Agatha Christie_A Biography

by Janet Morgan

  It was a fortnight after Margaret’s marriage to Nathaniel that Mary Ann lost her husband. Margaret wrote immediately to her younger sister, offering to take one of the four children and bring it up as her own, and Mary Ann, now despairing, decided that Clara should go to live with her aunt and uncle in the North. The little nine-year-old was lonely and homesick in her new surroundings and Clara always believed Mary Ann had sent her away because she cared more for the boys, rather than, as seems likely, because she felt it would be less easy for a girl to make a career for herself. Clara’s chief consolation was her favourite book, The King of the Golden River, which she brought with her from Jersey. She would read aloud to her uncle Nathaniel the story of its hero, a lonely but determined little boy, who conquered his desolation by being sensible and considerate. Clara, quiet and imaginative, knowing her aunt and uncle were being kind to her but feeling bereft and misunderstood, treasured this book all her life, as Agatha did in her turn.

  Clara’s upbringing and tastes were those of an intelligent but sheltered late-Victorian girl. When she was seventeen, she too listed her likes and dislikes in the ‘Confessions’. Her ‘favourite qualities in man’, she said, were ‘firmness, moral courage and honour’, and, in woman, ‘refinement, frankness and fidelity’. Her favourite occupation was reading and talking, her chief characteristic ‘a great love for children’, and ‘the fault for which she had most toleration’ (in this case her own), ‘reserve’. But the young woman whose ‘present state of mind’ was ‘wishing for a long dress’ and who admired Landseer and Mendelssohn, Tennyson, Miss Nightingale and the novels of Miss Mulock, nevertheless had a more robust and merry side. She gave her favourite food and drink as ‘Ice-cream; American soda water’, her favourite fictional heroine as Jo, the energetic tomboy in Little Women, and to the question ‘If not yourself, who would you be?’ she replied firmly, ‘A school-boy.’

  When Clara came to live with the Millers, Frederick, Aunt Margaret’s American stepson, was seventeen years old and the cousins became fond of one another. Although there was only eight years’ difference between them, it seemed a larger gap: Clara lived quietly at home in England, while Frederick, after school in Switzerland, had enjoyed a lively, to Clara a dizzy, time in America. As one of his friends later told Agatha, ‘He was received by everyone in New York society, was a member of the Union Club, and was widely known, and there are scores of present members of the Union Club, mutual friends of ours, who knew him, and were very much attached to him.’ After Frederick’s marriage, his and Clara’s names appeared in the New York Social Register; in his own copy Frederick’s blue pencil ticked the names of his many New York friends and acquaintances and others in the best families of Philadelphia and Washington.

  The sort of life Frederick led is described in the novels of Henry James and Edith Wharton. The American upper-class society in which he moved was small and intimate – some nine hundred families only are listed in the Social Register of 1892 – and much time was taken up with visiting friends and relations, reading newspapers and writing notes at the Club, dining, dancing, going to the theatre and (less frequently for those who were not devotees) concerts and galleries, playing tennis, croquet and cards, smoking (a serious pastime) and watching horses racing or, alternatively, yachts. Frederick Miller was not, however, one of the moody young fellows depicted in novels of the time, but, in Agatha’s words, ‘a very agreeable man’. Indeed, in his own joking entry in the ‘Confessions’, written when he was twenty-six, he gave an accurate picture of his temperament – easy-going, philosophical, hardly energetic. His favourite occupation was described as ‘doing nothing’, his chief characteristic, ‘ditto’. The characters in history he most disliked were Richard III and Judas Iscariot, his favourite heroes in real life Richard Coeur de Lion and ‘a country curate’. His pet aversion was ‘Getting up in the morning’, his present state of mind ‘Extremely comfortable, thank you’, and to the question, ‘If not yourself, who would you be?’ he placidly replied, ‘Nobody.’ Only one question had a really enthusiastic answer and that concerned his favourite food and drink, where he crowded into a two-line reply: ‘Beefsteak, Chops, Apple Fritters, Peaches, Apples. All kinds of nuts. More peaches. More nuts, Irish stew. Roly Poly Pudding’, and, an asterisked afterthought, ‘Bitter Beer.’

