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Albert Camus | World War II, Resistance and ''Combat'' | World War II, Resistance and Combat
Soon after Camus moved to Paris, the outbreak of World War II began to affect France. Camus volunteered to join the army but was not accepted because he had once had tuberculosis. As the Germans were marching towards Paris, Camus fled. He was laid off from and ended up in Lyon, where he married pianist and mathematician Francine Faure on 3 December 1940. Camus and Faure moved back to Algeria (Oran), where he taught in primary schools. Because of his tuberculosis, he moved to the French Alps on medical advice. There he began writing his second cycle of works, this time dealing with revolt – a novel, La Peste (The Plague), and a play, Le Malentendu (The Misunderstanding). By 1943 he was known because of his earlier work. He returned to Paris, where he met and became friends with Jean-Paul Sartre. He also became part of a circle of intellectuals, which included Simone de Beauvoir and André Breton. Among them was the actress María Casares, who later had an affair with Camus.
Camus took an active role in the underground resistance movement against the Germans during the French Occupation. Upon his arrival in Paris, he started working as a journalist and editor of the banned newspaper Combat. Camus used a pseudonym for his Combat articles and used false ID cards to avoid being captured. He continued writing for the paper after the liberation of France, composing almost daily editorials under his real name. During that period he composed four Lettres à un Ami Allemand ('Letters to a German Friend'), explaining why resistance was necessary. |
Albert Camus | Post–World War II | Post–World War II
After the War, Camus lived in Paris with Faure, who gave birth to twins, Catherine and Jean, in 1945. Camus was now a celebrated writer known for his role in the Resistance. He gave lectures at various universities in the United States and Latin America during two separate trips. He also visited Algeria once more, only to leave disappointed by the continued oppressive colonial policies, which he had warned about many times. During this period he completed the second cycle of his work, with the book (The Rebel). Camus attacked totalitarian communism while advocating libertarian socialism and anarcho-syndicalism. Upsetting many of his colleagues and contemporaries in France with its rejection of communism, the book brought about the final split between Camus and Sartre. His relations with the Marxist Left deteriorated further during the Algerian War.
Camus was a strong supporter of European integration in various marginal organisations working towards that end. In 1944, he founded the ('French Committee for the European Federation' [CFFE]), declaring that Europe "can only evolve along the path of economic progress, democracy, and peace if the nation-states become a federation." In 1947–48, he founded the (GLI), a trade union movement in the context of revolutionary syndicalism (). His main aim was to express the positive side of surrealism and existentialism, rejecting the negativity and the nihilism of André Breton. Camus also raised his voice against the Soviet invasion of Hungary and the totalitarian tendencies of Franco's regime in Spain.
Camus had numerous affairs, particularly an irregular and eventually public affair with the Spanish-born actress María Casares, with whom he had extensive correspondence. Faure did not take this affair lightly. She had a mental breakdown and needed hospitalisation in the early 1950s. Camus, who felt guilty, withdrew from public life and was slightly depressed for some time.
In 1957, Camus received the news that he was to be awarded the Nobel Prize in Literature. This came as a shock to him; he anticipated André Malraux would win the award. At age 44, he was the second-youngest recipient of the prize, after Rudyard Kipling, who was 41. After this he began working on his autobiography (The First Man) in an attempt to examine "moral learning". He also turned to the theatre once more. Financed by the money he received with his Nobel Prize, he adapted and directed for the stage Dostoyevsky's novel Demons. The play opened in January 1959 at the Antoine Theatre in Paris and was a critical success.
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thumb|left|Simone Weil
During these years, he published posthumously the works of the philosopher Simone Weil, in the series "Espoir" ('Hope') which he had founded for Éditions Gallimard. Weil had great influence on his philosophy, since he saw her writings as an "antidote" to nihilism. Camus described her as "the only great spirit of our times". |
Albert Camus | Death | Death
thumb|left|alt=Photograph of Camus's gravestone|Albert Camus's gravestone thumb|The bronze plaque on the monument to Camus in the town of Villeblevin, France. It reads: "From the General Council of the Yonne Department, in homage to the writer Albert Camus whose remains lay in vigil at the Villeblevin town hall on the night of 4 to 5 January 1960" thumb|alt=A photograph of the monument to Camus built in Villeblevin.|The monument to Camus built in Villeblevin, where he died in a car crash on 4 January 1960
Camus died on 4 January 1960 at the age of 46, in a car accident near Sens, in Le Grand Fossard in the small town of Villeblevin. He had spent the New Year's holiday of 1960 at his house in Lourmarin, Vaucluse with his family and his publisher Michel Gallimard of Éditions Gallimard, along with Gallimard's wife, Janine, and daughter, Anne. Camus's wife and children went back to Paris by train on 2 January, but Camus decided to return in Gallimard's luxurious Facel Vega FV2. The car crashed into a plane tree on a long straight stretch of the Route nationale 5 (now the RN 6 or D606). Camus, who was in the passenger seat, died instantly, while Gallimard died five days later. Janine and Anne Gallimard escaped without injuries.
144 pages of a handwritten manuscript entitled Le premier Homme ('The First Man') were found in the wreckage. Camus had predicted that this unfinished novel based on his childhood in Algeria would be his finest work. Camus was buried in the Lourmarin Cemetery, Vaucluse, France, where he had lived. Jean-Paul Sartre read a eulogy, paying tribute to Camus's heroic "stubborn humanism". William Faulkner wrote his obituary, saying, "When the door shut for him he had already written on this side of it that which every artist who also carries through life with him that one same foreknowledge and hatred of death is hoping to do: I was here." |
Albert Camus | Literary career | Literary career
thumb|right|alt=Camus crowning Stockholm's Lucia after accepting the Nobel Prize in Literature.|Camus crowning Stockholm's Lucia on 13 December 1957, three days after accepting the Nobel Prize in Literature
Camus's first publication was a play called (Revolt in the Asturias), written with three friends in May 1936. The subject was the 1934 revolt by Spanish miners that was brutally suppressed by the Spanish government, resulting in 1,500 to 2,000 deaths. In May 1937 he wrote his first book, (Betwixt and Between, also translated as The Wrong Side and the Right Side). Both were published by Edmond Charlot's small publishing house.
Camus separated his work into three cycles. Each cycle consisted of a novel, an essay, and a play. The first was the cycle of the absurd consisting of L'Étranger, Le Mythe de Sysiphe, and Caligula. The second was the cycle of the revolt which included La Peste (The Plague), L'Homme révolté (The Rebel), and Les Justes (The Just Assassins). The third, the cycle of the love, consisted of Nemesis. Each cycle was an examination of a theme with the use of a pagan myth and including biblical motifs.
The books in the first cycle were published between 1942 and 1944, but the theme was conceived earlier, at least as far back as 1936. With this cycle, Camus aimed to pose a question on the human condition, discuss the world as an absurd place, and warn humanity of the consequences of totalitarianism.
Camus began his work on the second cycle while he was in Algeria, in the last months of 1942, just as the Germans were reaching North Africa. In the second cycle, Camus used Prometheus, who is depicted as a revolutionary humanist, to highlight the nuances between revolution and rebellion. He analyses various aspects of rebellion, its metaphysics, and its connection to politics, and then examines it under the lens of modernity, historicity, and the absence of a God.
After receiving the Nobel Prize, Camus gathered, clarified, and published his pacifist leaning views at (Algerian Chronicles). He then decided to distance himself from the Algerian War as he found the mental burden too heavy. He turned to theatre and the third cycle which was about love and the goddess Nemesis, the Greek and Roman goddess of Revenge.
Two of Camus's works were published posthumously. The first entitled La mort heureuse (A Happy Death) (1971) is a novel that was written between 1936 and 1938. It features a character named Patrice Mersault, comparable to The Strangers Meursault. There is scholarly debate about the relationship between the two books. The second was an unfinished novel, Le Premier homme (The First Man, published in 1994), which Camus was writing before he died. It was an autobiographical work about his childhood in Algeria and its publication in 1994 sparked a widespread reconsideration of Camus's allegedly unrepentant colonialism.
+Works of Camus by genre and cycle, according to Matthew Sharpe Years Pagan myth Biblical motif Novel Plays 1937–42 Sisyphus Alienation, exile The Stranger (L'Étranger)Caligula,The Misunderstanding (Le Malentendu) 1943–52 Prometheus Rebellion The Plague (La Peste) The State of Siege (L'État de siège) The Just (Les Justes) 1952–58 Guilt, the fall; exile & the kingdom; John the Baptist, Christ The Fall (La Chute) Adaptations of The Possessed (Dostoevsky); Faulkner's Requiem for a Nun 1958– Nemesis The Kingdom The First Man (Le Premier Homme) |
Albert Camus | Political stance | Political stance
Camus was a moralist; he claimed morality should guide politics. While he did not deny that morals change over time, he rejected the classical Marxist view that historical material relations define morality.
Camus was also strongly critical of Marxism–Leninism, which he considered totalitarian, especially in the case of the Soviet Union. Camus rebuked those sympathetic to the Soviet model and their "decision to call total servitude freedom". A proponent of libertarian socialism, he stated that the Soviet Union was not socialist and the United States was not liberal. His critique of the Soviet Union caused him to clash with others on the political left, most notably with his on-again/off-again friend Jean-Paul Sartre.
Active in the French Resistance to the Nazi occupation of France during World War II, Camus wrote for and edited the Resistance journal Combat. Of the French collaboration with the German occupiers, he wrote: "Now the only moral value is courage, which is useful here for judging the puppets and chatterboxes who pretend to speak in the name of the people." After France's liberation, Camus remarked: "This country does not need a Talleyrand, but a Saint-Just." The reality of the postwar tribunals soon changed his mind: Camus publicly reversed himself and became a lifelong opponent of capital punishment.
Camus had anarchist sympathies, which intensified in the 1950s, when he came to believe that the Soviet model was morally bankrupt. Camus was firmly against any kind of exploitation, authority, or property, as well as the State and centralization. However, he opposed revolution, separating the rebel from the revolutionary and believing that the belief in "absolute truth", most often assuming the guise of history or reason, inspires the revolutionary and leads to tragic results. He believed that rebellion is spurred by our outrage over the world's lack of transcendent significance, while political rebellion is our response to attacks against the dignity and autonomy of the individual. Camus opposed political violence, tolerating it only in rare and very narrowly defined instances, as well as revolutionary terror, which he accused of sacrificing innocent lives on the altar of history.
Philosophy professor David Sherman considers Camus an anarcho-syndicalist. Graeme Nicholson considers Camus an existentialist anarchist.
The anarchist André Prudhommeaux first introduced him at a meeting of the ('Anarchist Student Circle') in 1948 as a sympathiser familiar with anarchist thought. Camus wrote for anarchist publications such as ('The Libertarian'), ('The Proletarian Revolution'), and ('Workers' Solidarity'), the organ of the anarcho-syndicalist Confederación Nacional del Trabajo (CNT, 'National Confederation of Labor').
Camus kept a neutral stance during the Algerian Revolution (1954–1962). While he was against the violence of the National Liberation Front (FLN), he acknowledged the injustice and brutalities imposed by colonialist France. He was supportive of Pierre Mendès France's Unified Socialist Party (PSU) and its approach to the crisis; Mendès France advocated for reconciliation. Camus also supported a like-minded Algerian militant, Aziz Kessous. Camus traveled to Algeria to negotiate a truce between the two belligerents but was met with distrust by all parties. In one often-misquoted incident, Camus confronted an Algerian critic during his 1957 Nobel Prize acceptance speech in Stockholm, rejecting the false equivalence of justice with revolutionary terrorism: "People are now planting bombs in the tramways of Algiers. My mother might be on one of those tramways. If that is justice, then I prefer my mother." Critics have labelled the response as reactionary and a result of a colonialist attitude.
Camus was sharply critical of the proliferation of nuclear weapons and the bombings of Hiroshima and Nagasaki. In the 1950s, Camus devoted his efforts to human rights. In 1952, he resigned from his work for UNESCO when the UN accepted Spain, under the leadership of the caudillo General Francisco Franco, as a member. Camus maintained his pacifism and resisted capital punishment anywhere in the world. He wrote an essay against capital punishment in collaboration with Arthur Koestler, the writer, intellectual, and founder of the League Against Capital Punishment, entitled ('Reflections on Capital Punishment'), published by Calmann-Levy in 1957.
Along with Albert Einstein, Camus was one of the sponsors of the Peoples' World Convention (PWC), also known as Peoples' World Constituent Assembly (PWCA), which took place between 1950 and 1951 at Palais Electoral in Geneva, Switzerland. |
Albert Camus | Role in Algeria | Role in Algeria
thumb|alt=Map of French Algeria showing its administrative organization between 1905 and 1955 |Administrative organization of French Algeria between 1905 and 1955
Born in Algeria to French parents, Camus was familiar with the institutional racism of France against Arabs and Berbers, but he was not part of a rich elite. He lived in very poor conditions as a child, but was a citizen of France and as such was entitled to citizens' rights; members of the country's Arab and Berber majority were not.
Camus was a vocal advocate of the "new Mediterranean Culture". This was his vision of embracing the multi-ethnicity of the Algerian people, in opposition to "Latiny", a popular pro-fascist and antisemitic ideology among other pieds-noirs – French or Europeans born in Algeria. For Camus, this vision encapsulated the Hellenic humanism which survived among ordinary people around the Mediterranean Sea. His 1938 address on "The New Mediterranean Culture" represents Camus's most systematic statement of his views at this time. Camus also supported the Blum–Viollette proposal to grant Algerians full French citizenship in a manifesto with arguments defending this assimilative proposal on radical egalitarian grounds. In 1939, Camus wrote a stinging series of articles for the on the atrocious living conditions of the inhabitants of the Kabylie highlands. He advocated for economic, educational, and political reforms as a matter of emergency.
