Biografia: Ainda o desaparecimento de Agatha em 1926

Matéria de 10 de maio de 2017, no site Zap AEIOU, de Portugal, sugere nova versão para o desaparecimento de Agatha em 1926:

O mistério do desaparecimento de Agatha Christie, durante 11 dias, em 1926, pode finalmente ter sido desvendado. Ou, pelo menos, é isso que acredita o escritor Andrew Wilson, que publicou um livro ficcional onde defende que a escritora se quis suicidar.

O jornal inglês Telegraph divulga a teoria de Andrew Wilson, notando que ele pode ter resolvido “o último grande mistério que Agatha Christie deixou por resolver”.

(…) Christie saiu de casa a 3 de Dezembro daquele ano, quando tinha 36 anos, a conduzir o seu carro, que acabou por ser encontrado vazio, apenas com um casaco de peles e uma carta de condução no seu interior, conta o Telegraph.

(…) o escritor Andrew Wilson avança no livro de ficção “Talento para o Homicídio” (“A Talent For Murder” no título original) uma nova teoria, segundo a qual ela terá saído de casa com a intenção de se suicidar, depois do pedido de divórcio do marido.

A tese do autor baseia-se na análise de documentos da polícia, de entrevistas da escritora, após o famigerado desaparecimento, e do seu romance semi-autobiográfico “Unfinished Portrait”, que publicou em 1934, sob o pseudónimo de Mary Westmacott.

Leia a matéria completa clicando aqui.

Assassinato no Expresso do Oriente: No listão de 100 filmes da literatura para o cinema

Um dos escolhidos para o livro “100 Filmes da Literatura para o Cinema”, à venda nas livrarias…

cinemagia.wordpress.com

… é, claro, nosso “Assassinato no Expresso do Oriente”:

musicamagia.wordpress.com

Leia mais a respeito em:

http://www.livrariacultura.com.br/p/livros/artes-e-fotografia/cinema/100-filmes-da-literatura-para-o-cinema-15068064

O Caso dos Dez Negrinhos: Mais uma adaptação

Me parecia que estava escrito em holandês… Mas parece que o site é belga… e Serskamp é mesmo uma localidade belga. Acho que só Poirot, nosso belga mais querido, para decifrar efetivamente esse mistério, ou algum leitor do A Casa Torta que seja poliglota… Seja como for, o cartaz é bem bonito:

Dit jaar pakt WAT? (Wichels Atelier voor Toneel) uit met een klassieker van formaat, geschreven door dé misdaadauteur bij uitstek, Agatha Christie. “And then there were none” vertelt het verhaal van tien mensen die in de jaren ’60 van de vorige eeuw op mysterieuze wijze op een eiland voor de Zuid-Engelse kust worden uitgenodigd.

cinemagia.wordpress.com

Hoewel ze allen onbekenden zijn voor elkaar, kijken ze uit naar een aangenaam verblijf op “Soldier Island”. Achtervolgd door een wreed kinderrijmpje vallen ze als vliegen. Wie is schuldig? Of zijn ze dat allemaal?

“And then there were none” wordt wereldwijd beschouwd als Agatha Christies meesterwerk. Bij verschijnen sloeg het in als een bom. De onnavolgbaar ingenieuze plot liet critici en publiek met verstomming achter.

Kim Cattrall: Adaptação de Agatha para a TV

Kim Cattrall

Todo mundo só pergunta a Kim Cattrall se haverá outro filme baseado em “Sex And The City”, mas recentemente foi com Agatha que a atriz esteve envolvida. Veja na matéria do The New York Times:

“I like young men,” Emily French, a wealthy widow in 1923 London, tells Leonard Vole, the waiter she has enlisted to drive her home. “I like their company. I like their skin. I like their muscles, their musk, their gleam, their vigor, their heft — and their spring. I like to look.” Soon, he’s getting paid to eat out of her hand. Not long after, he’s a suspect in her savage death.

It’s lines like that, written by Sarah Phelps, that clear out the cobwebs and add a modern sizzle to Agatha Christie’s “The Witness for the Prosecution,” arriving Monday, Jan. 30, on Acorn TV.(…)

Leia mais clicando aqui.

Agatha Christie at mass: Artigo de David Grumett

O texto completo pode ser encontrado em:
http://blog.oup.com/2017/02/agatha-christie-at-mass/

“In the wake of the Second Vatican Council, Dame Agatha Christie, the renowned writer of detective fiction, added her name to a protest letter to Pope Paul VI. With over fifty other literary, musical, artistic, and political figures, Christie — who’d recently celebrated her eightieth birthday — expressed alarm at the proposed replacement of the old Mass rite, which used Latin and elaborate ritual, with a new rite in English with simpler ceremonial.

Although Christie’s then husband, the archaeologist Sir Max Mallowan, was Roman Catholic, she herself wasn’t. Christie didn’t defend the old rite, nor contest the new, on the grounds that either was good or bad for the Church. Rather, along with her fellow partners in crime, she argued that the old rite had inspired countless artistic achievements, including in poetry, philosophy, music, architecture, painting, and sculpture. These, she contended, made it a universal possession of human culture that the Church had no right to abolish. The letter had a positive outcome, securing an indult allowing the bishops of England and Wales to authorize the continued celebration of the old rite alongside the new. In 1984, a similar permission was granted worldwide.

The structure and logic of Christie’s plots mirror the Mass in its full, traditional drama. Her theological anthropology is one of lost innocence, with confessions of guilt for past offences, both spoken and unvoiced, punctuating exchanges. This guilt is frequently shared, problematizing attribution. At the centre is the death of a chosen victim, which is brought about by intentional and often meticulously planned actions. This death might be vicarious, the result of misdirected malice or false identification, and might be necessary to restore an order that has been violated by other, prior sins. A large country house is an appropriate setting, providing separation, distance, obscurity, and grandeur.

The crime’s execution and motive can’t immediately be understood, even if foreboding has preceded. Meaning instead emerges later, and progressively, out of the exchanges, recollections, repetitions, and silences that follow. At the dénouement, a deeper truth than the directly visible is finally brought fully into the light, with the significance of apparently superficial circumstances fully revealed. (…)”

(David Grumett lectures in Christian Ethics and Practical Theology at the University of Edinburgh. He is the author of Material Eucharist (OUP, 2016). David’s other books include De Lubac: A Guide for the Perplexed (T&T Clark, 2008) and Teilhard de Chardin: Theology, Humanity and Cosmos (Peeters, 2005).)