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Fontana in the UK was much more open to Adams's creative input. Thus, the UK covers were often akin to a stylized tableau or surrealist collage. Adams ended up doing the covers for Agatha Christie paperbacks for twenty-eight years (1962-1980), thus becoming connected with her intimately in the minds of many readers.
File:Cards on the Table First Edition Cover 1936.jpg; File:A Caribbean Mystery First Edition Cover 1964.jpg; File:Cat Among the Pigeons First Edition Cover 1959.jpg; File:Christie Appointment 105 back-1.jpg; File:The Clocks First Edition Cover 1963.jpg; File:Come Tell Me How You Live First Edition Cover 1946a.jpg
The Agatha Christie Trust For Children was established in 1969, [80] 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". [81] Christie's obituary in The Times notes that "she never cared much for the cinema, or for wireless and television." Further,
After the Funeral is a work of detective fiction by Agatha Christie and first published in the US by Dodd, Mead and Company in March 1953 under the title of Funerals are Fatal [1] and in UK by the Collins Crime Club on 18 May of the same year under Christie's original title. [2]
Agatha Christie’s The Secret Adversary was presented for the stage for the first time in 2015 as a Watermill Theatre production, adapted from the Christie novel by Sarah Punshon and Johann Hari for a company of seven actors. A play in two acts, it was described in the publicity as being "shot through with fast-paced action, comedy, live music ...
In fact, Agatha Christie has done it again, which is all you need to know." [5] The Scotsman's review in its issue of 11 March 1940 concluded, "Sad Cypress is slighter and rather less ingenious than Mrs Christie's stories usually are, and the concluding explanation is unduly prolonged. But it is only with reference to Mrs Christie's own high ...
An admirer of Christie, Milward Kennedy of The Guardian began his review of 30 July 1935, "Very few authors achieve the ideal blend of puzzle and entertainment as often does Agatha Christie." He did admit that, " Death in the Clouds may not rank with her greatest achievements, but it is far above the average detective story."
Francis Iles (Anthony Berkeley Cox) in The Guardian's issue of 13 December 1968 admitted that, "This is a thriller, not a detective story, and needless to say an ingenious and exciting one; but anyone can write a thriller (well, almost anyone), whereas a genuine Agatha Christie could be written by one person only." [4]
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