In 1945, following the Sétif and Guelma massacre after Arabs revolted against French mistreatment, Camus was one of only a few mainland journalists to visit the colony. He wrote a series of articles reporting on conditions and advocating for French reforms and concessions to the demands of the Algerian people.
When the Algerian War began in 1954, Camus was confronted with a moral dilemma. He identified with the pieds-noirs such as his own parents and defended the French government's actions against the revolt. He argued the Algerian uprising was an integral part of the "new Arab imperialism" led by Egypt and an "anti-Western" offensive orchestrated by Russia to "encircle Europe" and "isolate the United States". Although favoring greater Algerian autonomy or even federation, though not full-scale independence, he believed the pieds-noirs and Arabs could co-exist. During the war, he advocated a civil truce that would spare the civilians. It was rejected by both sides, who regarded it as foolish. Behind the scenes, he began working for imprisoned Algerians who faced the death penalty. His position drew much criticism from the left and later postcolonial literary critics, such as Edward Said, who were opposed to European imperialism and charged that Camus's novels and short stories are plagued with colonial depictions – or conscious erasures – of Algeria's Arab population. In their eyes, Camus was no longer the defender of the oppressed.
Camus once said that the troubles in Algeria "affected him as others feel pain in their lungs". |
Albert Camus | Philosophy | Philosophy |
Albert Camus | Existentialism | Existentialism
Even though Camus is mostly connected to absurdism, he is routinely categorized as an existentialist, a term he rejected on several occasions.
Camus himself said his philosophical origins lay in ancient Greek philosophy, Nietzsche, and 17th-century moralists, whereas existentialism arose from 19th- and early 20th-century philosophy such as Søren Kierkegaard, Karl Jaspers, and Martin Heidegger. He also said his work, The Myth of Sisyphus, was a criticism of various aspects of existentialism. Camus rejected existentialism as a philosophy, but his critique was mostly focused on Sartrean existentialism and – though to a lesser extent – on religious existentialism. He thought that the importance of history held by Marx and Sartre was incompatible with his belief in human freedom. David Sherman and others also suggest the rivalry between Sartre and Camus also played a part in his rejection of existentialism. David Simpson argues further that his humanism and belief in human nature set him apart from the existentialist doctrine that existence precedes essence.
On the other hand, Camus focused most of his philosophy around existential questions. The absurdity of life and that it inevitably ends in death is highlighted in his acts. His belief was that the absurd – life being void of meaning, or man's inability to know that meaning if it were to exist – was something that man should embrace. His opposition to Christianity and his commitment to individual moral freedom and responsibility are only a few of the similarities with other existential writers. Camus addressed one of the fundamental questions of existentialism: the problem of suicide. He wrote: "There is only one really serious philosophical question, and that is suicide.""You cannot give coherence to murder if you refuse it to suicide. A spirit penetrated by the idea of the absurd undoubtedly admits the murder of fatality, but would not be able to accept the murder of reasoning. In comparison, murder and suicide are one and the same thing, which must be taken or left together."
Camus viewed the question of suicide as arising naturally as a solution to the absurdity of life. |
Albert Camus | Absurdism | Absurdism
Many existentialist writers have addressed the Absurd, each with their own interpretation of what it is and what makes it important. Kierkegaard suggests that the absurdity of religious truths prevents people from reaching God rationally. Sartre recognizes the absurdity of individual experience. Camus's thoughts on the Absurd begin with his first cycle of books and the literary essay The Myth of Sisyphus, his major work on the subject. In 1942, he published the story of a man living an absurd life in The Stranger. He also wrote a play about the Roman emperor Caligula, pursuing an absurd logic, which was not performed until 1945. His early thoughts appeared in his first collection of essays, Betwixt and Between, in 1937. Absurd themes were expressed with more sophistication in his second collection of essays, (Nuptials) in 1938. In these essays, Camus reflects on the experience of the Absurd. Aspects of the notion of the Absurd can also be found in The Plague.
thumb|A stele made in Tipaza in 1961 by the French painter Louis Bénist, on which is engraved an extract from Nuptials (essays): “Here, I understand the concept of glory: the freedom to love boundlessly.”.
Camus follows Sartre's definition of the Absurd: "That which is meaningless. Thus man's existence is absurd because his contingency finds no external justification". The Absurd is created because man, who is placed in an unintelligent universe, realises that human values are not founded on a solid external component; as Camus himself explains, the Absurd is the result of the "confrontation between human need and the unreasonable silence of the world". Even though absurdity is inescapable, Camus does not drift towards nihilism. But the realization of absurdity leads to the question: Why should someone continue to live? Suicide is an option that Camus firmly dismisses as the renunciation of human values and freedom. Rather, he proposes we accept that absurdity is a part of our lives and live with it.
The turning point in Camus's attitude to the Absurd occurs in a collection of four letters to an anonymous German friend, written between July 1943 and July 1944. The first was published in the in 1943, the second in the in 1944, and the third in the newspaper , in 1945. The four letters were published as ('Letters to a German Friend') in 1945, and were included in the collection Resistance, Rebellion, and Death.
Camus regretted the continued reference to himself as a "philosopher of the absurd". He showed less interest in the Absurd shortly after publishing The Myth of Sisyphus. To distinguish his ideas, scholars sometimes refer to the Paradox of the Absurd, when referring to "Camus's Absurd". |
Albert Camus | Revolt | Revolt
Camus articulated the case for revolting against any kind of oppression, injustice, or whatever disrespects the human condition. He was cautious enough, however, to set the limits on the rebellion. The Rebel explains in detail his thoughts on the issue. There, he builds upon the absurd, described in The Myth of Sisyphus, but goes further. In the introduction, where he examines the metaphysics of rebellion, he concludes with the phrase "I revolt, therefore we exist" implying the recognition of a common human condition. Camus also delineates the difference between revolution and rebellion and notices that history has shown that the rebel's revolution might easily end up as an oppressive regime; he therefore places importance on the morals accompanying the revolution. Camus poses a crucial question: Is it possible for humans to act in an ethical and meaningful manner in a silent universe? According to him, the answer is yes, as the experience and awareness of the Absurd creates the moral values and also sets the limits of our actions. Camus separates the modern form of rebellion into two modes. First, there is the metaphysical rebellion, which is "the movement by which man protests against his condition and against the whole of creation". The other mode, historical rebellion, is the attempt to materialize the abstract spirit of metaphysical rebellion and change the world. In this attempt, the rebel must balance between the evil of the world and the intrinsic evil which every revolt carries, and not cause any unjustifiable suffering. |
Albert Camus | Legacy | Legacy
thumb|Albert Camus street in La Coruña, Galicia, (Spain).
Camus' novels and philosophical essays are still influential. After his death, interest in Camus followed the rise – and diminution – of the New Left. Following the collapse of the Soviet Union, interest in his alternative road to communism resurfaced. He is remembered for his skeptical humanism and his support for political tolerance, dialogue, and civil rights.
Although Camus has been linked to anti-Soviet communism, reaching as far as anarcho-syndicalism, some neoliberals have tried to associate him with their policies; for instance, the French President Nicolas Sarkozy suggested that his remains be moved to the Panthéon, an idea that was criticised by Camus's surviving family and angered many on the Left.
American heavy metal band Avenged Sevenfold stated that their album Life Is But a Dream... was inspired by the work of Camus.
Albert Camus also served as the inspiration for the Aquarius Gold Saint Camus in the classic anime and manga Saint Seiya. |
Albert Camus | Tributes | Tributes
In Tipasa, Algeria, inside the Roman ruins, facing the sea and Mount Chenoua, a stele was erected in 1961 in honor of Albert Camus with this phrase in French extracted from his work : "I understand here what is called glory: the right to love beyond measure" ().
The French Post published a stamp with his likeness on 26 June 1967. |
Albert Camus | Works | Works
The works of Albert Camus include: |
Albert Camus | Novels | Novels
A Happy Death (La Mort heureuse; written 1936–38, published 1971)
The Stranger (L'Étranger, often translated as The Outsider, though an alternate meaning of is 'foreigner'; 1942)
The Plague (La Peste, 1947)
The Fall (La Chute, 1956)
The First Man (Le premier homme; incomplete, published 1994) |
Albert Camus | Short stories | Short stories
Exile and the Kingdom (L'exil et le royaume; collection, 1957), containing the following short stories:
"The Adulterous Woman" (La Femme adultère)
"The Renegade or a Confused Spirit" (Le Renégat ou un esprit confus)
"The Silent Men" (Les Muets)
"The Guest" (L'Hôte)
"Jonas, or the Artist at Work" (Jonas, ou l'artiste au travail)
"The Growing Stone" (La Pierre qui pousse) |
Albert Camus | Academic theses | Academic theses
Christian Metaphysics and Neoplatonism (Métaphysique chrétienne et néoplatonisme; 1935): the thesis that enabled Camus to teach in secondary schools in France |
Albert Camus | Non-fiction | Non-fiction
Betwixt and Between (L'envers et l'endroit, also translated as The Wrong Side and the Right Side; collection, 1937)
Nuptials (Noces, 1938)
The Myth of Sisyphus (Le Mythe de Sisyphe, 1942)
The Rebel (L'Homme révolté, 1951)
Algerian Chronicles (Chroniques algériennes; 1958, first English translation published 2013)
Resistance, Rebellion, and Death (collection, 1961)
Notebooks 1935–1942 (Carnets, mai 1935 — fevrier 1942, 1962)
Notebooks 1942–1951 (Carnets II: janvier 1942-mars 1951, 1965)
Lyrical and Critical Essays (collection, 1968)
American Journals (Journaux de voyage, 1978)
Notebooks 1951–1959 (2008). Published as Carnets Tome III: Mars 1951 – December 1959 (1989)
Correspondence (1944–1959) The correspondence of Albert Camus and María Casares, with a preface by his daughter, Catherine (2017) |
Albert Camus | Plays | Plays
Caligula (written 1938, performed 1945)
The Misunderstanding (Le Malentendu, 1944)
The State of Siege (L'État de Siège, 1948)
The Just Assassins (Les Justes, 1949)
Requiem for a Nun (Requiem pour une nonne, adapted from William Faulkner's novel by the same name; 1956)
The Possessed (Les Possédés, adapted from Fyodor Dostoyevsky's novel Demons; 1959) |
Albert Camus | Essays | Essays
The Crisis of Man (Lecture at Columbia University, 28 March 1946)
Neither Victims nor Executioners (series of essays in Combat, 1946)
Why Spain? (essay for the theatrical play L'Etat de Siège, 1948)
Summer (L'Été, 1954)
Reflections on the Guillotine (Réflexions sur la guillotine; extended essay, 1957)
Create Dangerously (Essay on Realism and Artistic Creation; lecture at the University of Uppsala in Sweden, 1957) |
Albert Camus | References | References |
Albert Camus | Footnotes | Footnotes |
Albert Camus | Sources | Sources
|
Albert Camus | Further reading | Further reading |
Albert Camus | Selected biographies | Selected biographies
|
Albert Camus | External links | External links
Albert Camus. Selective and Cumulative Bibliography
Gay-Crosier Camus collection at University of Florida Library
Albert Camus Society UK
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Category:Writers of pessimistic fiction |
Albert Camus | Table of Content | Short description, Biography, Early years and education, Formative years, World War II, Resistance and ''Combat'', Post–World War II, Death, Literary career, Political stance, Role in Algeria, Philosophy, Existentialism, Absurdism, Revolt, Legacy, Tributes, Works, Novels, Short stories, Academic theses, Non-fiction, Plays, Essays, References, Footnotes, Sources, Further reading, Selected biographies, External links |
Agatha Christie | Short description | Dame Agatha Mary Clarissa Christie, Lady Mallowan, (; 15 September 1890 – 12 January 1976) was an English author known for her 66 detective novels and 14 short story collections, particularly those revolving around fictional detectives Hercule Poirot and Miss Marple. She also wrote the world's longest-running play, the murder mystery The Mousetrap, which has been performed in the West End of London since 1952. A writer during the "Golden Age of Detective Fiction", Christie has been called the "Queen of Crime"—a nickname now trademarked by her estate—or the "Queen of Mystery". She also wrote six novels under the pseudonym Mary Westmacott. In 1971, she was made a Dame (DBE) by Queen Elizabeth II for her contributions to literature. She is the best-selling fiction writer of all time, her novels having sold more than two billion copies.
Christie was born into a wealthy upper-middle-class family in Torquay, Devon, and was largely home-schooled. She was initially an unsuccessful writer with six consecutive rejections, but this changed in 1920 when The Mysterious Affair at Styles, featuring detective Hercule Poirot, was published. Her first husband was Archibald Christie; they married in 1914 and had one child before divorcing in 1928. Following the breakdown of her marriage and the death of her mother in 1926, she made international headlines by going missing for eleven days. During both World Wars, she served in hospital dispensaries, acquiring a thorough knowledge of the poisons that featured in many of her novels, short stories, and plays. Following her marriage to archaeologist Max Mallowan in 1930, she spent several months each year on digs in the Middle East and used her first-hand knowledge of this profession in her fiction.
According to UNESCO's Index Translationum, she remains the most-translated individual author. Her novel And Then There Were None is one of the top-selling books of all time, with approximately 100 million copies sold. Christie's stage play The Mousetrap holds the world record for the longest initial run. It opened at the Ambassadors Theatre in the West End on 25 November 1952, and by 2018 there had been more than 27,500 performances. The play was temporarily closed in 2020 because of COVID-19 lockdowns in London before it reopened in 2021.
