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Elephants Can Remember (Hercule Poirot…
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Elephants Can Remember (Hercule Poirot Mysteries (Paperback)) (original: 1972; edição: 1984)

de Agatha Christie

Séries: Ariadne Oliver (8), Hercule Poirot (36)

MembrosResenhasPopularidadeAvaliação médiaMenções
2,977533,329 (3.41)127
Hercule Poirot is determined to solve an old husband and wife double murder that is still an open verdict... Hercule Poirot stood on the cliff-top. Here, many years earlier, there had been a tragic accident. This was followed by the grisly discovery of two more bodies - a husband and wife - shot dead. But who had killed whom? Was it a suicide pact? A crime of passion? Or cold-blooded murder? Poirot delves back into the past and discovers that 'old sin leave long shadows'.… (mais)
Membro:olsonsquiverfull
Título:Elephants Can Remember (Hercule Poirot Mysteries (Paperback))
Autores:Agatha Christie
Informação:Berkley (1984), Paperback, 224 pages
Coleções:Sua biblioteca
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Elephants Can Remember de Agatha Christie (1972)

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Inglês (49)  Espanhol (1)  Francês (1)  Dinamarquês (1)  Sérvio (1)  Todos os idiomas (53)
Mostrando 1-5 de 53 (seguinte | mostrar todas)
An Ariadne Oliver novel seasoned with a little Hercule Poirot. Not one of Agatha Christie's best but better than some other of her late novels. She toned down the fear and disgust of the youth for one thing, and that was certainly needed. ( )
  bratell | Dec 25, 2020 |
Another great story by the master. ( )
  rosiezbanks | Dec 4, 2020 |
In which Mrs. Oliver uncovers a long-dead murder, and Poirot sets out to solve it.

The worst of the Poirot novels. There is a distinct drop in vocabulary and grammatical variety, consistent with old-age, in Christie’s final novels, and here she babbles on at length, reminiscing about things that have no bearing on the plot whatsoever. In fact, very little makes sense. The murder mystery isn’t wholly unbearable but it’s submerged beneath all of this silliness. Amazingly, even the usually reliable pairing of Poirot and Ariadne Oliver can’t salvage this. Mrs. Oliver had begun as a wry commentary on Agatha Christie’s own career, and had been utilised several times as a dynamic character – combining her love of amateur detectives with her gift for characters who could unsettle the exacting Poirot – and as a commentator on crime fiction as a genre. Here, she’s just a surrogate for the bemused Christie, still writing this Belgian detective decades after she tired of him. Unlike Arthur Conan Doyle, Christie considered her role as a storyteller to be more important than any kind of dispute with a fictional character, so refused to let go. Perhaps she should have.

"Elephants" hasn’t been adapted by the David Suchet series, but if – God willing – the show returns for more, we should expect an adaptation. Good luck to them.

Poirot ranking: 38th out of 38 ( )
  therebelprince | Nov 15, 2020 |
What can I say. This was my favorite Poirot book in some time (the last one being Death on the Nile) and everything worked wonderfully throughout.

Mrs. Ariadne Oliver, mystery writer, is approached by an older woman (Mrs. Burton-Cox) at a luncheon about her goddaughter's (Celia Ravenscroft) possible engagement to this woman's son (Desmond). The woman wants to if Celia possibly knows more than she is telling about a probable murder suicide by her parents more than a decade ago.

Mrs. Oliver, feeling annoyed by Mrs. Burton-Cox for bringing up something that is none of her business, decides to seek out Hercule Poirot. Poirot who has just finished a book on the best detective stories/authors out there is feeling bored and is happy to assist Mrs. Oliver in her reaching out to people (the elephants) who were around the Ravenscroft who may be able to shed light on what went on so many years ago that would have led one of the Ravenscroft to kill each other and then themselves.

The character of Mrs. Oliver has gotten less flaky over time. Initially, though she called herself a feminist, I think Agatha Christie was using her not only as a stand in for herself, but also for those women during the time who claimed to be feminists, but really wanted men to be and act less than women. Though she at times has been frustrating, it was great to see how she went and sat down with old acquaintances and let there memories of what went on to lead her and Poirot to the correct answer in what exactly happened.

Though Poirot was definitely "on" this time, he still at times had moments of ridiculousness. I cannot believe that Poirot in the 1970s was dressing in 1930s-40s style clothing, had his overly large mustaches, and seemed to think that everyone everywhere should know about all of the great things he has done. It seemed at times Christie was definitely picking fun at him.

Some of the additional characters I thought were well done too. Celia and Desmond definitely stood out. The character of Mrs. Burton-Cox did as well.

