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The Hollow is a work of detective fiction by Agatha Christie, first published in the United States by Dodd, Mead & co. in 1946^[1][2] and in the United Kingdom by the Collins Crime Club in November of the same year.^[3] The US edition retailed at $2.50^[2] and the UK edition at eight shillings and sixpence (8/6).^[3] A paperback edition in the US by Dell Books in 1954 changed the title to Murder after Hours.

The novel is an example of a 'country house mystery' and was the first of her novels in four years to feature Christie's Belgian detective Hercule Poirot—one of the longest gaps in the entire series. Christie, who often admitted that she did not like Poirot (a fact parodied by her recurring novelist character Ariadne Oliver), particularly disliked his appearance in this novel. His late arrival, jarring, given the established atmosphere, led Christie to claim in her Autobiography that she 'ruined [her own novel] by the introduction of Poirot'.^[4]Agatha Christie's successful career foresaw the use of her eight owned houses as settings for her novels, which were Taken at the Flood, Dead Man's Folly, Five Little Pigs, A Pocket Full of Rye, and Crooked House. However, the setting for The Hollow was inspired by Francis L. Sullivan's house. Francis Loftus Sullivan was an English film and stage actor who portrayed Hercule Poirot in the plays Black Coffee (1930) and Peril at End House (1932) and also played the lead in The Witness for the Prosecution (1953), for which he won a Tony Award in 1955.^[5]

• 1Plot

Plot[edit]

Introduction[edit]

On the morning that he and his downtrodden wife, Gerda, are due to travel down to the country to weekend with friends, Dr John Christow, a successful physician, leading researcher, and very tired and irritated by his current life, allows his little daughter to tell his fortune with cards. When the death card is drawn, he pays no attention, but the appearance of an old flame at The Hollow seems to be the final link in a chain of fatal circumstances.

Summary[edit]

The eccentric Lucy Angkatell has invited the Christows, along with other members of her extended family, to her estate for the weekend. John Christow is carrying on an affair with Henrietta Savernake, a talented sculptor. The beautiful Veronica Cray, an old flame of Christow's, suddenly appears in the house on Saturday night to borrow a box of matches. She lives at a nearby cottage. Another cottage is occupied by Hercule Poirot, who has been invited for Sunday lunch. John walks Veronica back to her cottage, and returns home at 3 am. The next day, Poirot is witness to a scene that seems strangely staged. Gerda Christow stands with a gun in her hand next to John's body, as it bleeds into the swimming pool. Lucy, Henrietta, and Edward (a cousin of Lucy's and a second cousin of Henrietta) are also present at the scene. John utters a final urgent appeal, 'Henrietta', and dies.

It seems obvious that Gerda is the murderer. Henrietta steps forward to take the revolver from her hand, but apparently fumbles and drops it into the swimming pool, destroying the evidence. However, the pistol that Gerda was holding was not the gun used to kill John. None of the witnesses has seen Gerda shoot John. It seems difficult to build a case against any of the other potential suspects. Lucy was the next suspect, as she kept a pistol concealed in her basket of eggs. However, the pistol was the wrong calibre. Henrietta is the next suspect, having left an unusual doodle in the pavilion around the time John was killed. When the murder weapon turns up in Poirot's hedge, it has fingerprints that match none of the suspects.

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The family had deliberately misdirected Poirot, as they each know Gerda is the murderer, and are attempting to save her from imprisonment. Gerda had taken two pistols – shooting John with one, and then planning to be discovered with the other pistol in her hand, later proven not to be the murder weapon. Immediately, Henrietta understood that John's final appeal was for her to help Gerda. Instinctively, Henrietta assumed the responsibility by dropping the gun into the pool, and later goes back to retrieve the second weapon. She hides it in a clay sculpture of a horse in her workshop to avoid the police searches. Later, she gets it handled by a blind match-seller and then places it in Poirot's hedge.