In 1955, Christie was the first recipient of the Mystery Writers of America's Grand Master Award. Later that year, Witness for the Prosecution received an Edgar Award for best play. In 2013, she was voted the best crime writer and The Murder of Roger Ackroyd the best crime novel ever by 600 professional novelists of the Crime Writers' Association. In 2015, And Then There Were None was named the "World's Favourite Christie" in a vote sponsored by the author's estate. Many of Christie's books and short stories have been adapted for television, radio, video games, and graphic novels. More than 30 feature films are based on her work. |
Agatha Christie | Life and career | Life and career |
Agatha Christie | 1890–1907: childhood and adolescence | 1890–1907: childhood and adolescence
thumb|left|upright|Portrait of Christie entitled Lost in Reverie, by Douglas John Connah, 1894
Agatha Mary Clarissa Miller was born on 15 September 1890, into a wealthy upper middle class family in Torquay, Devon. She was the youngest of three children born to Frederick Alvah Miller, "a gentleman of substance", and his wife Clarissa "Clara" Margaret (née Boehmer).Marriage Register. St Peter's Church, Bayswater [Notting Hill], Middlesex, 1878, No. 399, p. 200.Birth Certificate. General Register Office for England and Wales, 1890 September Quarter, Newton Abbot, volume 5b, p. 151. [Christie's forenames were not registered.]Baptism Register. Parish of Tormohun, Devon, 1890, No. 267, [n.p.].
Christie's mother Clara was born in Dublin in 1854 to British Army officer Frederick Boehmer and his wife Mary Ann (née West). Boehmer died in Jersey in 1863, leaving his widow to raise Clara and her brothers on a meagre income. Two weeks after Boehmer's death, Mary's sister, Margaret West, married widowed dry-goods merchant Nathaniel Frary Miller, a US citizen.Marriage Register. Parish of Westbourne, Sussex, 1863, No. 318, p. 159. To assist Mary financially, Margaret and Nathaniel agreed to foster nine-year-old Clara; the family settled in Timperley, Cheshire.Naturalisation Papers : Miller, Nathaniel Frary, from the United States. Certificate 4798 issued 25 August 1865. The National Archives, Kew. HO 1/123/4798. The couple had no children together, but Nathaniel had a 17-year-old son, Frederick "Fred", from his previous marriage. Fred was born in New York City and travelled extensively after leaving his Swiss boarding school. He and Clara were married in London in 1878. Their first child, Margaret "Madge" Frary, was born in Torquay in 1879.Birth Certificate. General Register Office for England and Wales, 1879 March Quarter, Newton Abbot, volume 5b, p. 162. The second, Louis Montant "Monty", was born in Morristown, New Jersey, in 1880, while the family was on an extended visit to the United States.
When Fred's father died in 1869,Death Certificate. General Register Office for England and Wales, 1869 June Quarter, Westbourne, volume 02B, p. 230. he left Clara £2,000 (approximately ); in 1881 they used this to buy the leasehold of a villa in Torquay named Ashfield. It was here that their third and last child, Agatha, was born in 1890. She described her childhood as "very happy". The Millers lived mainly in Devon but often visited her step-grandmother/great-aunt Margaret Miller in Ealing and maternal grandmother Mary Boehmer in Bayswater. A year was spent abroad with her family, in the French Pyrenees, Paris, Dinard, and Guernsey. Because her siblings were so much older, and there were few children in their neighbourhood, Christie spent much of her time playing alone with her pets and imaginary companions. She eventually made friends with other girls in Torquay, noting that "one of the highlights of my existence" was her appearance with them in a youth production of Gilbert and Sullivan's The Yeomen of the Guard, in which she played the hero, Colonel Fairfax.
thumb|upright|Christie as a girl, early 1900s|alt=Black-and-white portrait photograph of Christie as a girl
According to Christie, Clara believed she should not learn to read until she was eight; thanks to her curiosity, she was reading by the age of four. Her sister had been sent to a boarding school, but their mother insisted that Christie receive her education at home. As a result, her parents and sister supervised her studies in reading, writing and basic arithmetic, a subject she particularly enjoyed. They also taught her music, and she learned to play the piano and the mandolin.
Christie was a voracious reader from an early age. Some of her earliest memories were of reading children's books by Mrs Molesworth and Edith Nesbit. When a little older, she moved on to the surreal verse of Edward Lear and Lewis Carroll. As an adolescent, she enjoyed works by Anthony Hope, Walter Scott, Charles Dickens, and Alexandre Dumas. In April 1901, aged 10, she wrote her first poem, "The Cow Slip".
By 1901, her father's health had deteriorated, because of what he believed were heart problems. Fred died in November 1901 from pneumonia and chronic kidney disease.Death Certificate. General Register Office for England and Wales, 1901 December Quarter, Brentford, volume 3A, p. 71. ("Cause of Death. Bright's disease, chronic. Pneumonia. Coma and heart failure.") Christie later said that her father's death when she was 11 marked the end of her childhood.
The family's financial situation had, by this time, worsened. Madge married the year after their father's death and moved to Cheadle, Cheshire; Monty was overseas, serving in a British regiment. Christie now lived alone at Ashfield with her mother. In 1902, she began attending Miss Guyer's Girls' School in Torquay but found it difficult to adjust to the disciplined atmosphere. In 1905, her mother sent her to Paris, where she was educated in a series of (boarding schools), focusing on voice training and piano playing. Deciding she lacked the temperament and talent, she gave up her goal of performing professionally as a concert pianist or an opera singer. |
Agatha Christie | 1907–1926: early literary attempts, marriage, literary success | 1907–1926: early literary attempts, marriage, literary success
After completing her education, Christie returned to England to find her mother ailing. They decided to spend the winter of 1907–1908 in the warm climate of Egypt, which was then a regular tourist destination for wealthy Britons. They stayed for three months at the Gezirah Palace Hotel in Cairo. Christie attended many dances and other social functions; she particularly enjoyed watching amateur polo matches. While they visited some ancient Egyptian monuments such as the Great Pyramid of Giza, she did not exhibit the great interest in archaeology and Egyptology that developed in her later years. Returning to Britain, she continued her social activities, writing and performing in amateur theatrics. She also helped put on a play called The Blue Beard of Unhappiness with female friends.
At 18, Christie wrote her first short story, "The House of Beauty", while recovering in bed from an illness. It consisted of about 6,000 words about "madness and dreams", subjects of fascination for her. Her biographer Janet Morgan has commented that, despite "infelicities of style", the story was "compelling". (The story became an early version of her story "The House of Dreams".) Other stories followed, most of them illustrating her interest in spiritualism and the paranormal. These included "The Call of Wings" and "The Little Lonely God". Magazines rejected all her early submissions, made under pseudonyms (including Mac Miller, Nathaniel Miller, and Sydney West); some submissions were later revised and published under her real name, often with new titles.
thumb|upright|Christie as a young woman, 1910s
Around the same time, Christie began work on her first novel, Snow Upon the Desert. Writing under the pseudonym Monosyllaba, she set the book in Cairo and drew upon her recent experiences there. She was disappointed when the six publishers she contacted declined the work. Clara suggested that her daughter ask for advice from the successful novelist Eden Phillpotts, a family friend and neighbour, who responded to her enquiry, encouraged her writing, and sent her an introduction to his own literary agent, Hughes Massie, who also rejected Snow Upon the Desert but suggested a second novel.
Meanwhile, Christie's social activities expanded, with country house parties, riding, hunting, dances, and roller skating. She had short-lived relationships with four men and an engagement to another. In October 1912, she was introduced to Archibald "Archie" Christie at a dance given by Lord and Lady Clifford at Ugbrooke, about from Torquay. The son of a barrister in the Indian Civil Service, Archie was a Royal Artillery officer who was seconded to the Royal Flying Corps in April 1913. The couple quickly fell in love. Three months after their first meeting, Archie proposed marriage, and Agatha accepted.
thumb|left|upright|Christie as a nurse in the Voluntary Aid Detachment of the British Red Cross. She is pictured in 1915 outside her childhood home of Ashfield.
With the outbreak of World War I in August 1914, Archie was sent to France to fight. They married on Christmas Eve 1914 at Emmanuel Church, Clifton, Bristol, close to the home of his mother and stepfather, when Archie was on home leave.Marriage Register. Parish of Emmanuel, Clifton, 1914, No. 305, p. 153. Rising through the ranks, he was posted back to Britain in September 1918 as a colonel in the Air Ministry. Christie involved herself in the war effort as a member of the Voluntary Aid Detachment of the British Red Cross. From October 1914 to May 1915, then from June 1916 to September 1918, she worked 3,400 hours in the Town Hall Red Cross Hospital, Torquay, first as a Voluntary Aid Detachment nurse (unpaid) then as a dispenser at £16 (approximately ) a year from 1917 after qualifying as an apothecary's assistant. Her war service ended in September 1918 when Archie was reassigned to London, and they rented a flat in St. John's Wood.
Christie had long been a fan of detective novels, having enjoyed Wilkie Collins's The Woman in White and The Moonstone, and Arthur Conan Doyle's early Sherlock Holmes stories. She wrote her first detective novel, The Mysterious Affair at Styles, in 1916. It featured Hercule Poirot, a former Belgian police officer with "magnificent moustaches" and a head "exactly the shape of an egg", who had taken refuge in Britain after Germany invaded Belgium. Christie's inspiration for the character came from Belgian refugees living in Torquay, and the Belgian soldiers she helped to treat as a volunteer nurse during the First World War. Her original manuscript was rejected by Hodder & Stoughton and Methuen. After keeping the submission for several months, John Lane at The Bodley Head offered to accept it, provided that Christie change how the solution was revealed. She did so, and signed a contract committing her next five books to The Bodley Head, which she later felt was exploitative. It was published in 1920.
alt=Black-and-white photograph of three men in suits and one woman seated in a room and looking at an open newspaper|thumb|Archie Christie, Major Belcher (tour leader), Mr. Bates (secretary) and Agatha Christie on the 1922 British Empire Expedition Tour
Christie settled into married life, giving birth to her only child, Rosalind Margaret Clarissa (later Hicks), in August 1919 at Ashfield. Archie left the Air Force at the end of the war and began working in the City financial sector on a relatively low salary. They still employed a maid. Her second novel, The Secret Adversary (1922), featuring new detective couple Tommy and Tuppence, was also published by The Bodley Head. It earned her £50 (approximately ). A third novel, Murder on the Links, again featured Poirot, as did the short stories commissioned by Bruce Ingram, editor of The Sketch magazine, from 1923. She now had no difficulty selling her work.
In 1922, the Christies joined an around-the-world promotional tour for the British Empire Exhibition, led by Major Ernest Belcher. Leaving their daughter with Agatha's mother and sister, in 10 months they travelled to South Africa, Australia, New Zealand, Hawaii, and Canada. They learned to surf prone in South Africa; then, in Waikiki, they were among the first Britons to surf standing up, and extended their time there by three months to practise. She is remembered at the Museum of British Surfing as having said about surfing, "Oh it was heaven! Nothing like rushing through the water at what seems to you a speed of about two hundred miles an hour. It is one of the most perfect physical pleasures I have known."
When they returned to England, Archie resumed work in the city, and Christie continued to work hard at her writing. After living in a series of apartments in London, they bought a house in Sunningdale, Berkshire, which they renamed Styles after the mansion in Christie's first detective novel.
Christie's mother, Clarissa Miller, died in April 1926. They had been close, and the loss sent Christie into a deep depression. In August 1926, reports appeared in the press that Christie had gone to a village near Biarritz to recuperate from a "breakdown" caused by "overwork". |
Agatha Christie | 1926: disappearance | 1926: disappearance
thumb|upright|Daily Herald, 15 December 1926, announcing that Christie had been found. Missing for 11 days, she was found at the Swan Hydropathic Hotel in Harrogate, Yorkshire.|alt=Newspaper article with portraits of Agatha and Archie Christie
In August 1926, Archie asked Christie for a divorce. He had fallen in love with Nancy Neele, a friend of Major Belcher. On 3December 1926, the pair quarrelled after Archie announced his plan to spend the weekend with friends, unaccompanied by his wife. Late that evening, Christie disappeared from their home in Sunningdale. The following morning, her car, a Morris Cowley, was discovered at Newlands Corner in Surrey, parked above a chalk quarry with an expired driving licence and clothes inside. It was feared that she might have drowned herself in the Silent Pool, a nearby beauty spot.
The disappearance quickly became a news story. The press sought to satisfy their readers' "hunger for sensation, disaster, and scandal". Home Secretary William Joynson-Hicks pressured police, and a newspaper offered a £100 reward (). More than 1,000 police officers, 15,000 volunteers, and several aeroplanes searched the rural landscape. Sir Arthur Conan Doyle gave a spirit medium one of Christie's gloves to find her. Christie's disappearance made international headlines, including featuring on the front page of The New York Times. Despite the extensive manhunt, she was not found for another 10 days. On 4 December, the day after she went missing, it is now known she had tea in London and visited Harrods department store where she marvelled at the spectacle of the store's Christmas display. On 14 December 1926, she was located at the Swan Hydropathic Hotel in Harrogate, Yorkshire, north of her home in Sunningdale, registered as "Mrs Tressa Neele" (the surname of her husband's lover) from " S.A." (South Africa). The next day, Christie left for her sister's residence at Abney Hall, Cheadle, where she was sequestered "in guarded hall, gates locked, telephone cut off, and callers turned away".
Christie's autobiography makes no reference to the disappearance. Two doctors diagnosed her with "an unquestionable genuine loss of memory", yet opinion remains divided over the reason for her disappearance. Some, including her biographer Morgan, believe she disappeared during a fugue state. The author Jared Cade concluded that Christie planned the event to embarrass her husband but did not anticipate the resulting public melodrama. Christie's biographer Laura Thompson provides an alternative view that Christie disappeared during a nervous breakdown, conscious of her actions but not in emotional control of herself. Public reaction at the time was largely negative, supposing a publicity stunt or an attempt to frame her husband for murder. |
Agatha Christie | 1927–1976: second marriage and later life | 1927–1976: second marriage and later life
thumb|Christie's room at the Pera Palace Hotel in Istanbul, where the hotel claims she wrote her 1934 novel Murder on the Orient Express|alt=Colour photograph of a hotel room with Christie memorabilia on the walls
In January 1927, Christie, looking "very pale", sailed with her daughter and secretary to Las Palmas, Canary Islands, to "complete her convalescence", returning three months later.Inwards Passenger Lists . The National Archives, Kew. Board of Trade: Commercial and Statistical Department and successors, BT26/837/112. Christie petitioned for divorce and was granted a decree nisi against her husband in April 1928, which was made absolute in October 1928. Archie married Nancy Neele a week later. Christie retained custody of their daughter, Rosalind, and kept the Christie surname for her writing. Reflecting on the period in her autobiography, Christie wrote, "So, after illness, came sorrow, despair and heartbreak. There is no need to dwell on it."
