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Agatha Christie- The Murder of Roger Ackroyd
Agatha Christie (full name Agatha Mary Clarissa Miller) was born in Torquay, England on September fifth, 1890. Agatha's father's name was Fredrick Miller, he was an American, and her mother's name was Clarissa 'Clara' Miller. Agatha had an older brother named Monty and an older sister, Margret. Margret received a formal education while Clara decided against that path for Agatha. Agatha taught herself to read at five years of age and the rest of her education came from governesses, tutors, and French finishing schools. While in school Agatha developed a passion for singing, along with her writing, but never perused it as a career. At an early age Agatha demonstrated her creativity by acting out stories for fun. At age eleven Agatha's father died which brought her even closer to the already close relationship she had with her mother. After her father died, her mother took up traveling and would take Agatha along with her. Agatha developed a love for traveling and continued to do so as she grew older. In the year of 1912 Agatha met a young man named Archie Christie, an aviator in the Royal Flying Corps. After a two-year romance, Agatha and Archie were married on Christmas Eve in 1914. Shortly after their marriage Archie was sent off to fight in World War I. During that time Agatha did her part in the war by becoming a nurse for the Voluntary Aid Detachment of the Red Cross Hospital in Torquay. Agatha and Archie had one daughter, Rosalind, who was born in 1919. In 1920 Agatha’s writing career began with her first book, The Mysterious Affair at Styles, was published. The book received good reviews and because she was so descriptive with the poison it got a review in the Pharmaceutica...
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...d she never would have achieved the success that she did.
Works Cited
“Agatha Christie: Biography”. Agatha Christie: Home. 2009. Web. 24 Mar. 2011.
Christie, Agatha. The Murder of Roger Ackroyd. New York, New York: First Harper Paperbacks Printing, 1991. Print.
Merriman, C.D. “Agatha Christie- Biography and Works. Search Texts, Read Online. Discuss”. The Literature Network: Online Classics Literature, Poems, and Quotes. Essays & Summaries. 2007. Web. 24 Mar. 2011.
Robyns, Gwen. The Mystery of Agatha Christie. 1st ed. Garden City, New York: Doubleday and Company Inc, 1978. Print.
Wagoner, Mary S. “Chapter 3: The Detection Novels: Finding the Form (1920-1929).” Agatha Christie. Mary S. Wagoner. Boston: Twayne Publishers, 1986. Twayne’s English Authers series 432. Literature Resource Center. Web. 28 Mar. 2011.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
Kempe, Margery. "From The Book of Margery Kempe." The Norton Anthology of Literature By Women. 2nd ed. Sandra Gilbert and Susan Gubar. New York: W.W. Norton & Company, 1996. 18-24.
The World Book Encyclopedia. 2000 ed. : p. 78. Griswold, Rufus Wilmot. The "Scarlet Letter" The Library of Literary Criticism of English and American Authors. Ed.
The Norton Anthology of English Literature, Volume 1c. New York: W.W. Norton & Co, 2006. Print. The.
Fetterly, Judith. “Reading About Reading: ‘A Jury of Her Peers’, ‘The Murders in the Morgue,’ and ‘The
In conclusion Agatha Christie wrote this very popular novel called And Then There Were None , to teach the readers that free or not you are never free from justice. By using both external and internal conflicts with the characters, symbolism with the poem Ten Little Soldiersand the china figures both symbolizing each character and irony of Justice Wargrave. This book is one of the reasons why Christie became the first grandmaster recognized by the mystery writers of America
Gilbert, Sandra M and Gubar, Susan, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, (Yale University Press, 11 Jul 2000), Pg. 198 and 348
Jokinen, Anniina. "Luminarium: Anthology of English Literature." Luminarium: Anthology of English Literature. N.p., 1996. Web. 9 Nov. 2013. http://www.luminarium.org/
married Colonel Archibald Christie. They had one daughter, whose name was Rosalind, and then they divorced in 1928. She started writing in 1920, and her first book published was The Mysterious Affair at Styles. She wrote And Then There Were None in 1939. Agatha Christie has become one of the most famous writer of mystery novels. And Then There Were None is a murder mystery type book.
Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979)
Agatha Christie depicts a descriptive, fictional murder mystery in the novel ABC Murders. With the help of the narrator, Captain Arthur Hastings, Hercule Poirot solves the murders of four victims who are killed in alphabetical order by Franklin Clarke, more commonly known as ABC. The story elicits copious high points but the rare low point as well. Examples of these aspects can be found within the plot, setting, characters, conflict, and theme of the book. According to Stanford’s Suggested Reading List, the book is considered a “must read.” ABC Murders definitely holds up to the reputation placed upon it by Stanford and would be a favorable choice for anyone wishing to read a well written novel.
Munro, Alice. ìPrue.î The Bedford Introduction to Literature. 6th ed. Ed. Micheal Meyer. Boston: Bedford/St.Martinís, 2002. 467-469.
...l E. "Margaret Atwood and the Poetics of Duplicity." The Art of Margaret Atwood. Ed. Arnold E. Davidson. Toronto: House of Anansi Press, 1981.
Although very miniscule, attempts are made to pin the murder of poor Roger Ackroyd on the servants of Fernly Park. This can especially be dissected through the analysis of Ursula Bourne and the abrupt dismissal of her position at Fernly Park, directly following the murder; “‘You may have not noticed it at the time, my good friend, but there is one person on this list whose alibi had no kind of confirmation. Ursula Bourne’”. (125) Ursula has no real alibi, but we are easily persuaded into thinking that she may be the guilty one. Social hierarchy is a leading factor in the amateur detective work done by the other characters. Ursula through her defence when confronted about her dismissal in her position, “‘I know nothing about the money. If you think I took it, and that is why Mr. Ackroyd dismissed me, you are wrong,’” (122) we can see that she has something to hid. Christie uses Ursula’s yet to be discovered secret of her marriage to Ralph to compound the reader’s belief that Ursula is hiding the fact that she may have something to do with Mr. Aykroyd’s death. It is easier to blame someone of lower social class then to admit that someone with higher social standings could be the
The point of view in The Murder on the Orient Express is third-person omniscient, which is crucial to the book. The reader can see an example when Christie first introduces Mrs. Debenham. Christie tells all about Mrs. Debenham’s adventure up until that point and also gives a brief description of her thoughts and feelings about Hercule (Christie 6). Christie does not, however, reveal any of Mrs. Debenhams involvement in the murder. Knowing the thoughts of the characters is very important in keeping the reader interested and trying to figure out the murder without giving away. Critics supports this idea by saying, although the thoughts and feelings of all characters are given, the restricted information Christie leaves out, gives the readers a dramatic effect ("Murder on the Orient" 152). Christie’s style in The Murder on the Orient Express also included some stereotyping of individuals on the train. This stereotyping was shown when it was decided that the stab wounds seemed to be inflicted by a woman based on the lack of intensity (Christie 56). Another place stereotyping was concerned was when Antonio was suspected solely based on his Italian nationality (Christie 122). The stereotyping Christie includes in her book shows importance to the plot by distracting the readers from more valid evidence. This distraction is another tactic used to keep the reader intrigued in the story. Greg Wilson comments about Christie’s insensitive remarks and says she might use these shallow, stereotypical comments about the characters as a crucial part of the murder plot ("Murder on the Orient" 155). The author’s style draws the reader in by utilizing distracting elements to elude them from the