logo

112 pages 3 hours read

Agatha Christie

The ABC Murders

Fiction | Novel | Adult | Published in 1936

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Foreword-Chapter 3Chapter Summaries & Analyses

Foreword Summary

The Foreword is written by Captain Arthur Hastings, close friend of Belgian detective Hercule Poirot. Hastings narrates much of this work and appears in several other works in the Poirot series. The Foreword serves as a guide to the reader that while most of the work describes events in which Hastings participated directly, others are written in the third person because they reflect events he learned of after the fact. Hastings asserts that Poirot has “vetted” his account for accuracy. He also confesses that the forthcoming work deals with emotions and romantic relationships to a degree that some readers might find excessive, but they are integral to the narrative. Hastings closes by praising the “real genius” of Poirot, his close friend and collaborator.

Chapter 1 Summary: “The Letter”

In 1935, Hastings had left England for South America, but a global economic collapse required his return to England in June. Hastings indicates that his first goal was to renew his acquaintance with Poirot, a friend of long standing, who has lived in England since arriving as a refugee during World War I.

Hastings also notes that Poirot looks younger, and his hair is less grey. Poirot  admits that he has dyed his hair. When Hastings expresses shock, Poirot praises his “beautiful and unsuspicious nature” and produces his bottle of hair dye (2). Poirot assures his friend that his famous mustaches remain authentic and unaltered, declaring, “Never, in the whole of London, have I seen a pair of moustaches to equal mine” (3).

Poirot and Hastings discuss that the aging detective has yet to successfully retire, despite declaring this goal many times. Poirot asserts that too much leisure would endanger his intellectual prowess, but he is more selective of late, declaring, “for Hercule Poirot nowadays only the cream of crime” (3). Poirot admits that his work still involves some risk, as a recent case endangered his life. Poirot asserts that the two of them will soon find themselves investigating a matter worthy of his talents. Poirot calls it Hastings’s “destiny” to prevent him from “overlooking the obvious.” Hastings does not see the subtle dig in this observation, and, moving on, asks if a new crime has materialized.

Poirot presents his friend with an anonymous letter signed “ABC” from a person who challenges him to unravel a mystery that will soon present itself in the city of Andover on June 21. The author implies that Poirot is arrogant and thinks himself above the British authorities, and that events will soon demonstrate he is wrong. Poirot shows more alarm at the letter than his trusting friend, who thinks it is merely the work of a drunk. Poirot says their mutual friend at Scotland Yard, Japp, is similarly unconcerned but confesses that he remains disconcerted.

Hastings asks if he will act, or if his “instincts” are why he insists the letter must be significant. Poirot declares, “‘Not instinct, Hastings. Instinct is a bad word. It is my knowledge—my experience—that tells me that something about that letter is wrong—” (7-8). Poirot thinks the letter portends a violent crime, likely murder.

Chapter 2 Summary: “Not from Captain Hastings’ Personal Narrative”

This chapter, narrated in the third person to reflect events where Hastings and Poirot are not present. It describes a man, Alexander Bonaparte Cust, who is occupied with a “railway guide […] and a typewritten list of names” (9). He checks a name off his list, the reader is told, on June 20—the day before the warning in Poirot’s anonymous letter.

Chapter 3 Summary: “Andover”

The 21st arrives, and Hastings is reminded of the letter when he sees that Chief Inspector Japp has arrived. Japp, to Hastings’s chagrin, remarks that they are both aging. Japp asserts that Poirot only increases in fame and vigor with time, suggesting that he will “end by detecting your own death” (10). Hastings finds the joke in poor taste and asks Japp if he has come about the anonymous letter. He assures Poirot that his fears are unfounded—no significant crimes have occurred—and departs. Poirot and Hastings discuss Japp’s commentary on their appearance, and Poirot suggests Hastings consult his hairdresser for a solution to the latter’s encroaching baldness. They return to the subject of the letter, which Poirot insists had “the odour of the fish”—an instance of the character putting his own spin on English idioms (13).

Poirot and Hastings return to their earlier discussion of the ideal crime to investigate. Hastings constructs a classic mystery with a diverse cast of characters, including suspicious men, beautiful women, servants, and a “damn fool of detective rather like Japp” (14). For his part, Poirot expresses a preference for a more personal crime, such as four friends sitting down to a game of bridge, where one of them is murdered by the player sitting out a round. Hastings insists that mystery stories are better with more murders, ignoring Poirot’s distaste for his dramatic scenario.

They are interrupted by a telephone call from Japp. An old woman, Alice Ascher, has been found dead in Andover. The police suspect Mrs. Ascher’s estranged husband, a violent alcoholic but also wish for Poirot to produce his anonymous letter. Hastings is so excited at the prospect of a return to the chase that he misses Poirot’s observation, “this is the beginning” (18).

Foreword-Chapter 3 Analysis

The early chapters set the scene, introduce the characters, and establish Christie’s relationship to her chosen genre. Poirot and Hastings established Christie’s reputation as a writer; her first novel, The Mysterious Affair at Styles, published in 1921, features both men working to solve a murder at a country estate. Hastings does not appear in every Poirot story or novel, and in the ABC Murders his return to England is a return to form. Poirot welcomes this as a good sign for his work, as well. The great detective is eager to ensure that his intellectual prowess remains undiminished even as he ages. Hastings, too, is concerned with his encroaching old age, sensitive to Japp’s remarks. As a character, however, he is unchanged, performing the same role of loyal assistant that he did in his younger years. Hastings remains sincere but gullible, willing to believe Poirot is aging backwards and unaware that part of his value to his friend is his role in pointing out the most apparent aspects of a crime. In keeping with their distinct personalities, Hastings prefers the typical conventions of the mystery novel down to the presence of a bumbling policeman, while Poirot is interested in interpersonal dynamics and motives.

The anonymous letter which disconcerts Poirot helps establish the detective as a genius set apart from others; he is the only one who believes the letter is significant and will have future implications. Hastings singles out Poirot’s gifts in this regard in the prologue. He highlights both Poirot’s genius and his insistence that emotions are part of crime narratives. Hastings may allude to the events of The Mysterious Affair at Styles when he says that Poirot taught him the connection between crime and romance (Location 73 (that novel involves two couples finding love in the aftermath of Poirot solving a murder). Christie works to establish that her characters have a history together, even as they are largely static, even archetypal. The genius detective and loyal assistant, after all, date back at least as far as Conan Doyle’s Sherlock Holmes and Dr. Watson.

The chapters depicting the as-yet-unknown Alexander Bonaparte Cust introduces a mystery within a mystery. Why the reader needs to know about a man with a railway guide and a list is not clear at this point in the narrative. But the reader does know at this point that the anonymous letter was signed “ABC” and we are provided with Cust’s full name and initials: ABC. Cust will eventually emerge as a “red herring”—a promising candidate for the killer who turns out to be innocent, and, in his case, deliberately framed by the guilty party.

blurred text
blurred text
blurred text
blurred text