In 1928, Christie left England and took the (Simplon) Orient Express to Istanbul and then to Baghdad. In Iraq, she became friends with archaeologist Leonard Woolley and his wife, who invited her to return to their dig in February 1930. On that second trip, she met archaeologist Max Mallowan, 13 years her junior. In a 1977 interview, Mallowan recounted his first meeting with Christie, when he took her and a group of tourists on a tour of his expedition site in Iraq. Christie and Mallowan married in Edinburgh in September 1930.Marriage Certificate. ScotlandStatutory Register of Marriages, 685/04 0938, 11 September 1930, District of St Giles, Edinburgh. Their marriage lasted until Christie's death in 1976. She accompanied Mallowan on his archaeological expeditions, and her travels with him contributed background to several of her novels set in the Middle East. Other novels (such as Peril at End House) were set in and around Torquay, where she was raised. Christie drew on her experience of international train travel when writing her 1934 novel Murder on the Orient Express. The Pera Palace Hotel in Istanbul, the eastern terminus of the railway, claims the book was written there and maintains Christie's room as a memorial to the author.
thumb|upright|left|Cresswell Place, Chelsea|alt=Colour photograph of the front of a three-storey house
Christie and Mallowan first lived in Cresswell Place in Chelsea, and later in Sheffield Terrace, Holland Park, Kensington. Both properties are now marked by blue plaques. In 1934, they bought Winterbrook House in Winterbrook, a hamlet near Wallingford. This was their main residence for the rest of their lives and the place where Christie did much of her writing. This house also bears a blue plaque. Christie led a quiet life despite being known in Wallingford; from 1951 to 1976 she served as president of the local amateur dramatic society.
The couple acquired the Greenway Estate in Devon as a summer residence in 1938; it was given to the National Trust in 2000. Christie frequently stayed at Abney Hall, Cheshire, which was owned by her brother-in-law, James Watts, and based at least two stories there: a short story, "The Adventure of the Christmas Pudding", in the story collection of the same name and the novel After the Funeral. One Christie compendium notes that "Abney became Agatha's greatest inspiration for country-house life, with all its servants and grandeur being woven into her plots. The descriptions of the fictional Chimneys, Stonygates, and other houses in her stories are mostly Abney Hall in various forms."
thumb|upright=0.8|Blue plaque at 58 Sheffield Terrace, Holland Park, London|alt=Colour photograph of a wall plaque stating Christie "lived here 1934–1941"
thumb|Winterbrook House, Winterbrook, Oxfordshire. Her final home, Christie lived here with her husband from 1934 until her death in 1976.
During World War II, Christie moved to London and lived in a flat at the Isokon in Hampstead, while working in the pharmacy at University College Hospital (UCH), London, where she updated her knowledge of poisons.Worsley, Lucy (2022) Agatha Christie, Hodder & Stoughton Her later novel The Pale Horse was based on a suggestion from Harold Davis, the chief pharmacist at UCH. In 1977, a thallium poisoning case was solved by British medical personnel who had read Christie's book and recognised the symptoms she described.John Emsley, "The poison prescribed by Agatha Christie" , The Independent, 20 July 1992.
The British intelligence agency MI5 investigated Christie after a character called Major Bletchley appeared in her 1941 thriller N or M?, which was about a hunt for a pair of deadly fifth columnists in wartime England. MI5 was concerned that Christie had a spy in Britain's top-secret codebreaking centre, Bletchley Park. The agency's fears were allayed when Christie told her friend, the codebreaker Dilly Knox, "I was stuck there on my way by train from Oxford to London and took revenge by giving the name to one of my least lovable characters."
Christie was elected a fellow of the Royal Society of Literature in 1950. In honour of her many literary works, Christie was appointed Commander of the Order of the British Empire (CBE) in the 1956 New Year Honours. She was co-president of the Detection Club from 1958 to her death in 1976. In 1961, she was awarded an honorary Doctor of Literature degree by the University of Exeter. In the 1971 New Year Honours, she was promoted to Dame Commander of the Order of the British Empire (DBE), three years after her husband had been knighted for his archaeological work. After her husband's knighthood, Christie could also be styled Lady Mallowan.
From 1971 to 1974, Christie's health began to fail, but she continued to write. Her last novel was Postern of Fate in 1973. Textual analysis suggested that Christie may have begun to develop Alzheimer's disease or other dementia at about this time. |
Agatha Christie | Personal qualities | Personal qualities
thumb|upright|Christie in 1964|alt=Black-and-white portrait photograph of Christie in later life
In 1946, Christie said of herself: "My chief dislikes are crowds, loud noises, gramophones and cinemas. I dislike the taste of alcohol and do not like smoking. I do like sun, sea, flowers, travelling, strange foods, sports, concerts, theatres, pianos, and doing embroidery."
Christie was a lifelong, "quietly devout" member of the Church of England, attended church regularly, and kept her mother's copy of The Imitation of Christ by her bedside. After her divorce, she stopped taking the sacrament of communion.
The Agatha Christie Trust For Children was established in 1969, and shortly after Christie's death a charitable memorial fund was set up to "help two causes that she favoured: old people and young children".
Christie's obituary in The Times notes that "she never cared much for the cinema, or for wireless and television." Further, |
Agatha Christie | Death and estate | Death and estate |
Agatha Christie | Death and burial | Death and burial
thumb|upright|Christie's gravestone at St Mary's Church, Cholsey, Oxfordshire|alt=Colour photograph of a sandstone headstone
Christie died on 12 January 1976 at age 85 from natural causes at her home at Winterbrook House. Upon her death, two West End theatresthe St. Martin's, where The Mousetrap was playing, and the Savoy, which was home to a revival of Murder at the Vicaragedimmed their outside lights in her honour. She was buried in the nearby churchyard of St Mary's, Cholsey, in a plot she had chosen with her husband 10 years previously. The simple funeral service was attended by about 20 newspaper and TV reporters, some having travelled from as far away as South America. Thirty wreaths adorned Christie's grave, including one from the cast of her long-running play The Mousetrap and one sent "on behalf of the multitude of grateful readers" by the Ulverscroft Large Print Book Publishers.
Mallowan, who remarried in 1977, died in 1978 and was buried next to Christie. |
Agatha Christie | {{anchor | Estate and subsequent ownership of works
Christie was unhappy about becoming "an employed wage slave", and for tax reasons set up a private company in 1955, Agatha Christie Limited, to hold the rights to her works. In about 1959 she transferred her 278-acre home, Greenway Estate, to her daughter, Rosalind Hicks."Obituary: Rosalind Hicks" , The Daily Telegraph, 13 November 2004. Retrieved 25 January 2015. In 1968, when Christie was almost 80, she sold a 51% stake in Agatha Christie Limited (and the works it owned) to Booker Books (better known as Booker Author's Division), which by 1977 had increased its stake to 64%. Agatha Christie Limited still owns the worldwide rights for more than 80 of Christie's novels and short stories, 19 plays, and nearly 40 TV films.
In the late 1950s, Christie had reputedly been earning around £100,000 (approximately ) per year. Christie sold an estimated 300 million books during her lifetime. At the time of her death in 1976, "she was the best-selling novelist in history."
One estimate of her total earnings from more than a half-century of writing is $20 million (approximately $ million in ). As a result of her tax planning, her will left only £106,683 (approximately ) net, which went mostly to her husband and daughter along with some smaller bequests. Her remaining 36% share of Agatha Christie Limited was inherited by Hicks, who preserved her mother's works, image, and legacy until her own death 28 years later. The family's share of the company allowed them to appoint 50% of the board and the chairman, and retain a veto over new treatments, updated versions, and republications of her works.Agatha Christie begins new chapter after £10m selloff , The Free Library, 4 June 1998.
thumb|right|Greenway in Devon, Christie's summer home from 1938. The estate was used as a setting for some of her plots, including Dead Man's Folly. The final episode of Agatha Christie's Poirot was also filmed here in 2013.
In 2004, Hicks' obituary in The Telegraph noted that she had been "determined to remain true to her mother's vision and to protect the integrity of her creations" and disapproved of "merchandising" activities. Upon her death on 28 October 2004, the Greenway Estate passed to her son Mathew Prichard. After his stepfather's death in 2005, Prichard donated Greenway and its contents to the National Trust.
Christie's family and family trusts, including great-grandson James Prichard, continue to own the 36% stake in Agatha Christie Limited,Acorn Media buys stake in Agatha Christie estate , The Guardian, 29 December 2012. and remain associated with the company. In 2020, James Prichard was the company's chairman. Mathew Prichard also holds the copyright to some of his grandmother's later works including The Mousetrap. Christie's work continues to be developed in a range of adaptations.
In 1998, Booker sold its shares in Agatha Christie Limited (at the time earning £2,100,000, approximately annual revenue) for £10,000,000 (approximately ) to Chorion, whose portfolio of authors' works included the literary estates of Enid Blyton and Dennis Wheatley. In February 2012, after a management buyout, Chorion began to sell off its literary assets. This included the sale of Chorion's 64% stake in Agatha Christie Limited to Acorn Media UK. In 2014, RLJ Entertainment Inc. (RLJE) acquired Acorn Media UK, renamed it Acorn Media Enterprises, and incorporated it as the RLJE UK development arm.
In late February 2014, media reports stated that the BBC had acquired exclusive TV rights to Christie's works in the UK (previously associated with ITV) and made plans with Acorn's co-operation to air new productions for the 125th anniversary of Christie's birth in 2015."New era for BBC as the new home of Agatha Christie adaptations" , Radio Times, 28 February 2014. Retrieved 25 January 2015. As part of that deal, the BBC broadcast Partners in Crime and And Then There Were None, both in 2015. Subsequent productions have included The Witness for the Prosecution but plans to televise Ordeal by Innocence at Christmas 2017 were delayed because of controversy surrounding one of the cast members. The three-part adaptation aired in April 2018. A three-part adaptation of The A.B.C. Murders starring John Malkovich and Rupert Grint began filming in June 2018 and was first broadcast in December 2018. A two-part adaptation of The Pale Horse was broadcast on BBC1 in February 2020.BBC One announces new Agatha Christie thriller The Pale Horse , 24 June 2019, Mammoth Screen Death Comes as the End will be the next BBC adaptation.Paul Hirons, "Death Comes As The End to be the next BBC Agatha Christie adaptation ", The Killing Times. 29 December 2018
Since 2020, reissues of Christie's Miss Marple and Hercule Poirot novels by HarperCollins have removed "passages containing descriptions, insults or references to ethnicity". |
Agatha Christie | Works | Works |
Agatha Christie | Works of fiction | Works of fiction |
Agatha Christie | Hercule Poirot and Miss Marple | Hercule Poirot and Miss Marple
thumb|upright|alt=Drawing of a gentleman in a dinner suit twirling his large moustache, illustrating the Christie story "13 for Dinner"|An early depiction of detective Hercule Poirot, from The American Magazine, March 1933
Christie's first published book, The Mysterious Affair at Styles, was released in 1920 and introduced the detective Hercule Poirot, who appeared in 33 of her novels and more than 50 short stories.
Over the years, Christie grew tired of Poirot, much as Doyle did with Sherlock Holmes. By the end of the 1930s, Christie wrote in her diary that she was finding Poirot "insufferable", and by the 1960s she felt he was "an egocentric creep". Thompson believes Christie's occasional antipathy to her creation is overstated, and points out that "in later life she sought to protect him against misrepresentation as powerfully as if he were her own flesh and blood". Unlike Doyle, she resisted the temptation to kill her detective off while he was still popular. She married off Poirot's "Watson", Captain Arthur Hastings, in an attempt to trim her cast commitments.
Miss Jane Marple was introduced in a series of short stories that began publication in December 1927 and were subsequently collected under the title The Thirteen Problems. Marple was a genteel, elderly spinster who solved crimes using analogies to English village life. Christie said, "Miss Marple was not in any way a picture of my grandmother; she was far more fussy and spinsterish than my grandmother ever was", but her autobiography establishes a firm connection between the fictional character and Christie's step-grandmother Margaret Miller ("Auntie-Grannie") and her "Ealing cronies". Both Marple and Miller "always expected the worst of everyone and everything, and were, with almost frightening accuracy, usually proved right". Marple appeared in 12 novels and 20 stories.
During the Second World War, Christie wrote two novels, Curtain and Sleeping Murder, featuring Hercule Poirot and Miss Marple, respectively. Both books were sealed in a bank vault, and she made over the copyrights by deed of gift to her daughter and her husband to provide each with a kind of insurance policy. Christie had a heart attack and a serious fall in 1974, after which she was unable to write. Her daughter authorised the publication of Curtain in 1975, and Sleeping Murder was published posthumously in 1976. These publications followed the success of the 1974 film version of Murder on the Orient Express.
Shortly before the publication of Curtain, Poirot became the first fictional character to have an obituary in The New York Times, which was printed on page one on 6 August 1975.
Christie never wrote a novel or short story featuring both Poirot and Miss Marple. In a recording discovered and released in 2008, Christie revealed the reason for this: "Hercule Poirot, a complete egoist, would not like being taught his business or having suggestions made to him by an elderly spinster lady. Hercule Poirota professional sleuthwould not be at home at all in Miss Marple's world."