Midge Hardcastle, a less affluent relative of the Angkatells, is also staying at the house. She is in love with Edward, but Edward has always been in love with Henrietta, who had refused several of his marriage proposals. Edward comes to the realisation that Henrietta is no longer the Henrietta he once loved. He looks at Midge and realises that she is no longer 'little Midge'. Edward asks her to marry him. He goes for a walk with Midge, but coming to a spot where Edward has previously walked with Henrietta, Midge believes that he is still too deeply in love with Henrietta. So, she calls off the wedding.

Edward does not understand that Midge loves him too much to hold him back from Henrietta. Misunderstanding her decision, he attempts suicide by putting his head in a gas oven but he is saved by Midge. With this dramatic proof of his despair at losing her, she relents and the wedding is on again.

With the evidence apparently destroyed or suitably confused, the family believe they have saved Gerda. There is a final clue: the holster in which the murder weapon was kept. Gerda had cut this up and placed it in her workbag. Henrietta rushes to Gerda in an attempt to retrieve it and destroy the final proof of Gerda's guilt.

Poirot arrives, and rearranges the tea cups before Gerda returns from the kitchen. He suspects the cornered and suspicious Gerda would murder Henrietta. Gerda returns and drinks from the cup intended for Henrietta, and dies. Henrietta seeks closure and visits one of John's patients. John's death ended the hope of a cure but she is still showing a resilient spirit. Leaving the hospital, she reflects that there is no happy ending for her. She resolves to embark on a sculpture of herself as 'Grief'.

Characters in The Hollow[edit]

• Hercule Poirot, renowned Belgian detective
• Inspector Grange, the investigating officer
• Sergeant Clark, a policeman in the case
• Dr John Christow, a Harley Street doctor. He is passionate about his work and dedicates himself to finding a cure for 'Ridgeway's disease' – the aetiology of which bears a marked resemblance to multiple sclerosis. He is very self-confident, attractive, and has great charisma.
• Gerda Christow, John's wife. She is rather plain and stupid. She worries about everything. She idealises John, and blames herself for her problems, even when he is wrong. She inspired a sculpture by Henrietta called 'The Worshipper', which is described as being frightening as it has no face.
• Sir Henry Angkatell, the owner of The Hollow. He married his distant cousin, Lucy Angkatell.
• Edward Angkatell, a distant cousin of Henry and entailee of the family's beloved house, Ainswick. He has charm but is overshadowed by Christow's dominant personality. He lives in the past and has been devoted to Henrietta for many years. He despises himself, thinking he is good for nothing.
• Lucy, Lady Angkatell, Henry's wife, whose sociable, charismatic veneer hides a dark side to her personality, occasionally glimpsed by her family.
• Midge Hardcastle, Lucy's young cousin. Only partly related to the Angkatell family, she refuses financial aid from them and works in a dressmaker's shop.
• David Angkatell, a student. Bookish, anti-social, and possessor of 'modern' ideas regarding the working class. He tries to express an air of superiority.
• Henrietta Savernake, a sculptor, and cousin of Sir Henry, Lucy, Midge, Edward and David. She always knows the right words to say to make someone feel comfortable, albeit sometimes at the expense of the truth. Her art is the core of her being, which, at times, conflicts with her second important characteristic.
• Veronica Cray, an actress. She is very beautiful and abnormally egotistical. She wanted Christow to abandon everything to follow her to Hollywood, but he rejected her; she found this unbearable. However, Christow is still attracted to her and, it is implied, had a one-night stand with her, which triggered Gerda's jealousy.
• Gudgeon, the butler.
• Doris, the house maid
• Beryl Collins, John's secretary.
• Mrs Crabtree, a patient of John's, a victim of Ridgeway's Disease.
• Terence, John and Gerda's twelve-year-old son; perceptive, observant, analytical, curious and lonely.
• Zena, John and Gerda's nine-year-old daughter.

