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Notes 1 Preliminary proceedings 1. Jane McDermid, ‘Women and Education’, Women’s History: Britain, 1850–1945, ed. June Purvis (London: UCL, 1995), pp. 107–30 (p. 107). 2. Arthur Marwick, The Deluge: British Society and the First World War, 2nd edn (London: Macmillan, 1991), p. 134. 3. Ibid. 4. Jane Humphries, ‘Women and Paid Work’, Women’s History, ed. Purvis, pp. 15–105 (p. 89). 5. Penny Tinkler, ‘Women and Popular Literature’, Women’s History, ed. Purvis, pp. 131–56. 6. Ibid., p. 145. 7. Ibid., p. 146. 8. Alison Light, Forever England: Femininity, Literature and Conservatism Between the Wars (London: Routledge, 1991), pp. 9–10. 9. Ibid. 10. Earl F. Bargainnier, The Gentle Art of Murder: The Detective Fiction of Agatha Christie (Bowling Green, Ohio: Bowling Green Press, 1980), p. 37. 11. Ann Heilmann, New Woman Fiction (London: Macmillan, 2000), p. 34. 12. Ibid., p. 35. 13. Patricia Marks, Bicycles, Bangs and Bloomers: The New Woman and the Popular Press (Lexington: University of Kentucky, 1990), p. 184. 14. Agatha Christie: An Autobiography (London: Fontana, 1977), p. 335. 15. Jared Cade, Agatha Christie and the Eleven Missing Days (London: Peter Own, 1998). 16. Lyn Pyket, Engendering Fictions (London: Arnold, 1995), p. 15. 17. Jane Elderidge Miller, Rebel Women: Feminism, Modernism and the Edwardian Novel (London: Virago, 1994), p. 4. 18. Agatha Christie’s Miss Marple: The Life and Times of Miss Jane Marple, first published in the US by Dodd Mead, 1985 (London: HarperCollins, 1997). 19. Ibid., p. 71. 20. Ibid., p. 45. 21. Anne Hart, Agatha Christie’s Poirot: The Life and Times of Hercule Poirot (London: Pavilion Books, 1990). 22. Andrew Eames, The 8.55 to Baghdad (London: Bantam, 2004). 23. Ibid., p. 5. 24. Dawn Sova, Agatha Christie A to Z (New York: Checkmark, 1996). 25. Colin Watson, Snobbery with Violence (London: Eyre & Spottiswoode, 1971). 26. Ibid., p. 171. 27. First published in Agatha Christie: First Lady of Crime, ed. H.R.F. Keating (New York: Holt Rinehart, 1977), republished in Julian Symons, Criminal Practices (London: Macmillan, 1994), pp. 51–62. 182 Notes 183 28. Ibid., p. 51. 29. Ibid., p. 59. 30. Ibid., p. 56. 31. Robert Barnard, A Talent to Deceive: An Appreciation of Agtha Christie, first published by Collins in 1980 (London: Fontana, 1990). 32. Ibid., p. 5. 33. Ibid., p. 26. 34. Ibid., p. 101. 35. Symons, p. 50. 36. Barnard, p. 28. 37. Ibid., p. 120. 38. Ibid., p. 65. 39. Ibid., p. 2. 40. Ibid., p. 35. 41. Ibid., p. 32. 42. Ibid. 43. Stephen Knight’s Form and Ideology in Crime Fiction (London: Macmillan, 1980). 44. Ibid., p. 117. 45. Ibid., p. 107. 46. Ibid., p. 119. 47. Ibid., p. 107. 48. Patricia D. Maida and Nicholas B. Spornick, Murder She Wrote: A Study of Agatha Christie’s Detective Fiction (Bowling Green, Ohio: Bowling Green Press, 1982). 49. Ibid., p. 4. 50. Ibid., p. 6. 51. Ibid., p. 23. 52. David I. Grossvogel, ‘Death Deferred: The Long Splendid Afterlife and Mysterious Workings of Agatha Christie’ in Essays on Detective Fiction, ed. Bernard Benstock (London: Macmillan, 1983). 53. Patricia Craig and Mary Cadogan’s, The Lady Investigates: Women Detectives and Spies in Fiction (Oxford: Oxford University Press, 1986). 54. Ibid., p. 166. 55. Ibid., p. 169. 