In 2013, the Christie family supported the release of a new Poirot story, The Monogram Murders, written by British author Sophie Hannah. Hannah later published several more Poirot mysteries, Closed Casket in 2016, The Mystery of Three Quarters in 2018. The Killings at Kingfisher Hill in 2020, Hercule Poirot's Silent Night in 2023 with a sixth instalment being commissioned in 2024.
In 2021, following the success of Sophie Hannah's outings with Poirot, the Christie family supported the release of a collection of Miss Marple short stories. Called Marple, the collection was released in 2022 and each story was written by a different author. This included Naomi Alderman, Leigh Bardugo, Alyssa Cole, Lucy Foley, Elly Griffiths, Natalie Haynes, Jean Kwok, Val McDermid, Karen M. McManus, Dreda Say Mitchell, Kate Mosse and Ruth Ware. |
Agatha Christie | Formula and plot devices | Formula and plot devices
Early in her career, a reporter noted that "her plots are possible, logical, and always new". According to Hannah, "At the start of each novel, she shows us an apparently impossible situation and we go mad wondering 'How can this be happening?'. Then, slowly, she reveals how the impossible is not only possible but the only thing that could have happened."
Christie developed her storytelling techniques during what has been called the "Golden Age" of detective fiction. Author Dilys Winn called Christie "the doyenne of Coziness", a sub-genre which "featured a small village setting, a hero with faintly aristocratic family connections, a plethora of red herrings and a tendency to commit homicide with sterling silver letter openers and poisons imported from Paraguay". At the end, in a Christie hallmark, the detective usually gathers the surviving suspects into one room, explains the course of their deductive reasoning, and reveals the guilty party; but there are exceptions where it is left to the guilty party to explain all (such as And Then There Were None and Endless Night).
Christie did not limit herself to quaint English villagesthe action might take place on a small island (And Then There Were None), an aeroplane (Death in the Clouds), a train (Murder on the Orient Express), a steamship (Death on the Nile), a smart London flat (Cards on the Table), a resort in the West Indies (A Caribbean Mystery), or an archaeological dig (Murder in Mesopotamia)but the circle of potential suspects is usually closed and intimate: family members, friends, servants, business associates, fellow travellers. Stereotyped characters abound (the , the stolid policeman, the devoted servant, the dull colonel), but these may be subverted to stymie the reader; impersonations and secret alliances are always possible. There is always a motivemost often, money: "There are very few killers in Christie who enjoy murder for its own sake."
Professor of Pharmacology Michael C. Gerald noted that "in over half her novels, one or more victims are poisoned, albeit not always to the full satisfaction of the perpetrator." Guns, knives, garrottes, tripwires, blunt instruments, and even a hatchet were also used, but "Christie never resorted to elaborate mechanical or scientific means to explain her ingenuity," according to John Curran, author and literary adviser to the Christie estate. Many of her clues are mundane objects: a calendar, a coffee cup, wax flowers, a beer bottle, a fireplace used during a heat wave.
According to crime writer P. D. James, Christie was prone to making the unlikeliest character the guilty party. Alert readers could sometimes identify the culprit by identifying the least likely suspect. Christie mocked this insight in her foreword to Cards on the Table: "Spot the person least likely to have committed the crime and in nine times out of ten your task is finished. Since I do not want my faithful readers to fling away this book in disgust, I prefer to warn them beforehand that this is not that kind of book."
On BBC Radio 4's Desert Island Discs in 2007, Brian Aldiss said Christie had told him she wrote her books up to the last chapter, then decided who the most unlikely suspect was, after which she would go back and make the necessary changes to "frame" that person. Based upon a study of her working notebooks, Curran describes how Christie would first create a cast of characters, choose a setting, and then produce a list of scenes in which specific clues would be revealed; the order of scenes would be revised as she developed her plot. Of necessity, the murderer had to be known to the author before the sequence could be finalised and she began to type or dictate the first draft of her novel. Much of the work, particularly dialogue, was done in her head before she put it on paper.
In 2013, the 600 members of the Crime Writers' Association chose The Murder of Roger Ackroyd as "the best whodunit... ever written". Author Julian Symons observed, "In an obvious sense, the book fits within the conventions... The setting is a village deep within the English countryside, Roger Ackroyd dies in his study; there is a butler who behaves suspiciously... Every successful detective story in this period involved a deceit practised upon the reader, and here the trick is the highly original one of making the murderer the local doctor, who tells the story and acts as Poirot's Watson." Critic Sutherland Scott stated, "If Agatha Christie had made no other contribution to the literature of detective fiction she would still deserve our grateful thanks" for writing this novel.
In September 2015, to mark her 125th birthday, And Then There Were None was named the "World's Favourite Christie" in a vote sponsored by the author's estate. The novel is emblematic of both her use of formula and her willingness to discard it. "And Then There Were None carries the 'closed society' type of murder mystery to extreme lengths," according to author Charles Osborne. It begins with the classic set-up of potential victim(s) and killer(s) isolated from the outside world, but then violates conventions. There is no detective involved in the action, no interviews of suspects, no careful search for clues, and no suspects gathered together in the last chapter to be confronted with the solution. As Christie herself said, "Ten people had to die without it becoming ridiculous or the murderer being obvious." Critics agreed she had succeeded: "The arrogant Mrs. Christie this time set herself a fearsome test of her own ingenuity... the reviews, not surprisingly, were without exception wildly adulatory." |
Agatha Christie | Character stereotypes and racism | Character stereotypes and racism
Christie included stereotyped descriptions of characters in her work, especially before 1945 (when such attitudes were more commonly expressed publicly), particularly in regard to Italians, Jews, and non-Europeans. For example, she described "men of Hebraic extraction, sallow men with hooked noses, wearing rather flamboyant jewellery" in the short story "The Soul of the Croupier" from the collection The Mysterious Mr Quin. In 1947, the Anti-Defamation League in the US sent an official letter of complaint to Christie's American publishers, Dodd, Mead and Company, regarding perceived antisemitism in her works. Christie's British literary agent later wrote to her US representative, authorising American publishers to "omit the word 'Jew' when it refers to an unpleasant character in future books."
In The Hollow, published in 1946, one of the characters is described by another as "a Whitechapel Jewess with dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red hair and a disagreeable voice". To contrast with the more stereotyped descriptions, Christie portrayed some "foreign" characters as victims, or potential victims, at the hands of English malefactors, such as, respectively, Olga Seminoff (Hallowe'en Party) and Katrina Reiger (in the short story "How Does Your Garden Grow?"). Jewish characters are often seen as un-English (such as Oliver Manders in Three Act Tragedy), but they are rarely the culprits.
In 2023, the Telegraph reported that several Agatha Christie novels have been edited to remove "passages containing descriptions, insults or references to ethnicity". Poirot and Miss Marple mysteries written between 1920 and 1976 have had passages reworked or removed in new editions published by HarperCollins, in order to strip them of language and descriptions that modern audiences find offensive, especially those involving the characters Christie's protagonists encounter outside the UK. Sensitivity readers had made the edits, which were evident in digital versions of the new editions, including the entire Miss Marple run and selected Poirot novels set to be released or that have been released since 2020. |
Agatha Christie | Other detectives | Other detectives
In addition to Hercule Poirot and Miss Marple, Christie also created amateur detectives Thomas (Tommy) Beresford and his wife, Prudence "Tuppence" née Cowley, who appear in four novels and one collection of short stories published between 1922 and 1974. Unlike her other sleuths, the Beresfords were only in their early twenties when introduced in The Secret Adversary, and were allowed to age alongside their creator. She treated their stories with a lighter touch, giving them a "dash and verve" which was not universally admired by critics. Their last adventure, Postern of Fate, was Christie's last novel.
Harley Quin was "easily the most unorthodox" of Christie's fictional detectives. Inspired by Christie's affection for the figures from the Harlequinade, the semi-supernatural Quin always works with an elderly, conventional man called Satterthwaite. The pair appear in 14 short stories, 12 of which were collected in 1930 as The Mysterious Mr. Quin. Mallowan described these tales as "detection in a fanciful vein, touching on the fairy story, a natural product of Agatha's peculiar imagination". Satterthwaite also appears in a novel, Three Act Tragedy, and a short story, "Dead Man's Mirror", both of which feature Poirot.
Another of her lesser-known characters is Parker Pyne, a retired civil servant who assists unhappy people in an unconventional manner. The 12 short stories which introduced him, Parker Pyne Investigates (1934), are best remembered for "The Case of the Discontented Soldier", which features Ariadne Oliver, "an amusing and satirical self-portrait of Agatha Christie". Over the ensuing decades, Oliver reappeared in seven novels. In most of them she assists Poirot. |
Agatha Christie | Plays | Plays
In 1928, Michael Morton adapted The Murder of Roger Ackroyd for the stage under the name of Alibi. The play enjoyed a respectable run, but Christie disliked the changes made to her work and, in future, preferred to write for the theatre herself. The first of her own stage works was Black Coffee, which received good reviews when it opened in the West End in late 1930.Thompson, Laura (2008), Agatha Christie: An English Mystery, London: Headline Review, p. 277, 301. ISBN 978-0-7553-1488-1 She followed this up with adaptations of her detective novels: And Then There Were None in 1943, Appointment with Death in 1945, and The Hollow in 1951.
In the 1950s, "the theatre ... engaged much of Agatha's attention."Thompson, Laura (2008), Agatha Christie: An English Mystery, London: Headline Review, p. 360. ISBN 978-0-7553-1488-1 She next adapted her short radio play into The Mousetrap, which premiered in the West End in 1952, produced by Peter Saunders and starring Richard Attenborough as the original Detective Sergeant Trotter. Her expectations for the play were not high; she believed it would run no more than eight months. The Mousetrap has long since made theatrical history as the world's longest-running play, staging its 27,500th performance in September 2018.The Mousetrap website , the-mousetrap.co.uk. Retrieved 2 June 2015. The play temporarily closed in March 2020, when all UK theatres shut due to the coronavirus pandemic, before it re-opened on 17 May 2021.
In 1953, she followed this with Witness for the Prosecution, whose Broadway production won the New York Drama Critics' Circle award for best foreign play of 1954 and earned Christie an Edgar Award from the Mystery Writers of America. Spider's Web, an original work written for actress Margaret Lockwood at her request, premiered in the West End in 1954 and was also a hit. Christie became the first female playwright to have three plays running simultaneously in London: The Mousetrap, Witness for the Prosecution and Spider's Web. She said, "Plays are much easier to write than books, because you can see them in your mind's eye, you are not hampered by all that description which clogs you so terribly in a book and stops you from getting on with what's happening." In a letter to her daughter, Christie said being a playwright was "a lot of fun!" |
Agatha Christie | As Mary Westmacott | As Mary Westmacott
Christie published six mainstream novels under the name Mary Westmacott, a pseudonym which gave her the freedom to explore "her most private and precious imaginative garden". These books typically received better reviews than her detective and thriller fiction. Of the first, Giant's Bread published in 1930, a reviewer for The New York Times wrote, "...her book is far above the average of current fiction, in fact, comes well under the classification of a 'good book'. And it is only a satisfying novel that can claim that appellation." It was publicized from the very beginning that "Mary Westmacott" was a pen name of a well-known author, although the identity behind the pen name was kept secret; the dust jacket of Giant's Bread mentions that the author had previously written "under her real name...half a dozen books that have each passed the thirty thousand mark in sales." (In fact, though this was technically true, it disguised Christie's identity through understatement. By the publication of Giant's Bread, Christie had published 10 novels and two short story collections, all of which had sold considerably more than 30,000 copies.) After Christie's authorship of the first four Westmacott novels was revealed by a journalist in 1949, she wrote two more, the last in 1956.
The other Westmacott titles are: Unfinished Portrait (1934), Absent in the Spring (1944), The Rose and the Yew Tree (1948), A Daughter's a Daughter (1952), and The Burden (1956). |
Agatha Christie | Non-fiction works | Non-fiction works
Christie published a few non-fiction works. Come, Tell Me How You Live, about working on an archaeological dig, was drawn from her life with Mallowan. The Grand Tour: Around the World with the Queen of Mystery is a collection of correspondence from her 1922 Grand Tour of the British Empire, including South Africa, Australia, New Zealand, and Canada. Agatha Christie: An Autobiography was published posthumously in 1977 and adjudged the Best Critical/Biographical Work at the 1978 Edgar Awards. |
Agatha Christie | Titles | Titles
Many of Christie's works from 1940 onward have titles drawn from literature, with the original context of the title typically printed as an epigraph.
The inspirations for some of Christie's titles include:
William Shakespeare's works: Sad Cypress, By the Pricking of My Thumbs, There is a Tide..., Absent in the Spring, and The Mousetrap, for example. Osborne notes that "Shakespeare is the writer most quoted in the works of Agatha Christie";
The Bible: Evil Under the Sun, The Burden, and The Pale Horse;
Other works of literature: The Mirror Crack'd from Side to Side (from Tennyson's "The Lady of Shalott"), The Moving Finger (from Edward FitzGerald's translation of the Rubáiyát of Omar Khayyám), The Rose and the Yew Tree (from T. S. Eliot's Four Quartets), Postern of Fate (from James Elroy Flecker's "Gates of Damascus"), Endless Night (from William Blake's "Auguries of Innocence"), N or M? (from the Book of Common Prayer), and Come, Tell Me How You Live (from Lewis Carroll's Through the Looking-Glass).