Literary significance and reception[edit]

Maurice Richardson, in the 1 December 1946 issue of The Observer, wrote: 'Agatha Christie has staged, against her smartest, most hyperemotional background so far, the shooting of a philandering doctor. Solution by a rather subdued Poirot. Good double-bluff surprise.'^[6]

Robert Barnard: 'Notable specimen, with more complex characterization than usual, and occasionally rising to wit (especially on the subject of cooking). Illustrates vividly one dilemma of the detective writer: if you establish characters of some psychological complexity, how do you prevent the routine detection stuff coming as an anticlimax? Christie records that her daughter protested against her decision to dramatize the book, and the instinct was probably right: most of the interest here, unusually, is internal, and difficult to present via Christie's rather old-fashioned stage techniques. Definitely among the top ten, in spite of the falling-off in the second half.'^[7]

Modern French novelist Michel Houellebecq, an admirer of the book, described it in his 2001 novel Platform as 'a strange, poignant book; these are deep waters [she writes about], with powerful undercurrents.'

Film, TV or theatrical adaptations[edit]

Christie adapted the book into a highly successful stage play in 1951 but omitted Poirot from the narrative.

In 2004, the novel was broadcast as a television movie featuring David Suchet as Poirot, Sarah Miles as Lady Angkatell, Megan Dodds as Henrietta Savernake, Jonathan Cake as John Christow, Lysette Anthony as Veronica Cray and Edward Fox as Gudgeon, as part of the series Agatha Christie's Poirot.

The character of David Angkatell and some details are omitted (for example, the drawing of the card representing death). Others – such as the dénouement involving poisoned tea – are altered (Gerda instead deliberately commits suicide by injecting herself with potassium cyanide).

Publication history[edit]

• 1946, Dodd Mead and Company (New York), 1946, Hardback, 279 pp
• 1946, Collins Crime Club (London), November 1946, Hardback, 256 pp
• 1948, Pocket Books (New York), Paperback (Pocket number 485)
• 1950, Pan Books, Paperback, 239 pp (Pan number 119)
• 1957, Fontana Books (Imprint of HarperCollins), Paperback, 189 pp
• 1974, Ulverscroft Large-print Edition, Hardcover, 431 pp ISBN0-85456-301-6

The US serialisation of this story was a four-part shortened version in Collier's Weekly between 4 May (Volume 117, Number 18) and 25 May 1946 (Volume 117, Number 21) under the title of The Outraged Heart with illustrations by Mario Cooper.

References[edit]

1. ^Cooper, John; Pyke, B A (1994). Detective Fiction – the collector's guide (Second ed.). Scholar Press. pp. 82, 87. ISBN0-85967-991-8.
2. ^ ^abMarcum, J S (May 2007). 'American Tribute to Agatha Christie: The Golden Years 1945 - 1952'. Insight BB.
3. ^ ^abPeers, Chris; Spurrier, Ralph; Sturgeon, Jamie (March 1999). Collins Crime Club – A checklist of First Editions (Second ed.). Dragonby Press. p. 15. ISBN978-1871122138.
4. ^Christie, Agatha. An Autobiography (p. 473). Collins, 1977. ISBN0-00-216012-9
5. ^http://www.poirot.us/facts.php
6. ^The Observer, 1 December 1946 (p. 3)
7. ^Barnard, Robert. A Talent to Deceive – an appreciation of Agatha Christie – Revised edition (p. 195). Fontana Books, 1990. ISBN0-00-637474-3

External links[edit]

• The Hollow (2004) on IMDb

One, Two, Buckle My Shoe is a work of detective fiction by Agatha Christie first published in the United Kingdom by the Collins Crime Club in November 1940,^[1] and in the US by Dodd, Mead and Company in February 1941 under the title of The Patriotic Murders.^[2] A paperback edition in the US by Dell books in 1953 changed the title again to An Overdose of Death. The UK edition retailed at seven shillings and sixpence (7/6)^[1] while the United States edition retailed at $2.00.^[2]

It is one of several of Christie's crime fiction novels to feature both the Belgian detective Hercule Poirot, and Chief Inspector Japp. This is Japp's final novel appearance.

