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First introduced in the Prologue, the letter that Agatha leaves for Archie serves multiple functions within the novel, highlighting various conventions of the mystery genre. The letter serves, at various points, as a clue, a red herring, and an organizing logic that determines the arc of Archie as a suspect. Though some of the text of Agatha’s letter is disclosed in “The Beginning,” the “instructions” that this excerpt references are never explicitly laid out in their entirety. Leaving parts of the letter shrouded in mystery allows it to serve as an apparent clue to readers as they learn more and more about Agatha’s disappearance. Ultimately, it does serve as an actual clue to readers (when they learn that Agatha sent the letter and orchestrated her own vanishing), whereas to the police the letter becomes a “red herring,” a term used in mystery writing to refer to something that seems like a clue but is ultimately a misdirect.
The most complex function of the letter in the novel, however, is as a guide to Archie. By the end of the novel, the letter is known to instruct Archie to cooperate with the police and not to reveal outright that he knows that Agatha had anything to do with her own disappearance. Archie frets incessantly about the consequences of obeying the letter: “He has no choice. If he is to survive this catastrophe intact, he must stay the course on the letter. In fact, the letter itself mandates he remain silent on its contents” (128). Yet, as the case develops, the logic of choosing to obey the letter becomes more and more questionable. While Archie longs to keep his reputation intact, he risks being arrested for murder—which would logically seem a far more serious offense—even after his affair with Nancy Neele is made public. Archie’s commitment to following the letter long after it would seem to make sense adds to the sense, of which readers are regularly reminded, that this is a mediated text, in which truth is less important than narrative, illustrating the theme of Differentiating Fact From Fiction.
The Mystery of Mrs. Christie regularly explores parallels between Christie’s books and the biographical events of her life, a focus that adds to the complicated relationship between truth and fiction in the novel. Once her writing career begins, Agatha notes times in which she uses real events to inform her mystery writing. Harry Rayburn, for example, a side character in The Man in the Brown Suit (1924), is based off Archie, and the journey portrayed in the novel takes many details from their Empire Tour. Agatha, furthermore, identifies with the protagonist of the novel, noting:
Most of all, perhaps, I’d adored losing myself in the main character, the intrepid Anne Beddingfeld, the sort of young woman I might have been, naturally plucky and adventuresome but who, in the end, turned out more like myself, a woman who makes sacrifices for the man she loves (103).
The Christies’ home, Styles, where they live when Agatha disappears, similarly takes its name from Agatha’s first book, The Mysterious Affair at Styles, which was published in 1920. While Benedict returns to frequent reminders of the role of fiction in her novel, this insertion of biography into Christie’s novels operates in the alternate direction, tracing the history of Benedict’s historical fiction.
In The Mystery of Mrs. Christie, Rosalind functions more as an icon upon which the Christies cast their aspirations for their marriage than as a character in her own right. While Agatha and Archie argue over the terms of their divorce, apparently for Rosalind’s sake, neither of them shows any overt interest in Rosalind’s own feelings or wishes. Rather, each spouse projects their own desires onto Rosalind. For Archie, he loves his daughter only when she reminds him of himself, further emphasizing his self-obsession. For Agatha, her fractured relationship with her daughter is another symbol of what her marriage to a selfish husband has stolen from her.
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By Marie Benedict
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British Literature
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