Christie biographer Gillian Gill said, "Christie's writing has the sparseness, the directness, the narrative pace, and the universal appeal of the fairy story, and it is perhaps as modern fairy stories for grown-up children that Christie's novels succeed." Reflecting a juxtaposition of innocence and horror, numerous Christie titles were drawn from well-known children's nursery rhymes: And Then There Were None (from "Ten Little Niggers", a rhyme also published as "Ten Little Indians", both of which were also used for the book's title in some printings), One, Two, Buckle My Shoe (from "One, Two, Buckle My Shoe"), Five Little Pigs (from "This Little Piggy"), Crooked House (from "There Was a Crooked Man"), A Pocket Full of Rye (from "Sing a Song of Sixpence"), Hickory Dickory Dock (from "Hickory Dickory Dock"), and Three Blind Mice (from "Three Blind Mice"). |
Agatha Christie | Critical reception | Critical reception
thumb|upright|Memorial to Christie in central London|alt=Colour photograph of a large, book-shaped bronze memorial|left
Christie is regularly referred to as the "Queen of Crime"—which is now trademarked by the Christie estate—or "Queen of Mystery", and is considered a master of suspense, plotting, and characterisation. In 1955, she became the first recipient of the Mystery Writers of America's Grand Master Award. She was named "Best Writer of the Century" and the Hercule Poirot series of books was named "Best Series of the Century" at the 2000 Bouchercon World Mystery Convention. In 2013, she was voted "best crime writer" in a survey of 600 members of the Crime Writers' Association of professional novelists. However, the writer Raymond Chandler criticised the artificiality of her books, as did writer Julian Symons. The literary critic Edmund Wilson described her prose as banal and her characterisations as superficial.
In 2011, Christie was named by the digital crime drama TV channel Alibi as the second most financially successful crime writer of all time in the United Kingdom, after James Bond author Ian Fleming, with total earnings around £100 million. In 2012, Christie was among the people selected by the artist Peter Blake to appear in a new version of his most famous work, the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, "to celebrate the British cultural figures he most admires". On the record-breaking longevity of Christie's The Mousetrap which had marked its 60th anniversary in 2012, Stephen Moss in The Guardian wrote, "the play and its author are the stars".
In 2015, marking the 125th anniversary of her birth date, 25 contemporary mystery writers and one publisher gave their views on Christie's works. Many of the authors had read Christie's novels first, before other mystery writers, in English or in their native language, influencing their own writing, and nearly all still viewed her as the preeminent crime novelist and creator of the plot twists used by mystery authors. Nearly all had one or more favourites among Christie's mysteries and found her books still good to read nearly 100 years after her first novel was published. Just one of the 25 authors held with Wilson's views. |
Agatha Christie | Book sales | Book sales
In her prime, Christie was rarely out of the bestseller list. She was the first crime writer to have 100,000 copies of 10 of her titles published by Penguin on the same day in 1948. , Guinness World Records listed Christie as the best-selling fiction writer of all time. , her novels had sold more than two billion copies in 44 languages. Half the sales are of English-language editions, and half are translations. According to Index Translationum, , she was the most-translated individual author.
Christie is one of the most-borrowed authors in UK libraries. She is also the UK's best-selling spoken-book author. In 2002, 117,696 Christie audiobooks were sold, in comparison to 97,755 for J. K. Rowling, 78,770 for Roald Dahl and 75,841 for J. R. R. Tolkien. In 2015, the Christie estate claimed And Then There Were None was "the best-selling crime novel of all time", with approximately 100 million sales, also making it one of the highest-selling books of all time. More than two million copies of her books were sold in English in 2020. |
Agatha Christie | Legacy | Legacy
thumb|Commemorative blue plaque in the West End marking The Mousetrap as the world's longest-running play
In 2016, the Royal Mail marked the centenary of Christie's first detective story by issuing six first-class postage stamps of her works: The Mysterious Affair at Styles, The Murder of Roger Ackroyd, Murder on the Orient Express, And Then There Were None, The Body in the Library, and A Murder is Announced. The Guardian reported that, "Each design incorporates microtext, UV ink and thermochromic ink. These concealed clues can be revealed using either a magnifying glass, UV light or body heat and provide pointers to the mysteries' solutions."
Her characters and her face appeared on the stamps of many countries like Dominica and the Somali Republic. In 2020, Christie was commemorated on a £2 coin by the Royal Mint for the first time to mark the centenary of her first novel, The Mysterious Affair at Styles.
In 2023 a life-size bronze statue of Christie sitting on a park bench holding a book was unveiled in Wallingford, Oxfordshire.Ella Creamer. "Agatha Christie statue takes seat on bench in Oxfordshire town". The Guardian, 11 September 2023. |
Agatha Christie | Adaptations | Adaptations
Christie's works have been adapted for cinema and television. The first was the 1928 British film The Passing of Mr. Quin. Poirot's first film appearance was in 1931 in Alibi, which starred Austin Trevor as Christie's sleuth. Margaret Rutherford played Marple in a series of films released in the 1960s. Christie liked her acting, but considered the first film "pretty poor" and thought no better of the rest.
She felt differently about the 1974 film Murder on the Orient Express, directed by Sidney Lumet, which featured major stars and high production values; her attendance at the London premiere was one of her last public outings. In 2017, a new film version was released, directed by Kenneth Branagh, who also starred, wearing "the most extravagant mustache moviegoers have ever seen". Branagh has since directed two more adaptations of Christie, Death on the Nile (2022) and its sequel A Haunting in Venice (2023), the latter an adaptation of her 1969 novel Hallowe'en Party.
The television adaptation Agatha Christie's Poirot (1989–2013), with David Suchet in the title role, ran for 70 episodes over 13 series. It received nine BAFTA award nominations and won four BAFTA awards in 1990–1992. The television series Miss Marple (1984–1992), with Joan Hickson as "the BBC's peerless Miss Marple", adapted all 12 Marple novels. The French television series (2009–2012, 2013–2020), adapted 36 of Christie's stories.
Christie's books have also been adapted for BBC Radio, a video game series, and graphic novels. |
Agatha Christie | Interests and influences | Interests and influences |
Agatha Christie | Pharmacology | Pharmacology
During the First World War, Christie took a break from nursing to train for the Apothecaries Hall Examination. While she subsequently found dispensing in the hospital pharmacy monotonous, and thus less enjoyable than nursing, her new knowledge provided her with a background in potentially toxic drugs. Early in the Second World War, she brought her skills up to date at Torquay Hospital.
As Michael C. Gerald puts it, her "activities as a hospital dispenser during both World Wars not only supported the war effort but also provided her with an appreciation of drugs as therapeutic agents and poisons... These hospital experiences were also likely responsible for the prominent role physicians, nurses, and pharmacists play in her stories." There were to be many medical practitioners, pharmacists, and scientists, naïve or suspicious, in Christie's cast of characters; featuring in Murder in Mesopotamia, Cards on the Table, The Pale Horse, and Mrs. McGinty's Dead, among many others.
Gillian Gill notes that the murder method in Christie's first detective novel, The Mysterious Affair at Styles, "comes right out of Agatha Christie's work in the hospital dispensary". In an interview with journalist Marcelle Bernstein, Christie stated, "I don't like messy deaths... I'm more interested in peaceful people who die in their own beds and no one knows why." With her expert knowledge, Christie had no need of poisons unknown to science, which were forbidden under Ronald Knox's "Ten Rules for Detective Fiction". Arsenic, aconite, strychnine, digitalis, nicotine, thallium, and other substances were used to dispatch victims in the ensuing decades. |
Agatha Christie | Archaeology | Archaeology
In her youth, Christie showed little interest in antiquities. After her marriage to Mallowan in 1930, she accompanied him on annual expeditions, spending three to four months at a time in Syria and Iraq at excavation sites at Ur, Nineveh, Tell Arpachiyah, Chagar Bazar, Tell Brak, and Nimrud. The Mallowans also took side trips whilst travelling to and from expedition sites, visiting Italy, Greece, Egypt, Iran, and the Soviet Union, among other places. Their experiences travelling and living abroad are reflected in novels such as Murder on the Orient Express, Death on the Nile, and Appointment with Death.
For the 1931 digging season at Nineveh, Christie bought a writing table to continue her own work; in the early 1950s, she paid to add a small writing room to the team's house at Nimrud. She also devoted time and effort each season in "making herself useful by photographing, cleaning, and recording finds; and restoring ceramics, which she especially enjoyed". She also provided funds for the expeditions.
Many of the settings for Christie's books were inspired by her archaeological fieldwork in the Middle East; this is reflected in the detail with which she describes themfor instance, the temple of Abu Simbel as depicted in Death on the Nilewhile the settings for They Came to Baghdad were places she and Mallowan had recently stayed. Similarly, she drew upon her knowledge of daily life on a dig throughout Murder in Mesopotamia. Archaeologists and experts in Middle Eastern cultures and artefacts featured in her works include Dr Eric Leidner in Murder in Mesopotamia and Signor Richetti in Death on the Nile.
After the Second World War, Christie chronicled her time in Syria in Come, Tell Me How You Live, which she described as "small beera very little book, full of everyday doings and happenings". From 8November 2001 to March 2002, The British Museum presented a "colourful and episodic exhibition" called Agatha Christie and Archaeology: Mystery in Mesopotamia which illustrated how her activities as a writer and as the wife of an archaeologist intertwined. |
Agatha Christie | In popular culture | In popular culture
Some of Christie's fictional portrayals have explored and offered accounts of her disappearance in 1926. The film Agatha (1979), with Vanessa Redgrave, has Christie sneaking away to plan revenge against her husband; Christie's heirs sued unsuccessfully to prevent the film's distribution. The Doctor Who episode "The Unicorn and the Wasp" (17 May 2008) stars Fenella Woolgar as Christie, and explains her disappearance as being connected to aliens. The film Agatha and the Truth of Murder (2018) sends her undercover to solve the murder of Florence Nightingale's goddaughter, Florence Nightingale Shore. A fictionalised account of Christie's disappearance is also the central theme of a Korean musical, Agatha. The Christie Affair, a Christie-like mystery story of love and revenge by author Nina de Gramont, was a 2022 novel loosely based on Christie's disappearance.
Other portrayals, such as the Hungarian film Kojak Budapesten (1980), create their own scenarios involving Christie's criminal skills. In the TV play Murder by the Book (1986), Christie (Dame Peggy Ashcroft) murders one of her fictional-turned-real characters, Poirot. Christie features as a character in Gaylord Larsen's Dorothy and Agatha and The London Blitz Murders by Max Allan Collins. The American television program Unsolved Mysteries devoted a segment to her famous disappearance, with Agatha portrayed by actress Tessa Pritchard. A young Agatha is depicted in the Spanish historical television series Gran Hotel (2011) in which she finds inspiration to write her new novel while aiding local detectives. In the alternative history television film Agatha and the Curse of Ishtar (2018), Christie becomes involved in a murder case at an archaeological dig in Iraq. In 2019, Honeysuckle Weeks portrayed Christie in "No Friends Like Old Friends" (September 16, 2019), episode 1 of season 3 of the Canadian television period detective series Frankie Drake Mysteries when Christie helps visiting private detective Frankie Drake solve the disappearance and poisoning of an old friend.
In 2020, Heather Terrell, under the pseudonym of Marie Benedict, published The Mystery of Mrs. Christie, a fictional reconstruction of Christie's December 1926 disappearance. The novel was on the USA Today and The New York Times Best Seller lists. In December 2020, Library Reads named Terrell a Hall of Fame author for the book.
Andrew Wilson has written four novels featuring Agatha Christie as a detective: A Talent For Murder (2017), A Different Kind of Evil (2018), Death In A Desert Land (2019) and I Saw Him Die (2020). Christie was portrayed by Shirley Henderson in the 2022 comedy/mystery film See How They Run. |
Agatha Christie | See also | See also
Agatha Christie indult – an oecumenical request to which Christie was signatory seeking permission for the occasional use of the Tridentine (Latin) mass in England and Wales
Agatha Awards – literary awards for mystery and crime writers
Agatha Christie Award (Japan) – literary award for unpublished mystery novels
List of solved missing person cases |
Agatha Christie | Notes | Notes |
Agatha Christie | References | References |
Agatha Christie | Further reading | Further reading
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Bernthal, J.C. (2022). Agatha Christie: A Companion to the Mystery Fiction. Jefferson, NC: McFarland. .
Curran, John (2009). Agatha Christie's Secret Notebooks: Fifty Years of Mysteries in the Making. London: HarperCollins. .
Curran, John (2011). Agatha Christie: Murder in the Making. London: HarperCollins. .
Curran, John. "75 facts about Christie". The Home of Agatha Christie. Agatha Christie Limited. Retrieved 21 July 2017.
Gerald, Michael C. (1993). The Poisonous Pen of Agatha Christie. Austin, Texas: University of Texas Press. .
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Morgan, Janet P. (1984). Agatha Christie: A Biography. London: HarperCollins. . Retrieved 8 March 2015.
Prichard, Mathew (2012). The Grand Tour: Around The World With The Queen Of Mystery. New York, NY: HarperCollins. .
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Thompson, Laura (2008), Agatha Christie: An English Mystery, London: Headline Review, .
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Agatha Christie | External links | External links
A Christie reading list (on official website)
Works by Agatha Christie in the online library ARHEVE.org
Agatha Christie/Sir Max Mallowan's blue plaque at Cholsey
Agatha Christie profile on PBS.org
Agatha Christie profile on FamousAuthors.org
Agatha Christie recording, oral history at the Imperial War Museum
Agatha Christie business papers at the University of Exeter
"Shocking Real Murders" (book released to mark the 125th anniversary of Christie's birth)
Hercule Poirot Central
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Agatha Christie | Table of Content | Short description, Life and career, 1890–1907: childhood and adolescence, 1907–1926: early literary attempts, marriage, literary success, 1926: disappearance, 1927–1976: second marriage and later life, Personal qualities, Death and estate, Death and burial, {{anchor, Works, Works of fiction, Hercule Poirot and Miss Marple, Formula and plot devices, Character stereotypes and racism, Other detectives, Plays, As Mary Westmacott, Non-fiction works, Titles, Critical reception, Book sales, Legacy, Adaptations, Interests and influences, Pharmacology, Archaeology, In popular culture, See also, Notes, References, Further reading, External links |
The Plague (novel) | short description | The Plague () is a 1947 absurdist novel by Albert Camus. The plot centers around the French Algerian city of Oran as it combats a plague outbreak and is put under a city-wide quarantine. The novel presents a snapshot into life in Oran as seen through Camus's absurdist lens.