• 7Adaptations

Plot summary[edit]

Hercule Poirot meets former actress Mabelle Sainsbury Seale while leaving his appointment with dentist Henry Morley. In this meeting, he helps retrieves a shiny buckle for her that had fallen from her shoe. Later that day, his friend Inspector Japp informs him that Morley has been found dead, having been shot in the head. Between Poirot's appointment and Morley's death, the dentist had three patients - along with Mabelle, he also dealt with Alistair Blunt, a prominent banker, and a Greek spy known only as Amberiotis. A fourth person was present at the surgery, Howard Raikes, an American left-wing activist who disliked Blunt but is enamored with his niece, Jane Olivera. Amberiotis is later found dead from an overdose of anesthetic, leading to the belief that Morley accidentally killed him and committed suicide upon realizing his mistake. Poirot disagrees with this belief. He learns that prior to Morley's death, his secretary Gladys Nevill had been called away by a fake telegram and that her boyfriend Frank Carter was disliked by the dentist.

Mabelle soon goes missing. A search turns up a body - the face smashed in - within a sealed chest in the apartment of Mrs. Albert Chapman, a woman who also has disappeared. Poirot makes a note of the dull buckled shoes on the body. Dental records soon reveal the body to be that of Mrs. Chapman. Poirot soon finds himself drawn into the life of the Blunt family, where two attempts are made on Blunt himself; the second is thwarted by Raikes. The culprit is found to be Carter - he had obtained a job as a gardener at the house under a false identity and is found with a gun in his possession, identical to the one that killed Morley. Agnes Fletcher, Morley's maid, later admits to Poirot that she saw Carter on the stairs to the dentist's office before Morley's death. Poirot soon presses him for the truth, knowing he will be convicted of murder and attempted murder. Carter admits that while waiting to speak to Morley, he saw two people leave his surgery; when he entered, Morley was already dead.

With this information, Poirot meets with Blunt and denounces him and his Scottish second cousin, Helen Montressor, as the killers. Montressor is actually Blunt's first wife Gerda, whom he had met alongside Mabelle in India. He had never divorced her when he returned to Britain and married his now-deceased second wife, Rebecca Arnholt; if his bigamy was exposed, he would be shamed and disgraced, and lose the fortune he inherited from her. Blunt had not expected to come across Mabelle when he was leaving Morley's surgery after an appointment; although she recognized him, she didn't know about his new life. Amberiotis later learned of this chance encounter and Blunt's past when he meets Mabelle, and used this knowledge to blackmail Blunt. Blunt learned by chance that Amberiotis had become a new patient of Morley's, so he and Gerda decided to take advantage of his dental appointment to murder him.

The morning of the murder, Gerda invited Mabelle to an apartment she secured under the alias of Mrs. Chapman and killed her to steal her identity. She then went to attend Mabelle's dental appointment, due to take place after Blunt's. Her husband killed Morley when his appointment was over, rang for the next patient, and then pretended to leave. Once Gerda was in the surgery, she let her husband back in. While he hid Morley's body in a side office, Gerda changed Mabelle's records to become those of Mrs. Chapman - both this and Mabelle's face being disfigured after her murder, were to mislead the police on who the body in Chapman's apartment was. After his wife left, Blunt posed as Morley, knowing Amberiotis had never seen the dentist before. After summoning him into the surgery, Blunt injected him with a fatal dose of anesthetic. Once Amberiotis had left, Blunt moved Morley's body back into the surgery, set it up to appear as a scene of suicide, and then left.

Poirot reveals the plan was exposed by a few facts - Carter had seen Blunt leave the surgery after Amberiotis' appointment, while he was waiting to see Morley; the telegram to Nevill was made by the pair, to ensure she would not be there when Blunt posed as the dentist; Gerda wore new shoes when impersonating Mabelle, as she couldn't fit into Mabelle's shoes after killing her. Although forced to admit that Blunt stands for the important things in public life, Poirot states that Blunt's claims to be needed in the world doesn't justify his crimes, stating: 'I am not concerned with the fate of nations, Monsieur. I am concerned with the lives of private individuals who have the right not to have their lives taken from them.' Blunt and his wife are handed over to the police. Later, Poirot meets with Raikes and Olivera and tells them to enjoy the life that they desire together, asking that they allow freedom and pity within it.

