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Jornal Da USP 20/10/2020 Cem anos da estreia de Agatha Christie – Jornal da USP AO VIVO RÁDIO USP SP RÁDI PODCASTS RÁDIO USP TV USP JORNAL DA USP Home > Artigos > Cem anos da estreia de Agatha Christie Artigos - 13/03/2020 Cem anos da estreia de Agatha Christie Por Jean Pierre Chauvin, professor da ECA/USP, onde leciona a disciplina O Romance Policial de Agatha Christie Editorias: Artigos - URL Curta: jornal.usp.br/?p=306915 FACEBOOK ejeitado por algumas editoras antes de chegar ao público, The mysterious affair at Styles, romance de estreia de Agatha Christie, foi editado em outubro de 1920, nos Estados Unidos, R pela editora de John Lane; três meses depois, apareceu a edição inglesa, pela The Bodley Head, também administrada por ele[1]. A história se passa numa enorme casa de campo, Styles Court, situada em Essex. Durante os primeiros capítulos, Emily Inglethorp nos faz companhia, até sua dramática morte por envenenamento: “Uma convulsão final fez com que se erguesse da cama até que ficasse apoiada apenas pela cabeça e pelos calcanhares, com seu corpo arqueado de forma extraordinária”[2]. Jean Pierre Chauvin – Foto: Marcos Santos/USP Imagens O enredo pode ser considerado como matriz das narrativas policiais que Christie escreveu ao longo de mais de 50 anos, também porque diversos elementos serão reaproveitados nos romances subsequentes. Para começar, somos apresentados a Hercule Poirot, que conduz as investigações, e a Arthur Hastings, que assume a narrativa desde as primeiras linhas. Lá também aparece, pela primeira vez, o inspetor-detetive James Japp, acompanhado pelo tão ou mais obtuso superintendente Summerhaye – que, a princípio, nutre franca antipatia pelo detetive belga. Desde a publicação de O misterioso caso de Styles, Poirot é caracterizado como um sujeito que mede um metro e meio de altura, tem cabeça em formato de ovo, inclinada para um lado ou para o outro, e olhos verdes de gato (especialmente quando se encontra em momentos de epifania investigativa), cuja inteligência (e arrogância) contrastava(m) com a cegueira (e irritação) de seus parceiros de ofício, especialmente o capitão Hastings. Lido sob perspectiva comparativa, o romance poderia ser cotejado com várias páginas da autora, em particular Dumb witness (Poirot perde uma cliente), publicado 17 anos depois. Aqui como lá, a narrativa em primeira pessoa é sumariada por Arthur Hastings, que se incomoda diversas vezes com certas palavras e posturas de Hercule Poirot. Num e noutro livro, um mesmo nome (Emily) descreve senhoras que residem no interior da Inglaterra e administram considerável fortuna, sob a cobiça de seus familiares e/ou parentes. O leitor mais atento notará que, tanto Emily Inglethorp (1920) quanto Emily Arundell (1937) admitiam estar cercadas por um bando de tubarões e pareciam confiar mais nas funcionárias que as ajudam a administrar sua(s) propriedade(s). De fato, Evelyn Howard será quase integralmente transposta para Poirot perde uma cliente, na figura da senhorita Wihelmina Lawson – dama de companhia da senhora Arundell, que dizia “[…] estar tão no escuro quanto todo mundo. Declarou que também ficara espantada com a leitura do testamento”[3]. Num e noutro caso, a morte não abranda – antes reforça – a permanência das protagonistas na narrativa, o que tanto se explica por constantes alusões a elas e a seu legado, quanto o fato de se tratar de figuras de forte personalidade, que, enquanto vivas, se defendiam dos ataques pecuniários empreendidos pelas pessoas mais próximas com a mesma tenacidade com que administravam os seus bens. Sua personalidade paira acima da própria narrativa, embora estivessem mortas. Há outro ingrediente