  In the same entry Frederick described the characteristics he most admired in women as ‘amenibility to reason’ (his spelling, like that of Madge and, especially, Clara and Agatha, was often erratic), ‘with a good temper’. These were his little cousin’s qualities. She was devoted to Cousin Fred, who had been the first person to compliment her, at the age of eleven or so, on her beautiful eyes, and who sent her when she was seventeen a volume of Southey’s poems, bound in blue and gold and inscribed: ‘To Clara, a token of love’. Clara, for her part, sent Frederick letters and poems and, later, notebooks embroidered with daisies, monograms in gold thread, inscriptions and, most ambitious, a red heart stuck with two arrows. She took pains over these tributes; she was a much less skilful needlewoman than her mother and in one piece of embroidery was obliged to leave off the last letter of Frederick’s name, having misjudged the space available. She also gave him serious and sentimental poetry; a maroon and gold album contains the verse, mostly about love and death, which she composed during their engagement. Occasional corrections in Frederick’s hand show that he not only conscientiously read his cousin’s poetry but here and there improved it.

  The most lively verse in that collection was a satirical view of marriage, ‘The Modern Hymen’, which Clara described as being a purely egotistical arrangement: ‘For the Bride, fair beauty, For the Bridegroom, wealth. Two in one united, And that one is – Self.…’ Clara’s and Frederick’s marriage was not at all on these lines. She had refused his first proposal because she thought herself to be ‘dumpy’ and he, though believed to be rich because he was an American, enjoyed a comfortable but not enormous income.

  The cousins were married in April 1878; Frederick was thirty-two and Clara twenty-four. A month later, in Switzerland, she wrote a long, rhapsodic poem for him, asking God to send her ‘an angel friend’, whom she could charge to protect and support ‘her darling’; the gift to Frederick is the more touching because it has at the foot a slightly botched attempt at a drawing of an angel and a request to ‘excuse this piece of paper … the only thin piece I had left’, as well as enclosing two dried edelweiss, a gentian, a violet and some clover. These, with the notebooks, Frederick always kept by him.

  Margaret Frary Miller, Frederick and Clara’s first child, was born in January the following year, in Torquay, where the Millers had taken furnished lodgings. Soon after Madge’s birth her parents took her to America, so that Frederick could present his wife and baby daughter to his grandparents, and it was thus that the second child, a boy, was born in New York in June 1880. This was Louis Montant, named after Frederick’s greatest friend. The Millers and their two children then returned to England, where they expected to stay only a short time before going back to America to live. Frederick, however, was suddenly obliged to return to New York to see to various business matters and suggested that while he was away Clara should take a furnished house in Torquay. With the help of Aunt Margaret, now a widow, Clara accordingly inspected two or three dozen houses but the only one she liked was for sale, rather than for rent. Despite – or perhaps because of – the restrained and ordered environment in which she had been brought up, Clara was determined and impetuous, and she immediately bought the house, with the help of £2,000 which Nathaniel had left her. She had felt at ease in it at once and when its owner, a Quaker called Mrs Brown, had said, ‘I am happy to think of thee and thy children living here, my dear’, Clara felt it was a blessing. Frederick was somewhat taken aback to discover that his wife had bought a house in a place where he expected them to stay a year or so at most but, always good-natured, he fell in with her wishes.

  The house was Ashfield, in Barton Road. It has long been demolished
but some impression of it can be had from Agatha’s recollections and those of her contemporaries and from photographs taken at the turn of the century. Ashfield was large and spreading, like other Torquay villas of its kind, built for the sizeable families of the professional middle class, who needed plenty of spacious rooms to hang with draperies, cram with furniture and stuff with interesting objects which they liked, or liked to display. Such houses were no trouble to heat, because fuel was cheap, or to clean and maintain, because servants were inexpensive, with enterprising and ingenious plumbers, glaziers, carpenters and masons in abundant supply. Ashfield was an attractive and unusual house; a rectangular two-storey part, with wide sash windows, adjoined a squarish three-storey section, with tall windows, some of those on the ground floor having coloured glass in the upper part, while the lower sections opened on to the garden. There was a multiplicity of chimneys; trellis-work and climbing plants covered the walls. The porch, which was large and topped with window boxes, was entirely shrouded with creeper. Attached to the house was an airy conservatory, full of wicker furniture, palm trees and other spiky and exotic plants, and at ten-foot intervals along the edge of the lawn, where it bordered the gravel, were huge rounded pots of hyacinths, tulips and other plants in season. A second, smaller greenhouse, used for storing croquet mallets, hoops, broken garden furniture and the like, and known as ‘Kai Kai’, adjoined the house on the other side. (Towards the end of her life Agatha described this greenhouse in Postern of Fate.)

