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By M. Makinen

Christie's books depict girls as adventurous, self reliant figures who renegotiate sexual relationships alongside extra equivalent strains. ladies also are allowed to disrupt society and but the texts refuse to work out them as double deviant due to their femininity. This booklet demonstrates precisely how quietly innovatory Christie was once in terms of gender.

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A text that insists it is impossible for a woman agent to involve a young child in her exploits. However, as Gill has argued, the ‘Beresford’s lead conventional lives only in the spaces between the novels’,31 and the aging Tuppence who returns to the textual fray identifies with the elderly’s habit of claiming to be famous personages: ‘ “It’ll be boring to have only one role to play Desperately you want something to do to amuse yourself so you try on some public character and see what it feels like when you are in it” ’ (BTPOMT, p.

We will examine and reject’ (MAAS, p. 37). But the neatness, the method, also links to an uncompromising logic of the factual, an almost superman rationality that makes his eyes glow green, like a cat’s, ‘Everything must be taken into account. ’ (MAAS, p.

Gillian Gill and Alison Light argue something very different, and much closer to my own thesis, that Christie in fact opens up a variety of roles for women as a quiet but sustained subversion and questioning of contemporary mores. Gill’s literary biography Agatha Christie: The Woman and Her Mysteries (1990)74 proves both knowledgeable and nuanced in its readings of female characters subversive of contemporary cultural representations. Preliminary Proceedings 17 In Christie’s fictional world, intellect and sensibility, weakness and strength, drive and inertia, sexuality and morality are not simply factors of gender or age.

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