comum, relacionado ao destino das personagens: ambas morrem por envenenamento, o que confirma a elevada dose de cálculo embutida nos métodos utilizados para tirá- https://jornal.usp.br/artigos/cem-anos-da-estreia-de-agatha-christie/ 1/8 20/10/2020 Cem anos da estreia de Agatha Christie – Jornal da USP las do caminho. Tanto em Styles Court, quanto em Littlegreen House, o assassinato se relacionava ao benefício financeiro imediato. Como se sabe, as disposições testamentárias constituem uma das motivações mais recorrentes para assassinatos, na ficção christiana. Para além de reparar na curiosa personalidade de Emily Inglethorp, o leitor precisa ficar atento à caracterização das demais personagens. Desde seu primeiro romance policial, Agatha Christie tornou- se célebre não só pelos enredos engenhosos, mas também devido aos expedientes de que se valeu para traçar figuras tão caricatas quanto complexas. Atentemos para a ambivalência que caracteriza o respeitável John e a insinuante Mary Cavendish; a sisudez do advogado (Dr. Wells) e do médico (Dr. Wilkins); a energia da jovem Cynthia; a aparente ingenuidade que orienta a conduta de Lawrence etc. A galeria de personagens de O misterioso caso de Styles constitui um atrativo à parte, o que acrescenta fatores extras a essa história de detetive. Talvez se possa afirmar que foi a preocupação em tão bem caracterizar as suas criaturas – moral, física, emocional e psicologicamente – que induziu a maior adesão do leitor às narrativas, surpreendendo-o, por isso mesmo, nos desfechos. A todo instante, as advertências de Poirot a Hastings parecem extrapolar o âmbito da diegese narrativa e se dirigir ao leitorado, ansioso por concluir a leitura e solucionar o mistério: “– Você deu rédeas demais à imaginação. A imaginação é boa criada, porém má conselheira. A explicação mais simples é sempre a mais provável”[4]. Consideremos o conselho do detetive, dirigido ao capitão. Ele nos devolveria às páginas iniciais do romance, com outra ideiazinha em mente: repararmos como o minucioso relato de Arthur Hastings poderia ser examinado, em ponto e contraponto, comparativamente com a narração lacunar do médico James Sheppard, em The murder of Roger Ackroyd – publicado seis anos depois: “Antes de prosseguir na relação de minhas conversas com Caroline, convém dar alguma ideia do que chamarei a nossa geografia local”[5]. Evidentemente, James Sheppard não se confunde com Arthur Hastings; nem o capitão seria páreo para o médico de King’s Abbot. Esse modo de relatar as coisas não escapou ao próprio Hastings, como se vê em Dumb Witness: “O que apimentou as especulações sobre o assunto foi que o testamento havia sido feito em 21 de abril. Adicione-se ainda o fato de as pessoas mais próximas a Emily Arundell hospedaram-se com ela pouco antes daquela data, no feriado de Páscoa”[6]. Porventura seria mais produtivo notar que, entre simulações e dissimulações, o relato de diferentes narradores e personagens tanto pode reforçar as suspeitas, quanto desviar a atenção do leitor – por mais que ele esteja imbuído de sanha detetivesca e disponha, em tese, de um elevado poder de dedução. [1] Cf. https://agathachristie.fandom.com/wiki/The_Mysterious_Affair_at_Styles – Acesso em 1o de março de 2020. [2] Agatha Christie, O misterioso caso de Styles, 3ª reimp., trad. Ive Brunelli, São Paulo, Globo, 2016, p. 51. [3] Poirot perde uma cliente, trad. Cassia Zanon, Porto Alegre, 2010, p. 10. [4] O misterioso caso de Styles, p. 111. [5] O assassinato de Roger Ackroyd, 6ª ed., trad. Leonel Vallandro, Porto Alegre, Globo, 1977, p. 7. [6] Poirot perde uma cliente, p. 9. https://jornal.usp.br/artigos/cem-anos-da-estreia-de-agatha-christie/ 2/8.
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