56. Cora Kaplan, ‘An Unsuitable Genre for a Feminist’, Women’s Review, 8.6.1986, pp. 18–19. 57. Ibid., p. 18. 58. Ibid. 59. Ibid., p. 19. 60. Michelle Slung, ‘Let’s Hear it for Agatha Christie: A Feminist Appreciation’, in The Sleuth and the Scholar: Origins, Evolution, and Current Trends in Detective Fiction, eds Barbara Rader and Howard Zetler (Westport, Connecticut: Green- wood, 1988), pp. 63–8. 61. Ibid., p. 65. 62. Rosalind Coward and Linda Semple’s influential, ‘Tracking Down the Past: Women and Detective Fiction’ in From My Guy to Sci-Fi, ed. Helen Carr (London: Pandora, 1988), pp. 39–57. 63. Ibid., p. 45. 184 Notes 64. Marty S. Knepper, ‘Agatha Chrsitie’, in Great Women Mystery Writers, ed. Kath- leen G Klein (Westport, Connecticut: Greenwood, 1994), pp. 58–65, p. 60. 65. Jerome H. Delamere and Ruth Prigozy eds., Theory and Practice of Classic Detective Fiction (Westport, Connecticut: Greenwood, 1997), see Robert Merrill, ‘Christie’s Narrative Games’, pp. 87–102; Robin Woods,‘ “It was the Mark of Cain”: Agatha Christie and the Murder of the Mystery’, pp. 103–10; Ina Rae Hark, ‘Impossible Murderers: Agatha Christie and the Community of Readers’, pp. 111–18. 66. Martin Priestman’s Detective Fiction and Literature: The Figure on the Carpet (London: Macmillan, 1990). 67. Ibid., p. 156. 68. Ibid., p. 160. 69. Ibid., pp. 167–8. 70. Ibid., p. 156. 71. Anna-Marie Taylor’s ‘Home is Where the Hearth Is: The Englishness of Agatha Christie’s Marple Novels’, in Watching the Detectives: Essays on Crime Fiction, eds Ian Bell and Graham Daldry (London: Macmillan, 1990), pp. 134–51. 72. Ibid., p. 142. 73. Ibid., pp. 143–4. 74. Gillian Gill, Agatha Christie: The Woman and Her Mysteries (London: Robson, 1990). 75. Ibid., p. 7. 76. Ibid., p. 8. 77. Ibid., p. 7. 78. ‘Agatha Christie and Conservative Modernity’, chapter two of Forever England: Femininity, Literature and Conservatism Between the Wars (London: Routledge, 1991). 79. Ibid., p. 62. 80. Ibid., p. 14. 81. Ibid., p. 18. 82. Ibid., p. 108. 83. Ibid. 84. Ibid., p. 96. 85. Marion Shaw and Sabine Vanacker, Reflecting on Miss Marple (London: Rout- ledge, 1991). 86. Ibid., p. 4. 87. Ibid., p. 5. 88. Ibid., p. 31. 89. Ibid., p. 64. 90. Ibid., p. 63. 91. Ibid., pp. 83–4. 92. Ibid., p. 95. 93. Ibid. 94. Odette L’Henry Evans, ‘Croquet and Serial Killers: Feminism and Agatha Christie’ in It’s My Party, ed. Gina Wisker (London: Pluto, 1994), pp. 174–80. 95. Ibid., p. 176. 96. Ibid., p. 178. 97. Ibid., p. 179. 98. Ibid. Notes 185 99. Mary Anne Ackershoek’s ‘The Daughters of His Manhood: Christie and the Golden Age of Detective Fiction’, in Delamater and Prigozy, pp. 119–28. 100. Ibid., p. 120. 101. Ibid. 102. Ibid., 121. 103. Ibid., p. 123. 104. Ibid., p. 22. 105. Ibid. 106. Gill Plain’s Twentieth Century Crime Fiction: Gender, Sexuality and the Body (Edinburgh: Edinburgh Press, 2001), ‘Sacrificial Bodies: The Corporeal Anxi- eties of Agatha Christie’, pp. 29–56. 107. Ibid., pp. 6–7. 108. Ibid., p. 6. 109. Ibid., p. 31. 110. Ibid., p. 37. 111. Ibid., p. 48. 112. Ibid., p. 52. 113. Ibid., p. 47. 114. Ibid., p. 54. 115. Susan Rowland, From Agatha Christie to Ruth Rendell: British Women Writers in Detective and Crime Writing (London: Palgrave, 2001), p. 157. 116. Ibid., p. 28. 117. Ibid., p. 158. 118. Ibid. 119. Ibid., p. 159. 