By M. Makinen
Christie's books depict girls as adventurous, self reliant figures who renegotiate sexual relationships alongside extra equivalent traces. girls also are allowed to disrupt society and but the texts refuse to determine them as double deviant as a result of 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
Tommy said slowly: ‘I don’t know that I really would want to do that Tuppence and I, you see, aren’t on those terms. , 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.
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 protective male! Flourishing in the Victorian era, going strong in the Edwardian, and still showing signs of life despite the rush and strain of modern life’ (MIE, p.
19). Tommy’s misogynist grandfather bewails the fact that ‘ “Girls aren’t what they used to be in my young day” ’ (SA, p. 384) but approves of her pertness. She rejects the concept that love is the central concern of women, by refusing to admit to her own ‘sentimentality’ about Tommy, and even after she has admitted her concern and love for the captured man, is able to continue sleuthing, thereby demonstrating her professionalism (SA, pp. 216–7). Love is not the be-all and end-all; discovering the solution to the mystery takes precedence and the modern marriage is conceived of as a ‘sport’ rather than the more usual constructions: ‘a haven, a refuge, and a crowning glory, and a state of bondage’ (SA, p.