The Christie Affair, by Nina de Gramont
This author is American, and is a newcomer to speculation about the Agatha Christie ‘disappearance’ mythology: it “began in 2015 when she first learned about the famous author’s eleven-day disappearance. Christie’s refusal to ever speak about this episode particularly intrigued Nina, who loves the fact that someone who unravelled mysteries for a living managed to keep her own intact. The Christie Affair is her fourth novel.” I’m not sure if saying Christie “unravelled mysteries” is entirely accurate, because since she created them in the first place, and required them to be plausible, they wouldn’t have required unravelling by her, would they? That could safely be left to her readers. It’s possible that the author didn’t write her own bio, of course. This story is loosely based upon the facts as we know them, according to Christie’s Wikipedia page; some names have been changed, for obvious reasons; but this narrative falls into the ‘what if’ category, rather than a parallel universe scenario: the author describes it as “an imaginative history of sorts”.
As the narrative progressed, I was wondering why so much space was being given over to the backstory of the narrator, Nan O’Dea, who is this story’s substitute for Archie Christie’s real mistress, Nancy Neele, but the reason for that eventually became clear, and that is the subtext of this narrative: forced adoption of babies by the Catholic church in Ireland. I can’t reveal the reason for that, because the plot revolves around it, but it is a major element of this story. In fact, very little more of the plot can be revealed, but the major aspects of it conform to the real story, whereby Agatha Christie left her home in Sunningdale after a disagreement with her husband, in early December 1926, and after eleven days she was located at the Swan Hydropathic Hotel in Harrogate; although a different name for the hotel is used in the story. The period atmosphere is quite nicely realised so, apart from a few unfortunate Americanisms, which is understandable, given the author’s nationality, the story is a pleasant, undemanding read, even is some of the events do seem a touch implausible: given that this is fiction, I suppose that is forgivable.
It is difficult to speculate as to this book’s target readership, but Christie connoisseurs might enjoy it; as a thriller, it is very lightweight; it probably falls more comfortably into the romantic fiction category; but as stated above, it is undemanding, so it should be possible for different categories of reader to enjoy it. The paperback I read was published in 2022 by Pan Books [Mantle], an imprint of Pan Macmillan, London, ISBN 978-1-5290-5419-4.