Camus used as source material the cholera epidemic that killed a large proportion of Oran's population in 1849, but set the novel in the 1940s.Magill 1989:683 Oran and its surroundings were struck by disease several times before Camus published his novel. According to an academic study, Oran was decimated by the bubonic plague in 1556 and 1678, but all later outbreaks (in 1921: 185 cases; 1931: 76 cases; and 1944: 95 cases) were very far from the scale of the epidemic described in the novel.
The Plague is considered an existentialist classic despite Camus's objection to the label.Camus (in Thody, 1970):345. In an interview on 15 November 1945, Camus said: "No, I am not an existentialist."Forsdick 2007:119 The novel stresses the powerlessness of the individual characters to affect their own destinies. The narrative tone is similar to Kafka's, especially in The Trial, whose individual sentences potentially have multiple meanings; the material often pointedly resonating as stark allegory of phenomenal consciousness and the human condition. |
The Plague (novel) | Plot | Plot
thumb|View of Oran in 1943
In 1940s Oran, rats, initially unnoticed by the populace, begin dying en masse. Hysteria develops soon afterward, prompting local newspapers to report the incident; authorities begin disposing of the rats. Bernard Rieux, a local physician, learns that a concierge in his building has died from a fever and consults a colleague about the illness. They conclude that a plague is sweeping the town and approach other doctors and town authorities about their theory, which is met with denial. As more deaths ensue, it becomes apparent that an epidemic is imminent.
Authorities are slow to accept that the situation is serious and quibble over the appropriate action to take. Official notices enacting control measures are posted, but they downplay the seriousness of the situation. As the death toll begins to rise, homes are quarantined and corpses are strictly supervised. A supply of anti-plague serum arrives, but there is only enough to treat existing cases and the national emergency reserves are depleted. Eventually, the town is quarantined and an epidemic is officially declared.
Raymond Rambert, a visiting journalist, devises a plan to escape to join his girlfriend in Paris by courting criminals to smuggle him out. The local Jesuit priest, Father Paneloux, suggests during a sermon that the plague is God punishing the city's sinfulness. His diatribe leads many citizens of the town to turn to religion who would not have done so under normal circumstances. Cottard, a remorseful criminal who attempted suicide earlier, becomes wealthy as a major smuggler. Meanwhile, Jean Tarrou, a vacationer, and Joseph Grand, a civil engineer, assist Rieux in treating patients in their homes and in the hospital.
Rambert informs Tarrou of his escape plan. Tarrou tells him that there are others in the city who have loved ones outside the city; Rambert becomes sympathetic and offers to help until he leaves. By mid-August, people trying to escape the town are shot by armed sentries. Violence and looting break out, leading authorities to declare martial law and impose a curfew. Funerals are conducted with more speed, with no ceremony and little concern for the bereaved.
Rambert finally has a chance to escape, but decides to stay, saying that he would feel ashamed of himself if he left. Towards the end of October, an anti-plague serum is tried for the first time on the local magistrate Othon's son; the serum fails and he suffers intensely as Paneloux, Rieux, and Tarrou tend to him in horror.
thumb|A plaque for The Plague in New York City
Paneloux, who has joined the group of volunteers fighting the plague, gives a second sermon. He addresses the problem of an innocent child's suffering and says it is a test of faith since it requires him either to deny everything or believe everything. He urges the congregation not to give up, but to do everything possible to fight the plague. A few days after the sermon, Paneloux becomes ill; his symptoms do not conform to those of the plague, but the disease still proves fatal.
Tarrou and Rambert visit an isolation camps where they encounter the magistrate Othon. When Othon's quarantine ends, he chooses to stay in the camp as a volunteer to feel less separated from his dead son. Tarrou tells Rieux the story of his life and his opposition to violence, the death penalty in particular. To take their mind off the epidemic, the two men go swimming in the sea. Grand catches the plague and instructs Rieux to burn all his papers, but makes an unexpected recovery. Deaths from the plague start to decline.
By late January, the plague is in full retreat and the townspeople celebrate. Cottard is distressed by the end of the quarantine which has profited him greatly. Two government employees approach him and he flees. Despite the epidemic receding, Tarrou contracts the plague and dies after a heroic struggle. In February, the town gates open and people are reunited with their loved ones. Cottard has a mental breakdown and shoots at people from his home, killing a dog before being arrested. Rieux discloses his identity to the reader as the narrator and states that he tried to present an objective view of the events. He reflects on the epidemic and declares he wrote the chronicle to explain that, even in crisis, people are more good than evil. |
The Plague (novel) | Critical analysis | Critical analysis
thumb|Camus in 1945
Germaine Brée has characterised the struggle of the characters against the plague as "undramatic and stubborn", and in contrast to the ideology of "glorification of power" in the novels of André Malraux, whereas Camus's characters "are obscurely engaged in saving, not destroying, and this in the name of no ideology". Lulu Haroutunian has discussed Camus's own medical history, including a bout with tuberculosis, and how it informs the novel. Marina Warner notes its larger philosophical themes of "engagement", "paltriness and generosity", "small heroism and large cowardice", and "all kinds of profoundly humanist problems, such as love and goodness, happiness and mutual connection".
Thomas L Hanna and John Loose have separately discussed themes related to Christianity in the novel, with particular respect to Father Paneloux and Dr Rieux. Louis R Rossi briefly discusses the role of Tarrou in the novel, and the sense of philosophical guilt behind his character. Elwyn Sterling has analysed the role of Cottard and his final actions at the end of the novel. Father Paneloux has been subject to several literary analyses in the context of faith faced with great suffering.
Dr Rieux has been described as a classic example of an idealist doctor. He has also been an inspiration to the life and career of the French doctor Réjean Thomas, and also to the fictional character of Jeanne Dion, starring in the movie trilogy directed by Bernard Émond (beginning with The Novena).
Perri Klass has noted that at the time of the novel, sulfa drugs were available for treatment against plague, and has criticised the novel for this historical-medical omission.
Journalist Carlos Maza conducted a critical deep dive into the novel, drawing parallels to the contemporary political climate, including Trumpism and the COVID-19 pandemic. |
The Plague (novel) | In the popular press | In the popular press
The novel has been read as an allegorical treatment of the French resistance to Nazi occupation during World War II.
The novel became a bestseller during the worldwide COVID-19 pandemic of 2020 to the point that its British publisher Penguin Classics reported struggling to keep up with demand. The prescience of the fictional cordon sanitaire of Oran with real-life COVID-19 lockdowns worldwide brought revived popular attention. Sales in Italy tripled and it became a top-ten bestseller during its nationwide lockdown. Penguin Classics' editorial director said "it couldn’t be more relevant to the current moment" and Camus's daughter Catherine said that the message of the novel had newfound relevance in that "we are not responsible for coronavirus but we can be responsible in the way we respond to it". |
The Plague (novel) | Adaptations | Adaptations
1965: La Peste, a cantata composed by Roberto Gerhard
1970 Yesterday, Today, Tomorrow, a Hong Kong film directed by Patrick Lung
1992: La Peste, a film directed by Luis Puenzo
2017: The Plague, a play adapted by Neil Bartlett. Bartlett substitutes a black woman for the male doctor, Rieux, and a black man for Tarrou.
2020: The Plague, an adaptation for radio of Neil Bartlett's 2017 play. Premiered on 26 July on BBC Radio 4 during the COVID-19 pandemic. The play was recorded at home by actors during the quarantine period. With Sara Powell as Doctor Rieux, Billy Postlethwaite as Raymond Rambert, Joe Alessi as Mr Cottard, Jude Aduwudike as Jean Tarrou and Colin Hurley as Mr Grand. |
The Plague (novel) | Publication history | Publication history
As early as April 1941, Camus had been working on the novel, as evidenced in his diaries in which he wrote down a few ideas on "the redeeming plague".Camus, Albert, Carnets I, Mai 1935 - février 1942, Paris, Gallimard, 2013, 234 p. (), p.204 On 13 March 1942, he informed André Malraux that he was writing "a novel on the plague", adding "Said like that it might sound strange, […] but this subject seems so natural to me."Camus, Albert, Malraux, André, Albert Camus, André Malraux, Correspondance 1941–1959, Paris, Gallimard, 2016, 152 p. (), p.42
1947, La Peste (French), Paris: Gallimard
1948, translated by Stuart Gilbert, London: Hamish Hamilton
1960, translated by Stuart Gilbert, London: Penguin,
2001, translated by Robin Buss,Gay-Crosier, Raymond, "Albert Camus's The Plague: Why a Third English Translation?". Delos, 37(1), Spring 2022. London: Allen Lane,
2021, translated by Laura Marris, New York: Knopf, |
The Plague (novel) | See also | See also
The Decameron
The Masque of the Red Death
The Betrothed |
The Plague (novel) | References | References |
The Plague (novel) | External links | External links
La Peste, Les Classiques des sciences sociales; Word, PDF, RTF formats, public domain in Canada
La Peste, ebooksgratuits.com; HTML format, public domain in Canada
Category:1947 French novels
Category:Absurdist fiction
Category:Books with atheism-related themes
Category:Éditions Gallimard books
Category:Existentialist novels
Category:French novels adapted into films
Category:Novels by Albert Camus
Category:Novels set in the 1940s
Category:Novels set in Algeria
Category:Plague (disease)
Category:Oran
Category:Health in Algeria
Category:Novels about diseases and disorders
Category:Novels about viral outbreaks
Category:French novels adapted into plays
Category:First-person narrative novels |
The Plague (novel) | Table of Content | short description, Plot, Critical analysis, In the popular press, Adaptations, Publication history, See also, References, External links |
Applied ethics | Short description | Applied ethics is the practical aspect of moral considerations. It is ethics with respect to real-world actions and their moral considerations in private and public life, the professions, health, technology, law, and leadership. For example, bioethics is concerned with identifying the best approach to moral issues in the life sciences, such as euthanasia, the allocation of scarce health resources, or the use of human embryos in research. Environmental ethics is concerned with ecological issues such as the responsibility of government and corporations to clean up pollution. Business ethics includes the duties of whistleblowers to the public and to their employers. |
Applied ethics | History | History
Applied ethics has expanded the study of ethics beyond the realms of academic philosophical discourse.Bayertz, K. (2002) Self-enlightenment of Applied Ethics, in: Chadwick, R and Schroeder, D. (eds.) Applied Ethics, Vol1. 36–51, London: Routledge The field of applied ethics, as it appears today, emerged from debate surrounding rapid medical and technological advances in the early 1970s and is now established as a subdiscipline of moral philosophy. However, applied ethics is, by its very nature, a multi-professional subject because it requires specialist understanding of the potential ethical issues in fields like medicine, business or information technology. Nowadays, ethical codes of conduct exist in almost every profession.Giorgini, V., Mecca, J. T., Gibson, C., Medeiros, K., Mumford, M. D., Connelly, S., & Devenport, L. D. (2015). Researcher perceptions of ethical guidelines and codes of conduct. Accountability in research, 22(3), 123–138.
An applied ethics approach to the examination of moral dilemmas can take many different forms but one of the most influential and most widely utilised approaches in bioethics and health care ethics is the four-principle approach developed by Tom Beauchamp and James Childress.Beauchamp, T. L. and Childress, J. F. (1994) Principles of medical ethics, New York: Oxford University Press. The four-principle approach, commonly termed principlism, entails consideration and application of four prima facie ethical principles: autonomy, non-maleficence, beneficence, and justice. |
Applied ethics | Underpinning theory | Underpinning theory
Applied ethics is distinguished from normative ethics, which concerns standards for right and wrong behavior, and from meta-ethics, which concerns the nature of ethical properties, statements, attitudes, and judgments."Applied Ethics" Internet Encyclopedia of Philosophy. Retrieved 25 June 2017.
Whilst these three areas of ethics appear to be distinct, they are also interrelated. The use of an applied ethics approach often draws upon these normative ethical theories:
Consequentialist ethics, which hold that the rightness of acts depends only on their consequences. The paradigmatic consequentialist theory is utilitarianism, which classically holds that whether an act is morally right depends on whether it maximizes net aggregated psychological wellbeing. This theory's main developments came from Jeremy Bentham and John Stuart Mill who distinguished between act and rule utilitarianism. Notable later developments were made by Henry Sidgwick who introduced the significance of motive or intent, and R. M. Hare who introduced the significance of preference in utilitarian decision-making. Other forms of consequentialism include prioritarianism.
Deontological ethics, which hold that acts have an inherent rightness or wrongness regardless of their context or consequences. This approach is epitomized by Immanuel Kant's notion of the categorical imperative, which was the centre of Kant's ethical theory based on duty. Another key deontological theory is natural law, which was heavily developed by Thomas Aquinas and is an important part of the Catholic Church's teaching on morals. Threshold deontology holds that rules ought to govern up to a point despite adverse consequences; but when the consequences become so dire that they cross a stipulated threshold, consequentialism takes over.
Virtue ethics, derived from Aristotle's and Confucius' notions, which asserts that the right action will be that chosen by a suitably 'virtuous' agent.
