63 pages • 2 hours read
December 6, 1926
Kenward awaits Archie at Styles. He introduces Superintendent Charles Goddard, Kenward’s corollary from a nearby county, who will share leadership of the case. Archie hopes this new man will like him more than Kenward does. Kenward has an “interesting development,” and Archie briefly worries that Kenward has learned of his affair with Nancy. He’s surprised when Kenward reveals that Agatha has written to Archie’s brother, as Agatha and Campbell Christie do not have a regular correspondence. Kenward doesn’t appear to know about Agatha’s letter to Archie but finds it odd that she would write to Campbell and then, in turn, that Campbell would reach out to Peg, not to Archie directly. Archie brushes this off, saying he and Campbell speak less frequently than do Campbell and Peg. Campbell reported that Agatha referenced visiting a health spa, but he disposed of the letter itself. The envelope, however, shows a postmark from Saturday morning, the first day of Agatha’s disappearance. It was sent from London. Archie frames this as good news that indicates Agatha was alive and well after her disappearance. Goddard counters that someone else could have posted the letter. Archie finds Goddard’s manner softer and ruminates that while he believes Kenward thinks Archie murdered Agatha, Goddard appears to believe she is still alive.
December 18, 1921
Agatha sits with Madge and Mummy before Christmas. Madge had wished to host, but Archie refused as he is uncomfortable in Madge’s wealthy home. Madge insults Archie to Agatha (although she disguises it as a compliment), claiming he “allows” Agatha to work, which Agatha considers to be Madge’s jealousy at Agatha’s literary success. Madge comments that while Archie is getting everything he wants, it comes at Agatha’s expense. The sisters quibble. Mummy turns the conversation to reflect on Auntie-Grannie’s recent passing, but Madge insists that Agatha is doing too much. Agatha sees this as ingenuine concern Archie calls to say he will arrive the next morning, instead of that evening, and Mummy reminds Agatha of the importance of tending to her husband. Madge asks why Mummy never gives her the same advice, and Mummy says, “[her] husband isn’t uncommonly sensitive or uncommonly handsome” (90).
December 7, 1926
Newspapers continue to report on Agatha’s disappearance. Archie suspects Kenward is feeding private details to the press, though he has no proof. His head aches with the stress. Kenward scolds Archie for being late for “the dredging,” but Goddard says that searching the nearby lakes for Agatha’s body is too gruesome for Archie. Goddard offers to instead spend time with Archie. Archie agrees, grateful it’s Goddard, if it has to be any police officer.
Over tea, Goddard asks Archie to describe Agatha. Archie begins to describe her physically, but Goddard clarifies he wishes to know about her personality. Archie is vague and unflattering, citing Agatha’s “artistic temperament.” Goddard subtly hints that someone with Agatha’s “high-strung” nature may have fled of her own accord, which Archie is pleased to hear.
Two police officers enter. Goddard is uncharacteristically angry to be interrupted. The Daily News has offered a reward for information leading to Agatha’s location, and abundant information has been pouring in, much of it contradictory. Goddard leaves to investigate.
February 15, 1922
On the South African leg of the 1924 “Empire Expedition,” a journey across segments of the English empire, Agatha entertains Archie’s boss’s wife. Archie is ill in their hotel room, and Agatha wishes to be writing. Her publishing career is taking off; she’s had 12 Hercule Poirot stories commissioned. Despite her eagerness, Agatha knows she must attend to wifely duties before professional ones, though she feels irritated when this means privileging Archie’s professional life. Agatha’s initial excitement for the trip, which she hoped would restore Archie’s spirits, has waned since learning that her task is to “babysit” Archie’s superiors and their wives. She also misses Rosalind whom she has left for a year. The other ladies have little interest in culture, and Agatha has been conscripted to tend Archie’s boss’s septic foot due to her experience as a war nurse.
Agatha spots Archie and thinks they might go surfing, a recent hobby they have enjoyed together, but he is summoned by his boss and she by the ladies. Nevertheless, Agatha feels optimistic that this trip will bode well for their marriage.
December 8, 1926
Once news of Agatha’s letter to Archie’s brother reaches the press, speculations as to why Agatha was ill begin to circulate. The papers blame Archie for Agatha’s flight. Reports of sightings continue to pour in. Archie, seeking normalcy, goes to his office. He is tempted to visit Nancy or Sam James, rationalizing that they will provide comfort, but realizes he is actually just worried about what they may have said to police.
