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The Hollow (1946)
7.1/10on Open Library
Published
The country house. Poirot arrives for lunch and finds a tableau beside the swimming pool that seems almost too neatly posed. The house party is intimate enough for everyone to know one another’s habits, but it is also full of people who misread one another. Choose this for the feelings behind the alibis.
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Sad Cypress (1939)
8.2/10on Open Library
Published
The dispensary. A death by poisoning becomes a courtroom case in which motive and access to the means look damningly clear. The novel tells the story in three parts, giving you a chance to notice how much less certain the same evidence feels as the point of view changes.
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Murder on the Orient Express (1933)
8.3/10on Open Library
Published
The train. A snowdrift stops the Orient Express and turns corridors, compartments and sleeping arrangements into evidence. Read this when you want to picture where everyone could have been. Poirot’s interviews work because the reader can build a map of the train alongside him.
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Murder in Mesopotamia (1936)
8.4/10on Open Library
Published
The dig. Nurse Amy Leatheran is a newcomer to the expedition, with her own practical way of noticing how the team behaves. Her account gives the excavation house its texture and makes old tensions harder to read than its rooms. The setting draws on Christie’s time at archaeological digs in the Middle East.
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Lord Edgware Dies (1933)
7.7/10on Open Library
Published
The theatre. An actress appears to have an airtight alibi, and Christie makes an audience’s confidence in what it saw part of the puzzle. The idea grew out of seeing the performer Ruth Draper. Choose this for a Poirot story that treats a social gathering as a stage and a witness as an audience member.
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