  The garden seemed limitless to Agatha, most of whose childhood world it composed. She described it as being divided in her mind into three parts: the walled kitchen garden, with vegetables, soft fruit and apple trees; the main garden, a stretch of lawn full of trees – beech, cedar, fir, ilex, a tall Wellingtonia, a monkey-puzzle tree and something Agatha called ‘the Turpentine Tree’ because it exuded a sticky resin; and, last, a small wood of ash trees, through which a path led back to the tennis and croquet lawn near the house. Ashfield was, moreover, at the end of the older part of the town, so that Barton Road led into the lanes and fields of the rich Devon countryside. The houses and gardens seemed immense and that was how Agatha remembered them when she was grown up – but Ashfield was certainly big.

  It was as well that the house was spacious, since Frederick had a mania for collecting. Torquay being a fashionable resort, patronised by people with money, taste and plenty of spare time, it had attracted a number of dealers, into whose smart shops he would make a detour on his daily walk to the Yacht Club. The shopkeeper who did best was J.O. Donoghue, of Higher Union Street, whose lengthy bills give a detailed picture of Frederick’s purchases of coffee tables, card cases, plaited baskets, salts, oriental jugs and jars, china plates, cut-glass candlesticks, paintings on rice paper, muffineers and innumerable pieces of Dresden china. The stack of bills preserved among Frederick’s papers also shows the extent of the Millers’ domestic establishment and hospitality. Five-course dinners were prepared daily by Jane, the cook, with a professional cook and butler hired for grand occasions, when at each course a choice of dishes would be presented. Clara kept a book of ‘receipts for Agatha’, which indicates the richness and expense of the food that was served: fish pies, for instance, were made of filleted sole layered with oysters (though there was a footnote saying ‘Best brand of tinned oysters “Imperial”’) and directions were given for preparing truffles to add to meat or chicken, for making breakfast dishes of cold salmon and of kidneys and mushrooms, for dishes of quail, splendid savouries, and various complicated salads, smooth creams and junkets. The only really economical recipe, for macaroni cheese, instructed the reader to ‘get the macaroni at a shop in Greek Street, Soho, kept by an Italian’ and carried the terse comment ‘Not very good.’

  Into this well-equipped household Agatha was born on September 15, 1890. She was the much-loved ‘afterthought’; her mother was thirty-six, her father forty-four and there was a gap of eleven years between Agatha and Madge and ten between Agatha and Monty. Madge was by now a boarder at Miss Lawrence’s School in Brighton (later to become the celebrated girls’ boarding school Roedean) since this accorded with Clara’s current view of what should constitute female education. Madge’s letters to her baby sister – ‘My dear little chicken … Who do you get to make you a big bath of bricks in the schoolroom now that your two devoted slaves have left for school to learn their lessons?’ – reflected her gregarious and comic nature. She was a tumbling, bouncing girl, not beautiful but with an attractive, mobile face and an engaging grin. The only wistful note in her entry in ‘Confessions’ was her answer to: ‘If not yourself, who would you be?’ to which she replied, ‘A beautiful beauty.’

  Madge adored jokes, pranks and disguises and Agatha was awed and delighted by her sister’s exploits. She talked with amazed pride of the time when Madge dressed up as a Greek priest to meet someone at the station and of the occasion when, having come to Paris to be ‘finished’, she accepted a dare to jump out of the window and landed on a table at which several horrified Frenchwomen were taking tea. Madge would thrill her sister by spicing affectionate play with a dash of spookiness, saying solemnly, ‘I’m not your sister,’ looking for a moment like a stranger, or, in an even more terrifying version of this game, putting on the silkily ingratiating voice of the imaginary madwoman Madge and Agatha called ‘The Elder Sister’, who lived in a cave in the nearby cliffs, and uttering the horribly unreassuring words, ‘Of course I’m your sister Madge. You don’t think I’m anyone else, do you? You wouldn’t think that?’

