Zazie in the Metro is a novel rife with the theme of sexual role confusion. This theme manifests early on when Zazie, the curious protagonist, seeks to understand the concept of homosexuality. Marceline, acting as a maternal figure, simplistically explains that a homosexual is a man who wears blue jeans. This explanation is tinged with irony, as it conflates clothing choices with sexual orientation, showcasing society's misunderstanding and oversimplification of such identities.

Further blurring the lines of gender and identity, Zazie is mistaken for a boy by a driver from her hometown. Her attire—jeans—serves as the basis for this incorrect assumption, illustrating how external appearances often mislead perceptions of gender roles. The driver, surprised to see Zazie out of the traditional female garb, highlights the societal expectations tied to clothing and gender identity.

Meanwhile, Marceline's character adds another layer of complexity. Known to Zazie as a motherly figure, Marceline's true identity as Marcel serves as a poignant commentary on the fluidity of gender roles within the novel. By presenting Marceline as both a nurturing maternal presence and a male figure, the narrative challenges conventional gender norms and invites readers to question the stability of these roles.

Gabriel stands out as the most commendable character in the narrative, embodying a unique blend of traits that defy traditional gender expectations. He navigates life with a lightheartedness that is contagious, bringing joy and laughter to those around him. His relaxed nature and ability to not take himself too seriously make him an anchor of positivity in the story.

Gabriel challenges conventional notions of masculinity. Despite his imposing stature, he embraces qualities often deemed feminine, such as patience and forbearance, especially in his interactions with his niece. This combination of traits makes him the novel's heroic figure, a fusion of admirable male and female characteristics.

As a friend, provider, and constant companion to Marceline-Marcel, Gabriel takes on multiple roles with unwavering dedication. He protects those who are vulnerable and earns the trust of his peers through his wise leadership. With Zazie, Gabriel becomes a mentor of sorts, gently reminding her of the importance of accepting the world as it is. His admirable qualities not only set him apart as a character but also offer a refreshing perspective on the fluidity of gender roles and the essence of true heroism.

The novel stands as a rebellion against the conventional structures that dictate the world of fiction. It challenges the traditional notions of character development and narrative coherence, rejecting any authoritative voice that seeks to impose a singular meaning on the chaos of experience. This opposition to order is a testament to the absurdity found in reality, where any attempt to find metaphysical value often leads to greater confusion. Yet, by the novel's conclusion, the metro resumes operation, suggesting a return to some semblance of normalcy within Queneau's uniquely whimsical universe. In such a setting, perhaps that is all one could hope to achieve.