Characters[edit]

• Hercule Poirot, the Belgian detective
• Henry Morley, a dentist
• Georgina Morley, his sister
• Gladys Nevill, Morley's secretary
• (Martin) Alistair Blunt, a high-profile banker, widower of Rebecca Arnholt
• Julia Olivera, niece of Rebecca Arnholt
• Jane Olivera, her daughter
• Howard Raikes, Jane Olivera's lover, a leftist political activist
• Amberiotis, a dental patient who died of an overdose
• Mr Barnes, a dental patient and former member of the Home Office AKA Albert Chapman
• Mabelle Sainsbury Seale, a dental patient
• Frank Carter, Gladys's shady boyfriend
• Reilly, another dentist, Morley's partner
• George, Poirot's manservant
• Alfred Biggs, Morley's page boy
• Agnes Fletcher, the Morley's maid
• Gerda Blunt (née Grant), Alistair Blunt's first wife AKA Mrs. Chapman AKA Helen Montressor

Explanation of the novel's title[edit]

The book's UK title is derived from a well-known children's nursery rhyme of the same name, and the chapters each correspond to a line of that rhyme. Other Agatha Christie books and short stories also share this naming convention, such as Hickory Dickory Dock, A Pocket Full of Rye, Five Little Pigs, and – most famously – And Then There Were None.

Major themes[edit]

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This is the first of the Poirot novels to reflect the pervasive gloom of the Second World War, and is one of Christie's most overtly political novels. Frank Carter is a fascist and Howard Raikes a leftist. Blunt's credentials as a champion of conservative reaction are made obvious throughout the text. Nevertheless, given the choice between setting free a murderer and expediently allowing an unpleasant but innocent man go to the gallows, Poirot (with marked reluctance) saves Carter.

Literary significance and reception[edit]

Maurice Willson Disher in The Times Literary Supplement of 9 November 1940 was not impressed with either the novel or the genre when he said in the article titled Murder of a Dentist, 'Possibly the reader who wants to be puzzled may be the best judge of a detective story. If so Agatha Christie wins another prize, for her new novel should satisfy his demands. But another type of reader will find it dry and colourless.' He continued; 'The facts are stated in a joyless style of impartial investigation; it quickens into life only when a revolting corpse is discovered. This is characteristic of Christie's school. The 'full horrible details' that bring people to death are accounted of more importance than details which bring people to life.'^[3]

In The New York Times Book Review of 2 March 1941, Kay Irvin concluded, 'It's a real Agatha Christie thriller: exceedingly complicated in plot, briskly and compactly simple in narrative, with a swift course of unflagging suspense that leads to complete surprise. After closing the book one may murmur, 'Far-fetched', or even 'Impossible'. But any such complaint will be voiced only after the story has been finished; there won't be a moment to think of such things, before.'^[4]

Maurice Richardson in the 10 November 1940 issue of The Observer stated, 'The Queen of Crime's scheming ingenuity has been so much praised that one is sometimes inclined to overlook the lightness of her touch. If Mrs Christie were to write about the murder of a telephone directory by a time-table the story would still be compellingly readable.' He did admit that the '[f]iend's identity is perhaps less obscured than usual; motivation a trifle shaky, but clue details are brilliant.'^[5]

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The Scotsman of 26 December 1940 said of the book that, 'Although motive is not of the obvious order, Mrs Christie deals with the mystery in the most ingenious way and, as usual, produces a masterly solution.'^[6]

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E.R. Punshon in The Guardian of 13 December 1940 summed up by saying, 'Mrs Christie has to work coincidence rather hard and the plot is more ingenious than probable, since the culprit could, and certainly would, have reached his end by simpler means than murder.'^[7]

An unnamed reviewer in the Toronto Daily Star of 15 March 1941 referred to the story as a 'neat puzzle' having a 'highly involved plot' with a 'not-unforeseen solution.' The reviewer added, 'the pace is swift and talk – curse of the English detective story – is kept to a minimum' and concluded by saying, 'Far from usual is .. Christie's use of her thriller to expound a number of her own rather odd political opinions.'^[8]