Normative ethical theories can clash when trying to resolve real-world ethical dilemmas. One approach attempting to overcome the divide between consequentialism and deontology is case-based reasoning, also known as casuistry. Casuistry does not begin with theory, rather it starts with the immediate facts of a real and concrete case. While casuistry makes use of ethical theory, it does not view ethical theory as the most important feature of moral reasoning. Casuists, like Albert Jonsen and Stephen Toulmin (The Abuse of Casuistry, 1988), challenge the traditional paradigm of applied ethics. Instead of starting from theory and applying theory to a particular case, casuists start with the particular case itself and then ask what morally significant features (including both theory and practical considerations) ought to be considered for that particular case. In their observations of medical ethics committees, Jonsen and Toulmin note that a consensus on particularly problematic moral cases often emerges when participants focus on the facts of the case, rather than on ideology or theory. Thus, a Rabbi, a Catholic priest, and an agnostic might agree that, in this particular case, the best approach is to withhold extraordinary medical care, while disagreeing on the reasons that support their individual positions. By focusing on cases and not on theory, those engaged in moral debate increase the possibility of agreement.
Applied ethics was later distinguished from the nascent applied epistemology, which is also under the umbrella of applied philosophy. While the former was concerned with the practical application of moral considerations, the latter focuses on the application of epistemology in solving practical problems.Carvallo, M. E. (2012). Nature, Cognition and System I: Current Systems-Scientific Research on Natural and Cognitive Systems. Dordrecht: Springer Science & Business Media. p. 68. ISBN 978-94-010-7844-3. |
Applied ethics | See also | See also |
Applied ethics | References | References |
Applied ethics | Further reading | Further reading
(monograph)
|
Applied ethics | External links | External links
Category:Ethics |
Applied ethics | Table of Content | Short description, History, Underpinning theory, See also, References, Further reading, External links |
Absolute value | Short description | thumb|The graph of the absolute value function for real numbers
thumb|The absolute value of a number may be thought of as its distance from zero.
In mathematics, the absolute value or modulus of a real number , is the non-negative value without regard to its sign. Namely, if is a positive number, and if is negative (in which case negating makes positive), and For example, the absolute value of 3 and the absolute value of −3 is The absolute value of a number may be thought of as its distance from zero.
Generalisations of the absolute value for real numbers occur in a wide variety of mathematical settings. For example, an absolute value is also defined for the complex numbers, the quaternions, ordered rings, fields and vector spaces. The absolute value is closely related to the notions of magnitude, distance, and norm in various mathematical and physical contexts. |
Absolute value | Terminology and notation | Terminology and notation
In 1806, Jean-Robert Argand introduced the term module, meaning unit of measure in French, specifically for the complex absolute value,Oxford English Dictionary, Draft Revision, June 2008Nahin, O'Connor and Robertson, and functions.Wolfram.com.; for the French sense, see Littré, 1877 and it was borrowed into English in 1866 as the Latin equivalent modulus. The term absolute value has been used in this sense from at least 1806 in FrenchLazare Nicolas M. Carnot, Mémoire sur la relation qui existe entre les distances respectives de cinq point quelconques pris dans l'espace, p. 105 at Google Books and 1857 in English.James Mill Peirce, A Text-book of Analytic Geometry at Internet Archive. The oldest citation in the 2nd edition of the Oxford English Dictionary is from 1907. The term absolute value is also used in contrast to relative value. The notation , with a vertical bar on each side, was introduced by Karl Weierstrass in 1841.Nicholas J. Higham, Handbook of writing for the mathematical sciences, SIAM. , p. 25 Other names for absolute value include numerical value and magnitude. The absolute value of has also been denoted in some mathematical publications, and in spreadsheets, programming languages, and computational software packages, the absolute value of is generally represented by abs(x), or a similar expression, as it has been since the earliest days of high-level programming languages.
The vertical bar notation also appears in a number of other mathematical contexts: for example, when applied to a set, it denotes its cardinality; when applied to a matrix, it denotes its determinant. Vertical bars denote the absolute value only for algebraic objects for which the notion of an absolute value is defined, notably an element of a normed division algebra, for example a real number, a complex number, or a quaternion. A closely related but distinct notation is the use of vertical bars for either the Euclidean norm or sup norm of a vector although double vertical bars with subscripts respectively) are a more common and less ambiguous notation. |
Absolute value | Definition and properties | Definition and properties |
Absolute value | Real numbers | Real numbers
For any the absolute value or modulus is denoted , with a vertical bar on each side of the quantity, and is defined asMendelson, p. 2.
The absolute value is thus always either a positive number or zero, but never negative. When itself is negative then its absolute value is necessarily positive
From an analytic geometry point of view, the absolute value of a real number is that number's distance from zero along the real number line, and more generally the absolute value of the difference of two real numbers (their absolute difference) is the distance between them. The notion of an abstract distance function in mathematics can be seen to be a generalisation of the absolute value of the difference (see "Distance" below).
Since the square root symbol represents the unique positive square root, when applied to a positive number, it follows that
This is equivalent to the definition above, and may be used as an alternative definition of the absolute value of real numbers.
The absolute value has the following four fundamental properties (, are real numbers), that are used for generalization of this notion to other domains:
Non-negativityPositive-definitenessMultiplicativity Subadditivity, specifically the triangle inequality
Non-negativity, positive definiteness, and multiplicativity are readily apparent from the definition. To see that subadditivity holds, first note that with its sign chosen to make the result positive. Now, since it follows that, whichever of is the value one has for all Consequently, , as desired.
Some additional useful properties are given below. These are either immediate consequences of the definition or implied by the four fundamental properties above.
Idempotence (the absolute value of the absolute value is the absolute value)Evenness (reflection symmetry of the graph)Identity of indiscernibles (equivalent to positive-definiteness)Triangle inequality (equivalent to subadditivity) (if )Preservation of division (equivalent to multiplicativity)Reverse triangle inequality (equivalent to subadditivity)
Two other useful properties concerning inequalities are:
or
These relations may be used to solve inequalities involving absolute values. For example:
The absolute value, as "distance from zero", is used to define the absolute difference between arbitrary real numbers, the standard metric on the real numbers. |
Absolute value | Complex numbers | Complex numbers
right|thumb|The absolute value of a is the from the origin. It is also seen in the picture that and its have the same absolute value.
Since the complex numbers are not ordered, the definition given at the top for the real absolute value cannot be directly applied to complex numbers. However, the geometric interpretation of the absolute value of a real number as its distance from 0 can be generalised. The absolute value of a complex number is defined by the Euclidean distance of its corresponding point in the complex plane from the origin. This can be computed using the Pythagorean theorem: for any complex number
where and are real numbers, the absolute value or modulus is and is defined by
the Pythagorean addition of and , where and denote the real and imaginary parts respectively. When the is zero, this coincides with the definition of the absolute value of the
When a complex number is expressed in its polar form its absolute value
Since the product of any complex number and its with the same absolute value, is always the non-negative real number the absolute value of a complex number is the square root which is therefore called the absolute square or squared modulus
This generalizes the alternative definition for reals:
The complex absolute value shares the four fundamental properties given above for the real absolute value. The identity is a special case of multiplicativity that is often useful by itself. |
Absolute value | Absolute value function | Absolute value function
thumb|360px|The graph of the absolute value function for real numbers
256px|thumb|Composition of absolute value with a cubic function in different orders
The real absolute value function is continuous everywhere. It is differentiable everywhere except for . It is monotonically decreasing on the interval and monotonically increasing on the interval . Since a real number and its opposite have the same absolute value, it is an even function, and is hence not invertible. The real absolute value function is a piecewise linear, convex function.
For both real and complex numbers the absolute value function is idempotent (meaning that the absolute value of any absolute value is itself). |
Absolute value | Relationship to the sign function | Relationship to the sign function
The absolute value function of a real number returns its value irrespective of its sign, whereas the sign (or signum) function returns a number's sign irrespective of its value. The following equations show the relationship between these two functions:
or
and for , |
Absolute value | Relationship to the max and min functions | Relationship to the max and min functions
Let , then the following relationship to the minimum and maximum functions hold:
and
The formulas can be derived by considering each case and separately.
From the last formula one can derive also . |
Absolute value | Derivative | Derivative
The real absolute value function has a derivative for every , but is not differentiable at . Its derivative for is given by the step function:Bartle and Sherbert, p. 163
The real absolute value function is an example of a continuous function that achieves a global minimum where the derivative does not exist.
The subdifferential of at is the interval .Peter Wriggers, Panagiotis Panatiotopoulos, eds., New Developments in Contact Problems, 1999, , p. 31–32
The complex absolute value function is continuous everywhere but complex differentiable nowhere because it violates the Cauchy–Riemann equations.
The second derivative of with respect to is zero everywhere except zero, where it does not exist. As a generalised function, the second derivative may be taken as two times the Dirac delta function. |
Absolute value | Antiderivative | Antiderivative
The antiderivative (indefinite integral) of the real absolute value function is
where is an arbitrary constant of integration. This is not a complex antiderivative because complex antiderivatives can only exist for complex-differentiable (holomorphic) functions, which the complex absolute value function is not. |
Absolute value | Derivatives of compositions | Derivatives of compositions
The following two formulae are special cases of the chain rule:
if the absolute value is inside a function, and
if another function is inside the absolute value. In the first case, the derivative is always discontinuous at in the first case and where in the second case. |
Absolute value | Distance | Distance
The absolute value is closely related to the idea of distance. As noted above, the absolute value of a real or complex number is the distance from that number to the origin, along the real number line, for real numbers, or in the complex plane, for complex numbers, and more generally, the absolute value of the difference of two real or complex numbers is the distance between them.
The standard Euclidean distance between two points
and
in Euclidean -space is defined as:
This can be seen as a generalisation, since for and real, i.e. in a 1-space, according to the alternative definition of the absolute value,
and for and complex numbers, i.e. in a 2-space,
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The above shows that the "absolute value"-distance, for real and complex numbers, agrees with the standard Euclidean distance, which they inherit as a result of considering them as one and two-dimensional Euclidean spaces, respectively.
The properties of the absolute value of the difference of two real or complex numbers: non-negativity, identity of indiscernibles, symmetry and the triangle inequality given above, can be seen to motivate the more general notion of a distance function as follows:
A real valued function on a set is called a metric (or a distance function) on , if it satisfies the following four axioms:These axioms are not minimal; for instance, non-negativity can be derived from the other three: .
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Absolute value | Generalizations | Generalizations |
Absolute value | Ordered rings | Ordered rings
The definition of absolute value given for real numbers above can be extended to any ordered ring. That is, if is an element of an ordered ring R, then the absolute value of , denoted by , is defined to be:Mac Lane, p. 264.
where is the additive inverse of , 0 is the additive identity, and < and ≥ have the usual meaning with respect to the ordering in the ring. |
Absolute value | Fields | Fields
The four fundamental properties of the absolute value for real numbers can be used to generalise the notion of absolute value to an arbitrary field, as follows.
A real-valued function on a field is called an absolute value (also a modulus, magnitude, value, or valuation)Shechter, p. 260. This meaning of valuation is rare. Usually, a valuation is the logarithm of the inverse of an absolute value if it satisfies the following four axioms:
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Where 0 denotes the additive identity of . It follows from positive-definiteness and multiplicativity that , where 1 denotes the multiplicative identity of . The real and complex absolute values defined above are examples of absolute values for an arbitrary field.
If is an absolute value on , then the function on , defined by , is a metric and the following are equivalent:
satisfies the ultrametric inequality for all , , in .
is bounded in R.
for every .
for all .
for all .
An absolute value which satisfies any (hence all) of the above conditions is said to be non-Archimedean, otherwise it is said to be Archimedean.Shechter, pp. 260–261. |
Absolute value | Vector spaces | Vector spaces
Again the fundamental properties of the absolute value for real numbers can be used, with a slight modification, to generalise the notion to an arbitrary vector space.
A real-valued function on a vector space over a field , represented as , is called an absolute value, but more usually a norm, if it satisfies the following axioms:
For all in , and , in ,
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The norm of a vector is also called its length or magnitude.
In the case of Euclidean space , the function defined by
is a norm called the Euclidean norm. When the real numbers are considered as the one-dimensional vector space , the absolute value is a norm, and is the -norm (see Lp space) for any . In fact the absolute value is the "only" norm on , in the sense that, for every norm on , .
The complex absolute value is a special case of the norm in an inner product space, which is identical to the Euclidean norm when the complex plane is identified as the Euclidean plane . |
Absolute value | Composition algebras | Composition algebras
Every composition algebra A has an involution x → x* called its conjugation. The product in A of an element x and its conjugate x* is written N(x) = x x* and called the norm of x.
The real numbers , complex numbers , and quaternions are all composition algebras with norms given by definite quadratic forms. The absolute value in these division algebras is given by the square root of the composition algebra norm.
In general the norm of a composition algebra may be a quadratic form that is not definite and has null vectors. However, as in the case of division algebras, when an element x has a non-zero norm, then x has a multiplicative inverse given by x*/N(x). |
Absolute value | See also | See also
Least absolute values |
Absolute value | Notes | Notes |
Absolute value | References | References
Bartle; Sherbert; Introduction to real analysis (4th ed.), John Wiley & Sons, 2011 .
Nahin, Paul J.; An Imaginary Tale; Princeton University Press; (hardcover, 1998). .
Mac Lane, Saunders, Garrett Birkhoff, Algebra, American Mathematical Soc., 1999. .
Mendelson, Elliott, Schaum's Outline of Beginning Calculus, McGraw-Hill Professional, 2008. .
O'Connor, J.J. and Robertson, E.F.; "Jean Robert Argand".
Schechter, Eric; Handbook of Analysis and Its Foundations, pp. 259–263, "Absolute Values", Academic Press (1997) . |
Absolute value | External links | External links
Category:Special functions
Category:Real numbers
Category:Norms (mathematics) |
Absolute value | Table of Content | Short description, Terminology and notation, Definition and properties, Real numbers, Complex numbers, Absolute value function, Relationship to the sign function, Relationship to the max and min functions, Derivative, Antiderivative, Derivatives of compositions, Distance, Generalizations, Ordered rings, Fields, Vector spaces, Composition algebras, See also, Notes, References, External links |
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