120. Ibid., p. 162. 121. Ibid., p. 164. 122. Ibid., p. 162. 123. Ibid., p. 168. 124. Harold Bloom ed., Agatha Christie: Modern Critical Views (Philadelphia: Chelsea House, 2002). 125. Stephen Knight’s Crime Fiction, 1800–2000 (London: Palgrave, 2004). 126. Bloom, pp. 79–84. 127. Knight, pp. 89–93. 128. Ibid., p. 93. 129. Ibid., p. 91. 130. Ibid., p. 92. 2 Detecting deviancy 1. Merja Makinen, Feminist Popular Fiction, London Palgrave, 2001, Chapter 4: Detective Fiction. 2. Published by Collins in 1977 (Fontana/Collins, 1978), where she explains that The Leavenworth Case had fascinated her since she was eight, p. 216. 3. First published 1963 (Fontana, 1966/85), p. 106 where Poirot praises The Leavenworth Case for its melodramatic atmosphere and the psychological veracity of its murderer. 4. Published in 1941, by Collins (Signet, 2000). 186 Notes 5. Christie dedicated the 1969 Hallowe’en Party to Wodehouse. 6. Alison Light, p. 69. 7. Charles Osborne, ‘Appearance and Disapperance’, in Modern Critical Views: Agatha Christie, ed. Harold Bloom (Philadelphia: Chelsea House, 2002), pp. 101–46 (p. 117). 8. Julian Symons, ‘Foreword: A Portrait of Agatha Christie’, in Modern Critical Views, ed. Bloom, pp. 73–8 (p. 78). 9. Robert Barnard, p. 11. 10. Ibid., p. 14. 11. Rowland, p. 42. 12. Maida and Spornick, p. 140. 13. Patricia Craig and Mary Cadogan, p. 81. 14. Light, p. 73. 15. The Secret Adversary, first published in 1922 by the Bodley Head (London: HarperCollins, 2001). 16. Partners in Crime, first published in 1929 by Bodley Head (London: Harper- Collins, 2001). 17. By the Pricking of My Thumbs, first published in Collins, 1968 (London: HarperCollins, 2001). 18. Postern of Fate, first published by Collins in 1973 (London: HarperCollins, 2001). 19. Murder is Easy, first published by Collins in 1939 (London: HarperCollins, 1993). 20. Jay Dixon, The Romance Fiction of Mills and Boon 1909–1990s (London: UCL Press, 1999), p. 83. 21. Manchester Guardian, 21.12.1928; reprinted in Testament of a Generation: The Journalism of Vera Brittain and Winifred Holtby, ed. Paul Berry and Alan Bishop (London: Virago, 1988), pp. 57–60. 22. Ibid., p. 59. 23. Ibid. 24. Ibid., p. 60. 25. Kora Caplan, ‘An Unsuitable Genre for a Feminist’, Women’s Review, 8 (June 1986), pp. 18–19. 26. Light, p. 10. 27. Earl Bargainnier reads Tommy as solving 7, Tuppence 5, and 2 together, but examining the denouement of each case produces the equal 7 solutions each for the two in their ‘joint venture’. 28. NorM?,p.46. 29. See NorM?, p. 209; the same scenario also occurs in Postern of Fate, pp. 319–21. 30. Rowland, p. 158. 31. Gill, p. 73. 32. ‘Intertextuality in Oranges Are Not the Only Fruit: The Bible, Malory, and Jane Eyre’, in ‘I’m Telling You Stories’: Jeanette Winterson and the Politics of Reading, ed. Helena Grice and Tim Woods (Amsterdam: Rodopi, 1998), pp.
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    Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground- breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true- crime exposé, police procedural and post- colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER- HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Barry Forshaw BRITISH CRIME FILM Subverting the Social Order Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian