“Renisenb stood looking over the Nile.”
Agatha Christie lived an interesting life. After her first marriage broke down, she found happiness with Max Mallowan, an archaeologist of some renown. Being fourteen years her junior never seemed to stop either of them from being incredibly happy in one another’s company and soon Christie was joining him on his digs to North Africa and the Middle East. Her novels Murder in Mesopotamia, Death on the Nile and Appointment with Death all make use of her knowledge of archaeology and the landscape she and her husband were visiting, but then one book took this to a whole new level. Unique among the canon of Christie, Death Comes as the End is the only one that doesn’t take place in, what was to her, the modern day. Instead, we are catapulted to 2000 BC to the shores of the Nile, where we are soon to learn that humans haven’t actually changed all that much in the intervening four millennia.
Young Renisenb has returned to the home of her father Imhotep, a priest, and her extended family. Her brothers Yahmose, Sobek and Ipy live here still with their wives, along with her grandmother Esa, and several other workers around the house including the bright and charming Kameni, the doting and wise Hori, and the snivelling, creeping Henet. Things seem much as they were when Renisenb left eight years ago, but soon her father returns from his travels with a stranger in tow, his new concubine, Nofret. This new woman soon has turned everything in the house upside down.
However, soon things go from bad to worse when Nofret’s body is found at the foot of a cliff, crumpled and dead. Imhotep is adamant that it’s an accident, but Renisenb has other ideas. It seems too convenient that a woman who was so hated has suddenly died, and it’s only when other members of the household start to be killed off one by one that everyone becomes a lot more wary. Murder is hardly a new thing, and here we are, thousands of years in our past, dealing with a serial killer and a complex web of lies, in classic Christie fashion.
As I said above, this is a Christie novel that is in many ways unlike any other, but then again, it contains all the usual hallmarks of her work. Human nature never changes, which is something Miss Marple in particular always notices, so it’s great fun to see a classic murder mystery set somewhere entirely different. The outcome remains the same and the issues of love, family, jealousy and murder are just as at home here as they are in a little English village in the thirties. Esa, indeed, as a character reads a lot like an Ancient Egyptian Miss Marple, and Renisenb has much in common with the spunky, adventurous girls of her modern books. The characters are almost archetypes – the domineering wife, the doting mother, the spoiled child, and creepy servant – and yet each character also manages to be fully fleshed out.
The murderer in this novel, unusually, has a wide range of methods of murder at their disposal, rather than picking one and sticking to it. Christie makes excellent use of her knowledge of the time period and while she occasionally seems to dip into more exposition than is necessary for the story, such as listing of gods or going into detail on burial practices, it actually just adds to the colour rather than distract and feel like showing off.
Christie has done something entirely different and it has worked. This might be one of her novels that I like best. Fresh, smart and a touch creepy.