Archie notices a car following him, even after he makes several evasive maneuvers. Archie feels optimistic about the normalcy of going to work until a coworker questions why he has come to the office while his wife is missing. Archie says the police don’t want him around—they believe he has murdered Agatha.
After several hours, Clive Baillieu, Archie’s boss and friend, shows Archie a newspaper that includes an article in which Sam defends Archie and the reporter speculates that Nancy is Archie’s mistress. Clive tells Archie to stay home until the situation is resolved. Archie agrees, thinking he must now face the press or risk his reputation, but that if he doesn’t follow the demands of the letter, he will lose that reputation anyway.
May 20, 1923
Agatha calls Rosalind and her new nurse, who was hired after Mummy fired Jessie while Agatha was away. Rosalind won’t go to her mother, not even after the nurse, Cuckoo, tells her to. Rosalind is angry about Agatha’s long absence, though she has forgiven Archie. Archie returns from his first day at a new job. He was fired after the Empire Tour and took six months to find new employment, during which the “old Archie,” who had resurfaced during the trip, disappeared once more. Agatha, jealous of the bond between her husband and daughter and feeling like an outsider in her own home, laments that Archie seems irritated by everything about her.
Archie thinks his new job might be illegal and dislikes his new coworkers. He remains terse and silent despite Agatha’s efforts to draw him into conversation, scarcely even responding when Agatha reports positive professional news. She has secured a literary agent who is helping her get out of her poor contract with Bodley Head and has secured a significant payment for her new book, The Man in the Brown Suit. Archie is offended, seeing the money as a slight against his own abilities to provide. He dismisses the money, describing their Empire Tour as a “year-long holiday,” and saying they must do “much to atone for [their] self-indulgence” (107).
December 9, 1926
Archie gives a statement to Jim Barnes, a reporter from the Daily Mail, whom he views as sympathetic to Archie. He emphasizes Agatha’s recent nerves, their frequent separate weekend plans, and his worries about his wife. Archie posits that the disappearance could be voluntary, due to memory loss, or (an option he finds less likely) death by suicide. He insists there was no disagreement between them prior to Agatha’s disappearance and that he will do anything to find her.
March 20, 1924-December 10, 1925
Agatha writes furiously in order to, as Archie said, “atone” for their Empire Tour. She enjoys her growing popularity as a writer, but focuses more on her family, and particularly on how financial security may help resurrect the “old Archie.” She has doubts, however, that her work is entirely for him; she feels most like herself when writing. She resolves to unite with her husband over a joint hobby and settles on golf.
Agatha and Archie search for a house near Archie’s favorite golf club. Agatha does not like golf itself but enjoys the pleasant time it affords her with Archie. His new job has improved his mood, but depression still follows him. Agatha does not like the new house, which seems to her a poor imitation of country living, but Archie does. They put in an offer and name the house Styles.
December 9, 1926
The day drags as police surveil Archie. He considers calling Madge, Agatha’s sister, but fears he will let something slip, so decides against it. He finds Charlotte holding a crying Rosalind in the front hall; a schoolmate has said Agatha is dead. Archie hates that even children know about the case and tells Rosalind this is “preposterous.” Rosalind asks if Archie killed Agatha, and he screams at her, demanding to know where she heard that. Children at school had chanted it. Archie regrets his emotional reaction, worried about Rosalind’s stress, how Charlotte will react, and his own feeling of being trapped in his own home.
April 5, 1926
Agatha works on The Murder of Roger Akroyd, pleased with the effect of the unreliable narrator she’s chosen for this novel. She is content with her life, mainly because Archie is happy. She calls for Charlotte, whom Rosalind has dubbed “Carlo,” a nickname Charlotte dislikes. She is pleased that Agatha has finished the novel, however, and the two toast Agatha’s success, since Archie dislikes hearing about Agatha’s work.
Agatha receives a letter. She worries it is from her mother who has been ill, but worse, it’s from Madge who reports that Mummy is dying.
December 9, 1926
Peg calls, demanding to know why Archie has given the “terrible interview” in the Daily Mail. She believes his interview, which Archie had thought measured and reasonable, shows him as unfeeling. She says the interview will convince the public that Archie is guilty.
Kenward and Goddard have questions, which they insist on asking in the kitchen. Archie passes Charlotte whispering with her sister; he hears “tell them” but nothing else. Kenward is pleased with the damning Daily Mail interview and reports a servant of the Jameses revealed that the weekend party was designed to celebrate Archie’s engagement to Nancy. Determined to protect Nancy, Archie refuses to say anything. The police officers ask how Archie can be engaged when he is still married, unless he knows that Agatha is dead.
April 18, 1926
Mummy dies before Agatha reaches Ashfield, which devastates Agatha. She wishes for comfort from Archie, but he telegrams to say he cannot return from Spain in time. Agatha recalls his “great dislike of emotion and grief,” and becomes suspicious of his absence (122). She is relieved when he returns home and struggles to keep her emotions under control. Archie discusses his work trip before asking only vaguely about Mummy’s funeral. When Agatha asks for comfort, he instead proposes she join him for a future business trip to Spain to “take [her] mind off all this” (124).
December 10, 1926
Charlotte and Rosalind act skittish around Archie, and he regrets his outburst from the previous day. Kenward and Goddard escort him to the police station to make an official statement. Their silence during the drive unsettles Archie, and he wonders about how to best seem innocent. In an interview room, Kenward reports that Sam James confirmed his knowledge of Archie’s affair with Nancy, which has gone on for at least six months. Archie does not confirm this outright, but states that the only bearing an affair would have on Agatha’s disappearance was the likelihood that she had decided to leave in anger. Goddard asks why Archie burned Agatha’s letter, stunning Archie. Charlotte has reported the letter to the police. Archie admits the letter existed, but insists it has no relevance to the disappearance. Kenward calls his behavior the work of a guilty man.
The introduction of Superintendent Charles Goddard of the Berkshire Constabulary in this section emphasizes Archie’s preoccupation with who is and is not on “his side”—a division he often makes entirely in the absence of evidence—underscored by questions of class and his own narcissism. Upon meeting Goddard, Archie notices:
[T]his Goddard is meticulously dressed, finding his neatly pressed uniform, with its knife-edge crease along the pants, a welcome break from Kenward’s slapdash attire. When Goddard removes his hat, Archie notices that the constable’s near-black hair is as tidily tended to as his uniform. This similarity to his own grooming habits calls him and gives him hope that this policeman might be more inclined towards him than Kenward (83).
Because Goddard is, in Archie’s own view, similar to himself, Archie assumes the police officer will be sympathetic to him—an assumption Archie believes is confirmed when Goddard treats him companionably. In fact, Archie fails to see what Benedict makes clear to readers: Goddard’s canny attempts to trap him during interrogation.
The way Archie frames his connection to Goddard is characteristically self-aggrandizing, however, and ignores the ways in which the behavior that Archie projects onto Kenward is also remarkably similar to Archie’s own way of seeing things—further evidence of his narcissism. Archie believes Kenward dislikes him due to Kenward’s apparent (and unsubstantiated) dislike of his “social betters.” Archie has, in fact, no reason to differentiate Goddard and Kenward’s social statuses; in fact, Kenward introduces Goddard as “[his] counterpart” in another constabulary. But Goddard is dressed neatly, a quality Archie values, which allows him to imagine Goddard—and, consequently, himself—superior to Kenward. Ironically, Kenward’s perceived class anxiety mirrors Archie’s own anxiety over class and financial security, which recurs time and again in his conflict with Agatha, whom he resents for coming from a higher social class than he does and for making money writing when he struggles with unemployment. The characterizations of the two police officers, as mediated through Archie’s perspective, underscores the novel’s continual interest in unreliable narrators and subsequently, with Differentiating Fact From Fiction.
As Agatha’s career begins to become profitable in “The Manuscript” sections, the question of modernity and wives who work arise in this timeline. Mummy finds it “lovely” that Archie “doesn’t mind” Agatha’s writing, which Madge uses as an opportunity to mock her brother-in-law: she says, “Yes, I mean, imagine. Archie—of all people—allowing his wife to work” (87). Agatha is aware of the insult against her husband contained in her sister’s words. Madge implies that Archie is old-fashioned and unsophisticated, and her framing of Agatha’s writing as something that Archie “allows” suggests that Madge disapproves of the dynamic in their marriage. While Madge worries that Agatha’s insistence that her writing is “an invisible part of the fabric of [their] lives” (87) will “[stretch Agatha] a little thin” (88), Mummy approves of Agatha’s attentiveness to her spouse. Agatha, who longs to write but still aims to keep her husband happy, is trapped between these two viewpoints, which are cast as a generational conflict as well as a personal and familial one. While Mummy’s marital advice comes from her late-Victorian era, Madge’s view embraces a more modern perspective, which Agatha will come to appreciate more as the novel progresses.
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By Marie Benedict
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