By M. Makinen
Christie's books depict girls as adventurous, self sustaining figures who renegotiate sexual relationships alongside extra equivalent strains. ladies also are allowed to disrupt society and but the texts refuse to determine them as double deviant due to their femininity. This publication demonstrates precisely how quietly innovatory Christie used to be in terms of gender.
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Extra resources for Agatha Christie: Investigating Femininity
1941, p. 47) ‘I wish to goodness you could look after Mother properly,’ said Deborah severely. ‘None of us have ever been able to look after her properly,’ said Tommy. (By the Pricking of My Thumbs, 1968, p. ’ (Postern of Fate, 1973, p. 256)18 Christie consistently created a distinction between traditional, conservative gender relations, which the novels term ‘Victorian’ sentimentality and the new renegotiations of the ‘modern’, and placed masculine protectiveness as an outworn Victorian concept, as delineated in Murder is Easy (1939): ‘Good old sentimentality to the fore again, thought Luke.
The only sensible way out of the difficulty is to drop this sentiment about ‘a man’s privilege’. If some women still think that any man, however ill he can afford it, ought to pay all bills for entertainments, it is time they learned the new code. 24 However, it was to take second wave feminism’s re-questioning in the 1970s for the custom of women paying to be widely adopted. Tuppence’s insistence and Tommy’s acquiescence in them sharing the bill in 1922 would place them as a couple striving to renegotiate gender relations.
Reiterating his earlier view of the feminisation of detective knowledge with Poirot, ‘a heightened version of female domestic knowledge as a weapon against fictional disorder’,129 and continued with Miss Marple, he yet suggests Christie most preferred not having a serial detective. Christie’s detective fiction has an ethical force because the disorder is ‘a major personal betrayal’, a disturbing ‘intimate danger’, so that it is her ability to constantly recreate in different plots the ‘sense of personal unease and possible danger that emerged in a world secluded from social and international disorder’130 that makes her so successful.
Agatha Christie: Investigating Femininity by M. Makinen