Titlebook: Queering Agatha Christie; Revisiting the Golde J.C Bernthal Book 2016 The Editor(s) (if applicable) and The Author(s), under exclusive lice

軍械庫

Constructing Agatha Christie,ze the limitations of popular fiction (.), her renegotiation of generic norms (.) and her development of a fictional alter ego, Ariadne Oliver. Reading “Agatha Christie” as a strategic authorial construction opens her texts up to new and subversive readings, according to which human identity itself is fundamentally unfixed.

Limited

FAST

諂媚于人

Introduction,y. Early commentators tended to put her success down to the careful use of formulae and a reassuringly conservative worldview, but a perspective informed by queer theory allows a new reading. Reading Christie’s novels and short stories as spaces in which presumptions about human identity are exposed

ABYSS

Constructing Agatha Christie,aders and publishers. Throughout her career, she negotiated how her books were marketed and how she herself was presented, exploiting ready stereotypes about femininity and domesticity. This chapter explores Christie’s emergence into a masculine marketplace (.), her use of gendered parody to emphasi

大漩渦

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Femininity and Masquerade,rized with reference to Judith Butler’s discussion of gender performativity. It begins with a reading of Hercule Poirot’s romantic interest, a dubious Russian countess, as a drag artist, exaggerating her femininity to such a degree that she mocks the idea of gender itself. The glamorous Hollywood ac

Constituent

Queer Children, Crooked Houses,wever, suggests a need to radically reconceptualize the family if it is to survive in changing times. Families in ., . and . are all downsized and shaken up. Like many subsequent anti-family queer theorists, such as Lee Edelman, Christie confronts the rhetorical image of the innocent child to mount