A hundred years ago, Agatha Christie introduced British readers to a small man with an impeccably maintained moustache who, with the help of his “little grey cells”, was very good at solving crimes. That man, of course, was Hercule Poirot, who made his debut in Christie’s first novel, The Mysterious Affair at Styles, in 1921.
Though potentially the second most famous detective in British culture (after Sherlock Holmes), Poirot is not British at all but a refugee. Coming to England as part of a group of Belgians displaced by the first world war, his origins lie in Brussels.
Writing about this retired Belgian police officer solving cases around the United Kingdom and across the globe, Christie was able to explore (and at times poke fun at) the complexities of Englishness and its relationship to continental Europe.
On the surface, Christie’s novels resemble a nostalgic retreat to the pastoral and to the English stately home. They can be read as a possible turning-inwards thanks to an emphasis on closed rooms and detailed floor plans of grand buildings. But such appearances are deceptive.
The opening of borders, both literal and intellectual, shapes Christie’s England. It was her understanding of the work of European thinkers that gives her detective an edge. Where an English detective, like Sherlock Holmes, looks for external pieces of evidence that can be analysed, Poirot solves the case by realising the hidden implications of people’s behaviour – including his own.
Poirot’s Freudian focus on the psychology of suspects enables him to see that simple mistakes and slips of the tongue can hide deeper meanings. In The Mysterious Affair at Styles, a crucial clue is revealed when Poirot realises the importance of his own almost unconscious instinct to tidy.
In Christie’s world, the typically English common sense of policemen is not enough to solve the mystery. Instead, a dash of continental theory sheds light on what lies beneath the surface.
Another of Poirot’s trademarks is his occasional struggle to find the correct English word or idiom. In The Mysterious Affair at Styles, he even misquotes Hamlet. Yet it would be a mistake to read these moments as simple errors.
Instead, Poirot knowingly plays into the trope of the “funny foreigner”, using difficulties with language to disarm suspects and allay fears of suspicion (how could such a comic figure be so great a detective?). In the famous scenes where Poirot explains the truth, his English becomes markedly more fluent. In this, Poirot represents the outsider perfectly placed to see through English deceptions.
The success of the “funny foreigner” schtick with unsuspecting English plays into Christie’s larger exploration of Englishness in her books.
Poirot is an enthusiastic devotee of England. In The Murder of Roger Ackroyd he comments that England is “very beautiful, is it not”? But this enthusiasm is not always returned. A running joke of the Poirot novels and adaptations is that he is often mistaken as French.
In Ackroyd, he is described as looking “just like a comic Frenchman in a revue”. But in a genre that demands close attention to detail, the joke here is at the expense of a particularly inward-looking type of Englishness, those who cannot tell the difference between the French and the Belgian.
Likewise, as literary scholar Alison Light notes, Poirot’s popularity coincides with the expansion in travel, as the English increasingly saw themselves as tourists abroad. Several of Poirot’s most famous cases occur on modes of transport and in exotic locations, like Death on the Nile. However, while the English in these stories might be abroad, class relations from home still manage to play out wherever they might be. England follows them, and that inward-looking Englishness runs deep.
While Christie might have poked fun at England and Englishness, she managed to capture the hearts of British readers with her small, smart Belgian. Poirot was so loved by readers that Christie wrote 33 novels, two plays, and more than 50 short stories about him between 1921 and 1975.
ITV’s adaptation of many of these stories, Agatha Christie’s Poirot starring David Suchet, ran for 25 years (1989-2013) and is also now considered a classic of British TV. Few fictional detectives have had their complete adventures adapted for the screen. In this regard, Poirot makes a strong claim to being Britain’s most loved detective.
Christopher Pittard is a Senior Lecturer in English Literature at the University of Portsmouth.
This article first appeared on The Conversation.
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