In the spirit of celebrating Agatha Christie’s 125th birthday anniversary,GAD mystery blogger Curtis Evans proposed recently that some members of our Golden Age of Detection Facebook group should undertake “The Tuesday Club Murders”. Simply put, we’re going to do a Christie piece every week on Tuesday, “for a while anyway”. You’ll find a list of participants and associated links on Curtis’s blog. I’ve been using the cover art for Dell #8, The Tuesday Club Murders, as my symbol for this effort and want to emphasize that I don’t think this is one of the worst editions.
The competition for “worst Agatha Christie paperback cover” is stiff indeed — my shortlist was some 40 covers — so I thought I’d put some boundaries on what I was labeling. One aspect of cover art that drives me crazy is where the artist has realistically depicted a scene … that has nothing to do with the book. I don’t mind old-fashioned artistic styles like Good Girl Art (in fact, as you probably realize, they rather appeal to me) but I draw the line at GGA that is only tangentially connected to the action of the novel, if at all. Books that mislead the reader about the kind of book they’re getting are a terrible idea, I suggest; if you pick up a book because you think it’s a romance, and it turns out to be a mystery, you have good reason to be upset.
There are a couple of Christie designs that just boggle my mind. Look at Pocket #753, above; the cover for Crooked House depicting a giant hypodermic needle. (It is highly esteemed among “dope art” aficionados.) I mean, okay, you’ll find a hypodermic needle in the book. But it’s like advertising Moby Dick as a novel about scrimshaw. Another really strange set of choices is shown in Pocket #6109 nearby; So Many Steps to Death (aka Destination Unknown). I agree the action takes place in Morocco; the fashions of Morocco are only vaguely known to the artist, who appears to have concealed the swordsman’s lower regions with a lacy quilt. But the sullen redhead to me bears very little relationship to the doughty heroine who agrees to become a spy. And, um — I don’t remember any menacing swordsman playing a significant role in this book.
I don’t usually object to book covers that attempt to realistically depict scenes from the book — unless, like Pocket #80290, with the acid-green cover for Crooked House, they set the action back 25 years and get the period hopelessly wrong. (Crooked House was published in 1949, not 1924.) And unless I miss my guess, that’s not a scene from the book unless someone changed the ending. Speaking of changing the ending, Avon #690, The Big Four, depicts one of the villains restraining the innocent young actress, although I think the off-the-shoulder peasant blouse is a bit of a stretch. But the enormous head of the Chinese gentleman in the rear has nothing to do with the action at this point, I’ll suggest.
Perhaps I’ll just leave you with a gallery of weird Christie covers and let you make your own selections — or pick from your own shelves. If you have a cover in your collection that makes you think, “What were they thinking!”, perhaps you’ve found it here already. Your comments are welcome.
I should add that although I didn’t mean it that way, I seem to have duplicated the approach of another website, Pulp Covers, whose interest in “interesting, lurid, and awesome” paperback covers is shared by me. You should definitely check them out; the particular article on Christie is here. We seem to have a similar disdain for certain kinds of covers and my thoughts and choices of covers for this article were influenced by that site, so I thought I’d give credit where credit is due and give you an interesting link in the process.