in an essay she wrote called “Why I got Fed Up with Poirot”. She grudgingly accepted him as a necessary part of her writing career, but she had a plan in place to prevent him from achieving Sherlock Holmesian immortality. Christie was a smart woman, and she saw Poirot for the cash cow he was.
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That didn’t stop her from writing him, though. Fans loved him, but Christie considered him to be a “detestable, bombastic, tiresome, ego-centric little creep.” He was short, prim, fussy, prone to stomach problems, and extremely good at solving murder mysteries. Detective Hercule Poirot was arguably the most storied character to come out of Agatha Christie’s illustrious writing career.