Written by Agatha Christie
SUMMARY:
Agatha Christie’s novel was first released in 1926. Penguin Books published this 358-page paperback reprint in 2004. The mystery surrounding Ackroyd’s brazen homicide and its subsequent investigation is related through the local physician’s narrative.
In the secluded English village of King’s Abbot, Mr. Farrars suddenly passes away. One year later, his rich widow inexplicably commits suicide. Then, another wealthy resident, Roger Ackroyd, is found stabbed to death in his own study, with several potential witnesses present in his manor home. Egged on by his busybody sister, Dr. James Sheppard becomes a police consultant probing his friend Ackroyd’s death. The prime suspect is the missing Capt. Ralph Paton, who is the victim’s estranged step-nephew and Sheppard’s personal friend.
Sheppard soon finds that his reclusive next-door neighbor isn’t some eccentric hairdresser, now retired, as he had presumed. King’s Abbot’s peculiar celebrity is really Hercule Poirot, who takes up the case at the behest of Ackroyd’s baffled niece.
In Holmes-and-Watson-like fashion, Sheppard becomes Poirot’s new ally sleuthing the matter. Hence, they encounter conflicting clues re: who had the means, opportunity, and a cold-blooded motive to kill Ackroyd. Is the culprit a greedy family heir? Or maybe a trusted friend? Is it possibly a resentful household servant? Could it be an outside intruder? Only Poirot may have the necessary insights to thwart a potentially perfect crime.
Note: Re: series continuity, the ‘retired’ Poirot is established here as a legendary private detective in England — though Roger Ackroyd is only the fourth book (and Capt. Hastings’ move to Argentina occurred only the year before). Still, this novel’s loose time frame could readily occur after several of Poirot’s later exploits.
REVIEW:
The Murder of Roger Ackroyd readily confirms its reputation as a genre classic, especially for its fresh take on the parlor room murder concept. Considering how Christie drops fair hints, the novel’s whodunnit twist finish is ingeniously conceived. This gimmick is ample compensation for a few tedious chapters found in its mid-section.
Further, Christie realistically develops her characters throughout Dr. Sheppard’s narrative vs. merely pushing them as an assortment of blah caricatures. The result is an intriguing read that doesn’t include racist overtones, like some of Christie’s other works.
In lieu of a detailed plot/character analysis, three vital elements should be addressed:
- Aside from a semi-funny encounter meeting Sheppard, Poirot doesn’t return until the 100-page mark. Waiting indefinitely to summon Poirot is a risk Christie occasionally utilizes – i.e. The Hollow’s disappointing tedium comes to mind. In this instance, however, her creative gambit works, as far as giving Ackroyd and an array of suspects ample time to make themselves interesting. The way suspicion pivots in multiple directions is indicative of how masterful Christie already was at her craft.
- While the culprit’s motive is revealed, readers are left to ponder much of the decision-making behind the crime: i.e. why is one particular character deemed an expendable pawn? This element works, in terms of not explaining every last twist, including what Poirot himself may be holding back.
- Short of technological advances in the internet age (and modern criminal forensics), this century-old plot could believably transpire anytime between the 1920’s through likely the 80’s. Even the dialogue isn’t stilted – Christie’s literary style, in this instance, is likably contemporary. Unlike her 1950’s-1960’s novels needlessly pushing social commentaries re: hippies, communism, promiscuity, etc., Roger Ackroyd concentrates on the narrator’s here-and-now. It’s a welcome sign of Christie’s best storytelling.
The novel’s impact is even more remarkable accepting how the solution’s contrivances would only happen in fiction. Suffice to say, Christie ensures that the innovative finale is worth the price of admission. Roger Ackroyd isn’t a flashy Poirot caper, like Murder on the Orient Express or Death on the Nile. Yet, it’s among the finest British mysteries because this benchmark in detective fiction does better than what countless imitators only aspire to.
Note: The novel inspired 1928’s stage play, Alibi – the first-ever adaptation of Christie’s work.
ADDITIONAL FEATURES:
The first page is a quick Christie bio. There’s a listing of the publisher’s Christie titles. A table-of-contents-is included. The back cover lists Poirot’s titles in order.
BRIAN’S ODD MOON RATING: 9 Stars
Note: For another Poirot stunner, highly recommended is his literary series finale: Curtain, which brings the Belgian sleuth’s exploits full circle.
