• 1932, Dodd Mead and Company (New York), February 1932, Hardcover, 270 pp • 1932, Collins Crime Club (London), March 1932, Hardcover, 256 pp • 1938, Modern Age Books (New York), Hardcover, 177 pp • 1942,
Pocket Books (New York), Paperback, (Pocket number 167), 240 pp • 1948,
Penguin Books, Paperback, (Penguin number 688), 204 pp • 1961, Fontana Books (Imprint of
HarperCollins), Paperback, 191 pp • 1966, Pan books X521, Paperback • 1978, Ulverscroft
Large-print Edition, Hardcover, 327 pp, • 2007, Facsimile edition (Facsimile of 1932 UK first edition), 2 April 2007, Hardcover, 256 pp The first true publication of the book was the US serialisation in the weekly
Liberty magazine in eleven instalments from 13 June (Volume 8, Number 24) to 22 August 1931, (Volume 8, Number 34). There were slight abridgements to the text, no chapter divisions, and the reference in Chapter III to the character of Jim Lazarus as, "a Jew, of course, but a frightfully decent one" was deleted. The serialisation carried illustrations by W.D. Stevens. In the UK, the novel was serialised in the weekly ''Women's Pictorial
magazine in eleven instalments from 10 October (Volume 22, Number 561) to 19 December 1931, (Volume 22, Number 571) under the slightly different title of The Peril at End House''. There were slight abridgements and no chapter divisions. All of the instalments carried illustrations by Fred W. Purvis.
Book dedication The dedication of the book reads: To
Eden Phillpotts. To whom I shall always be grateful for his friendship and the encouragement he gave me many years ago. In 1908, Christie was recovering from influenza and bored, and she started to write a story at the suggestion of her mother, Clara Miller (see the dedication to
The Mysterious Affair at Styles). This suggestion sparked Christie's interest in writing and several pieces were composed, some of which are now lost or remain unpublished (one exception to this is
The Call of Wings which later appeared in
The Hound of Death in 1933). These early efforts were mostly short stories, but at some point late in the year Christie attempted her first novel,
Snow Upon the Desert. She sent it to several publishers but they all rejected the work. At Clara's suggestion she then asked Phillpotts to read and critique both the book and other examples of her writing. He was a neighbour and friend of the Miller family in
Torquay. He sent an undated reply back which included the praise that, "some of your work is capital. You have a great feeling for dialogue". In view of her later success in allowing readers to judge characters' feelings and motivations for themselves (and in doing so, thereby deceiving themselves as to the identity of the culprits), Phillpotts offered valuable suggestions to, "leave your characters alone, so that they can speak for themselves, instead of always rushing in to tell them what they ought to say, or to explain to the reader what they mean by what they are saying". He gave her further advice in the letter regarding a number of suggestions for further reading to help improve her work. Phillpotts gave Christie an introduction to his own literary agents, Hughes Massie, who rejected her work (although in the early 1920s, they did start to represent her). Undaunted, Christie attempted another story, now lost, called
Being So Very Wilful, and again asked Phillpotts for his views. He replied on 9 February 1909 with a great deal more advice and tips for reading. In her autobiography, published posthumously in 1977, Christie wrote, "I can hardly express the gratitude I feel to him. He could so easily have uttered a few careless words of well-justified criticism and possibly discouraged me for life. As it was, he set out to help".
Dustjacket blurb The
blurb on the inside flap of the
dustjacket of the UK first edition (which is also repeated opposite the title page) reads:Three near escapes from death in three days! Is it accident or design? And then a fourth mysterious incident happens, leaving no doubt that some sinister hand is striking at Miss Buckley, the charming young owner of the mysterious End House. The fourth attempt, unfortunately for the would-be murderer, is made in the garden of a Cornish Riviera hotel where Hercule Poirot, the famous Belgian detective, is staying. Poirot immediately investigates the case and relentlessly unravels a murder mystery that must rank as one of the most brilliant that Agatha Christie has yet written. ==Adaptations==