Robert Barnard wrote 'It is usually said that Christie drags herself into the modern world in the 'fifties, but the books in the late 'thirties show her dipping a not-too-confident toe into the ideological conflicts of the pre-war years. Here we have political 'idealists', fascist movements and conservative financiers who maintain world stability. But behind it all is a fairly conventional murder mystery, beguilingly and cunningly sustained.'^[9]

References to other works[edit]

• In Part 3, x, of the novel, mention is made of Alistair Blunt's involvement in 'the Herjoslovakian loan'. Spelled as Herzoslovakia, this fictional country had featured prominently in The Secret of Chimneys (1925) and Poirot was there at the time of 'The Stymphalean Birds', collected in The Labours of Hercules (1947).
• In Part 4, i, Poirot and Chief Inspector Japp joke that a plot involving a body being 'put into the Thames from a cellar in Limehouse' is 'like a thriller by a lady novelist,' in a reference to Hastings' adventures in Agatha Christie's own novel The Big Four.
• In Part 7, iii, Poirot recollects the jewel thief, Countess Vera Rossakoff. Rossakoff, the nearest that Poirot comes to a love interest, appeared as a character in Chapter six of The Big Four (1927).
• In Part 8, ii, mention is made by name of the Case of the Augean Stables. This had been first published in The Strand in March 1940 but would not be collected in book form until 1947, in The Labours of Hercules.

Adaptations[edit]

Television[edit]

The novel was adapted in 1992 for the series Agatha Christie's Poirot with David Suchet as Poirot. The adaptation is, overall, faithful to the book, but lacks certain characters such as Raikes. Blunt's niece therefore has not as great a role as in the novel. The adaptation for TV has gained much praise in several countries, standing out as one of the darkest episodes of the series, in contrast to adaptations that have been lighter in tone.^{[citation needed]}

Radio[edit]

The novel was adapted for BBC Radio in 2004, with John Moffatt as Poirot.^[10]

Publication history[edit]

• 1940, Collins Crime Club (London), November 1940, Hardback, 256 p.
• 1941, Dodd Mead and Company (New York), February 1941, Hardback, 240 p.
• 1944, Pocket Books (New York), Paperback (Pocket number 249)
• 1956, Pan Books, Paperback, 192 p. (Pan number 380)
• 1959, Fontana Books (Imprint of HarperCollins), Paperback, 191 p.
• 1973, Ulverscroft Large-print Edition, Hardcover, 322 p.
• 2008, Poirot Facsimile Edition (Facsimile of 1940 UK First Edition), HarperCollins, 1 April 2008, Hardback, ISBN0-00-727457-2

The book was first serialised in the US in Collier's Weekly in nine parts from 3 August (vol. 106, no 5) to 28 September 1940 (vol. 106, no. 13) under the title The Patriotic Murders with illustrations by Mario Cooper.

References[edit]

1. ^ ^abChris Peers, Ralph Spurrier and Jamie Sturgeon. Collins Crime Club – A checklist of First Editions. Dragonby Press (Second Edition) March 1999 (Page 15)
2. ^ ^abAmerican Tribute to Agatha Christie
3. ^The Times Literary Supplement, 9 November 1940 (p. 569)
4. ^The New York Times Book Review, 2 March 1941 (p. 26)
5. ^The Observer, 10 November 1940 (p. 5)
6. ^The Scotsman, 26 December 1940 (p. 7)
7. ^The Guardian, 13 December 1940 (p. 7)
8. ^Toronto Daily Star, 15 March 1941 (p. 27)
9. ^Barnard, Robert. A Talent to Deceive – an appreciation of Agatha Christie – Revised edition (p. 201). Fontana Books, 1990; ISBN0-00-637474-3
10. ^BBC Radio Listings: One, Two, Buckle My Shoe

External links[edit]

• One, Two, Buckle My Shoe at the official Agatha Christie website
• One, Two, Buckle My Shoe (1992) on IMDb