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An Autobiography by Agatha Christie

By Agatha Christie

Again in print in an all-new variation, is the attractive and illuminating chronicle of the lifetime of the “Queen of Mystery.” Fans of Hercule Poirot and omit Marple and readers of John Curran’s interesting biographies Agatha Christie’s mystery Notebooks and Murder within the Making will be spellbound via the compelling, authoritative account of 1 of the world’s so much influential and interesting novelists, instructed in her personal phrases and inimitable variety. The New York occasions publication assessment calls Christie’s autobiography a “joyful adventure,” announcing, “she brings the feel of her impressive career.”

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Miller echoes Martins appeal to "biographical contingency" w hen she remarks, "[not reading] the fiction with the autobiography is to rem ain prisoner of a canon that bars wom en from their own texts" (60). Others note that "the duplicitous and complicitous relationship of 'life' and 'a rt' in autobiographical modes [by women] is precisely the point" (Brodzki and Schenk 12). The fact that this new genre encourages new reading practices is obvious. However, the critical anxiety among feminists as to how to read for biographical contingency w ithout "essentializing" is palpable and real.

Ich konnte nur ueber den fruehen Brecht schreiben, und bevor ich an meine Geschichte ging, habe ich mich sehr genau in den fruehen Stuecken 53 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. umgesehen, um den damaligen Brecht in seinen Gegensaetzlichkeiten zu packen. (GW HI 314) While her w ork from the 1920s was neither w ritten as autobiography, nor received as such by critics, an iterative, rum inative process resuscitates them autobiographically.

Sie hat naemlich im Steinickesaal heim Kuenstlerfasching Lion Feuchtwanger kennengelernt. Er for der t sie auf, ihm zu bringen, was sie geschrieben hat. Er nennt es E xpressionisum us und Krampf. ]. " Incidentally, this final incarnation of the memory evokes the emotional vulnerability of the 1929 story, and the topos is identical: at the well- known author's behest, the young w om an brings him her stories, and then bum s everything she had written. Viewing three versions of one incident m ay seem redundant or superficial, but Fleisser's writing practice is recursive to the point of self-erasure.

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