The Thirteen Problems (Miss Marple 2)

Some of the stories are especially ingenious, and all are entertaining, though if more than one or two are read at one sitting they can become monotonous, for they are all very sedentary stories whose action is recounted in retrospect. Miss Marple solves most of the mysteries without rising from her chair, and almost without dropping a stitch in her knitting. The exception is the final story, ‘Death by Drowning’, which is also one of the few occasions when Agatha Christie strayed into workingclass territory. Usually, it is only the crimes of the middle and upperclasses which commend themselves to her investigators.

For all her old-world charm, and the twinkle which is never far from her china-blue eyes, Miss Marple can be stern in her opinions. Talking of a murderer whom she had brought to justice and who had been hanged, she remarks that it was a good job and that she had no patience with modern humanitarian scruples about capital punishment. Miss Marple is speaking not only for herself but also for her creator, for many years later Mrs Christie was to write:

I can suspend judgment on those who kill—but I think they are evil for the community; they bring in nothing except hate, and take from it all they can. I am willing to believe that they are made that way, that they are born with a disability, for which, perhaps, one should pity them; but even then, I think, not spare them—because you cannot spare them any more than you could spare the man who staggers out from a plague-stricken village in the Middle Ages to mix with innocent and healthy children in a nearby village. The innocent must be protected; they must be able to live at peace and charity with their neighbours.

It frightens me that nobody seems to care about the innocent. When you read about a murder case, nobody seems to be horrified by the picture, say, of a fragile old woman in a small cigarette shop, turning away to get a packet of cigarettes for a young thug, and being attacked and battered to death. No one seems to care about her terror and her pain, and the final merciful unconsciousness. Nobody seems to go through the agony of the victim—they are only full of pity for the young killer, because of his youth.

Why should they not execute him? We have taken the lives of wolves, in this country; we didn’t try to teach the wolf to lie down with the lamb—I doubt really if we could have. We hunted down the wild boar in the mountains before he came down and killed the children by the brook. Those were our enemies—and we destroyed them.*

Imprisonment for life, Mrs Christie goes on to say, is more cruel than the cup of hemlock in ancient Greece. The best answer ever found, she suspects, was transportation: ‘A vast land of emptiness, peopled only with primitive human beings, where man could live in simpler surroundings.’ Well, yes, but of course the price one pays for that is the Australia of today!

Five minor points about The Thirteen Problems, two concerned with Christie carelessness and three with Christie parsimony: (i) in one of the stories, ‘phenomena’ is used as though it were a singular, and not the plural of ‘phenomenon’; (ii) in The Thirteen Problems, Raymond West’s fiancée is called Joyce but, in later Christie stories, after they are married, she is always referred to as Joan; (iii) variations on the plot of one of the stories, ‘The BloodStained Pavement’, will be presented in the story ‘Triangle at Rhodes’ in Murder in the Mews (1937) and in the novel, Evil Under the Sun (1941); (iv) the plot of another story, ‘The Companion’, will be made use of again in the novel, A Murder is Announced (1950); (v) an element in the plot of ‘The Herb of Death’ will re-occur in Postern of Fate (1973).

Agatha Christie always considered that Miss Marple was at her best in the solving of short problems, which did not involve her in doing anything other than sitting and thinking, and that the real essence of her character was to be found in the stories collected together in The Thirteen Problems.

About Charles Osborne

This essay was adapted from Charles Osborne’s The Life and Crimes of Agatha Christie: A Biographical Companion to the Works of Agatha Christie (1982, rev. 1999). Mr. Osborne was born in Brisbane in 1927. He is known internationally as an authority on opera, and has written a number of books on musical and literary subjects, among them The Complete Operas of Verdi (1969); Wagner and His World (1977); and W.H. Auden: The Life of a Poet (1980). An addict of crime fiction and the world’s leading authority on Agatha Christie, Charles Osborne adapted the Christie plays Black Coffee (Poirot); Spider’s Web; and The Unexpected Guest into novels. He lives in London.

*Agatha Christie: op. cit.

About Agatha Christie

Agatha Christie is known throughout the world as the Queen of Crime. Her books have sold over a billion copies in English and another billion in 100 foreign languages. She is the most widely published author of all time and in any language, outsold only by the Bible and Shakespeare. Mrs Christie is the author of eighty crime novels and short story collections, nineteen plays, and six novels written under the name of Mary Westmacott.

Agatha Christie’s first novel, The Mysterious Affair at Styles, was written towards the end of World War I (during which she served in the Voluntary Aid Detachments). In it she created Hercule Poirot, the little Belgian investigator who was destined to become the most popular detective in crime fiction since Sherlock Holmes. After having been rejected by a number of houses, The Mysterious Affair at Styles was eventually published by The Bodley Head in 1920.

In 1926, now averaging a book a year, Agatha Christie wrote her masterpiece. The Murder of Roger Ackroyd was the first of her books to be published by William Collins and marked the beginning of an author-publisher relationship that lasted for fifty years and produced over seventy books. The Murder of Roger Ackroyd was also the first of Agatha Christie’s works to be dramatised—as Alibi—and to have a successful run in London’s West End. The Mousetrap, her most famous play, opened in 1952 and runs to this day at St Martin’s Theatre in the West End; it is the longest-running play in history.

Agatha Christie was made a Dame in 1971. She died in 1976, since when a number of her books have been published: the bestselling novel Sleeping Murder appeared in 1976, followed by An Autobiography and the short story collections Miss Marple’s Final Cases; Problem at Pollensa Bay; and While the Light Lasts. In 1998, Black Coffee was the first of her plays to be novelised by Charles Osborne, Mrs Christie’s biographer.