The flow of the book was much improved. I think it was because we as readers got to follow every interview that Poirot and Mrs. Oliver did and we were left enough clues to figure out what happened and who did what.

The ending rang slightly melancholy, however, I think it was also supposed to be triumphant once the final solution was revealed to everyone. ( )
  ObsidianBlue | Jul 1, 2020 |
"Elephants Can Remember" is my first Agatha Christie novel and I rather fear that I may have begun my reading at the nadir of her accomplishments rather than at the apogee.

"Elephants Can Remember" was published in 1972, when Agatha Christie was eighty two. It was the last novel that she wrote featuring either Hercule Poirot, the Belgian Detective, or Adriadne Oliver, who appears to be an avatar of the author.

The theme of the book is memory and how unreliable it and oral histories are. The final line of the book is rather fine, I think:

“Elephants can remember, but we are human beings and mercifully, human beings can forget.”

The plot revolves around an apparent suicide of a respectable married couple some twenty years earlier. Oliver and Poirot attempt to discover the truth of the "why" behind this event by interviewing "Elephants", people who had contact with the couple at or before the time of their death, and sifting through their, often conflicting and inaccurate, memories.

There are flashes of brilliance in the this novel. Poirot's dialogue is crisp and distinctive, building a picture of his character while weaving intriguing clues into possible versions of the truth. The idea the plot curls around is ingenious and original. Many of the "Elephants" have strong voices and deliver views of the couple that say as much about the social background and beliefs of the "Elephant" as they do about the couple.

Unfortunately, these flashes appear through a fog of indiscipline that marred my enjoyment of the novel. ironically perhaps, for a book about memory, Agatha Christie seems to have lost her grip on time in this story: the ages of the characters and the timing of events change as the tale is told. Although the novel is set in the late Sixties or early Seventies and two of the characters are under twenty five, this still reads like a period piece set decades earlier. Statements are repeated in a rambling way that seems to serve no purpose.

I found myself torn between thinking that this was a clever attempt to illustrate that time and the memory of time are only distantly related, or that Agatha Christie's editor was too lazy or too intimidated by the author to do their job or that Agatha Christie was suffering from memory problems that prompted her interest in this theme.

Despite the problems with time and the tendency to ramble, this was an enjoyable read, even if the rambling gave me the opportunity to figure out the puzzle a few chapters ahead of the denouement. My enjoyment was enhance by Hugh Fraser's narration, which was flawless.

Now I want to read a Poirot book that shows me what Agatha Christie is capable of at her best. ( )
  MikeFinnFiction | May 16, 2020 |
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» Adicionar outros autores (8 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Christie, Agathaautor principaltodas as ediçõesconfirmado
Adams, TomArtista da capaautor secundárioalgumas ediçõesconfirmado
Aquino, AlffredoDesigner da capaautor secundárioalgumas ediçõesconfirmado
Bihl, AgnieszkaTł.autor secundárioalgumas ediçõesconfirmado
Civís i Pol, JordiTradutorautor secundárioalgumas ediçõesconfirmado
Correy, Michael P.Designerautor secundárioalgumas ediçõesconfirmado
Coscarelli, AlbertoTradutorautor secundárioalgumas ediçõesconfirmado
Fonticoli, DianaTradutorautor secundárioalgumas ediçõesconfirmado
Fraser, HughNarradorautor secundárioalgumas ediçõesconfirmado
Goldman, NewtonTradutorautor secundárioalgumas ediçõesconfirmado
Παπαδημητρ… ΆνναTradutorautor secundárioalgumas ediçõesconfirmado
Λοράνδος, ΛουκάςEditorautor secundárioalgumas ediçõesconfirmado
Kramer-Plokker, E.C.C.Tradutorautor secundárioalgumas ediçõesconfirmado
Margalef Llambrich, RamónTradutorautor secundárioalgumas ediçõesconfirmado
Moffatt, JohnNarradorautor secundárioalgumas ediçõesconfirmado
Rey, Jacques-AndréTradutorautor secundárioalgumas ediçõesconfirmado
Rey, Jean-AndréTraductionautor secundárioalgumas ediçõesconfirmado
Schwarz, Martin MariaSprecherautor secundárioalgumas ediçõesconfirmado
Suveren, GönülTradutorautor secundárioalgumas ediçõesconfirmado
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Hercule Poirot is determined to solve an old husband and wife double murder that is still an open verdict... Hercule Poirot stood on the cliff-top. Here, many years earlier, there had been a tragic accident. This was followed by the grisly discovery of two more bodies - a husband and wife - shot dead. But who had killed whom? Was it a suicide pact? A crime of passion? Or cold-blooded murder? Poirot delves back into the past and discovers that 'old sin leave long shadows'.

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