  It is much harder to catch a glimpse of Agatha’s brother, Monty. Here and there, in the first dictated draft of the part of her autobiography that deals with her childhood, Agatha alluded to the fact that ‘at about this time, Monty disappeared from my life’; as it was, he hardly seems to have been there at all. This is partly because, when Agatha was young, Monty was at Harrow and when she was older he had vanished abroad. He was not a scholar – he left Harrow without passing his examinations – but his winning disposition helped him to survive. Agatha told the story of Monty’s being the only boy allowed to keep white mice at school, since the Headmaster had been induced to believe that Miller was especially interested in natural history. Her picture of him was, as one would expect, of someone who, by virtue of his being a boy and ten years older, led a strange and exciting life of daring exploits in boats and later in motor cars, in which he would sometimes disdainfully allow his little sister to take part.

  Things cannot have been easy for Monty, in a circle of four forceful women – his energetic and argumentative elder sister, shrewd impulsive mother, and two formidable grandmothers. A photograph shows him, in an ill-fitting buttoned uniform, with a sullen expression on his handsome face; he might be any age from nine to nineteen and he looks bored and unhappy. But other pictures show Monty at his most gay and irrepressible: we see him, in smoking jacket, top-hat and huge leather boots, sitting in ‘Truelove’, the tiny wheeled horse and carriage with which the children played, cheering on a puzzled goat which has been attached to the reins. Monty has a look that is simultaneously wild and self-indulgent.

  In his portrait, painted when Monty was nineteen or so, he seems calmer but somehow unconvincing, as if he were not sure whether to look foppish, quizzical, or rakish. His entry in the ‘Confessions’ (which he forgot to sign) conveys a similar impression of uncertainty. His remarks were those of someone trying to be amusing, with neither the panache nor the wit to carry it off: ‘Your favourite heroes in real life?’ – ‘Fenians’; ‘Your present state of mind?’ – ‘Oh my!’; ‘Your favourite qualities in man?’ – ‘Being a good fellow generally’; and – a clue to the fact it is Monty who is writing – ‘Your idea of misery?’ – ‘Borrowing money.’ There was something melancholy about Monty and, though his influence on his younger sister was much less direct and obvious than that of Madge, he nevertheless presented a worrying puzzle to Agatha.

  Agatha Mary Clarissa was named after her mother and
grandmother, the name of Agatha, she believed, being added by Clara, with her usual agility, as a result of a suggestion made on the way to the christening. (One of Clara’s favourite novels was, moreover, Miss Mulock’s Agatha’s Husband.) During the course of Agatha’s life, she was to acquire, or adopt, a number of different names and titles; to her friends and family (except those close relations who later called her ‘Nima’, her grandson’s corruption of ‘Grandma’) she was always ‘Agatha’. As her first publisher told her in 1920, it was an unusual and therefore memorable name – and that is what we will call her here.

  Frederick’s collection of bills also gives some impression of the furniture, books and pictures amongst which Agatha grew up. Some of the better furniture was sold in the years after her father’s death, when her mother’s circumstances were considerably reduced, but a good deal of it, including many of the lamps, screens and pictures, and much of the china, cutlery and glass, was used to furnish the houses in which Agatha subsequently lived. As she said herself, her father’s taste in pictures did not match his discrimination in buying furniture. The fashion of the eighteen-eighties and eighteen-nineties was to hang as many pictures as possible on whatever wall space was available and this Frederick proceeded to do, with vague oils, Japanese caricatures, pastels on copper and masses of engravings, including one called ‘Weighing the Deer’, of which he was particularly fond. Certain cherished objects were assigned to those members of the family who would eventually inherit them. (Clara’s Aunt Margaret would write names of the future beneficiaries on the backs of the canvases.) Agatha’s particular inheritance was ‘Caught’, an oil of a woman catching a boy in a shrimping net, exhibited at the Royal Academy in 1884 and acquired by Frederick ten years later for the sum of £40. In the same year, when Agatha was four, her father commissioned a local artist, N.H.J. Baird, to paint the family dog, an exercise which was regarded as so successful that Mr Baird was subsequently invited to paint Frederick, Agatha, Monty, Madge, and Agatha’s nurse. When, at the age of seven, Agatha was asked to name her favourite poets, painters and composers in the ‘Confessions’, she loyally put Baird’s name alongside those of Shakespeare and Tennyson.