By M. Makinen
Faraway from being a conservative author endorsing women's household position, Agatha Christie's e-book depicts ladies as adventurous, self sufficient girls who renegotiate sexual relationships alongside extra equivalent traces. girls also are allowed the damaging competency to disrupt society and but the texts refuse to work out them as double deviant due to their femininity. This exact textual research of her oeuvre demonstrates precisely how quietly innovatory Christie used to be relating to gender, starting in nineteen twenty and concluding within the early seventies.
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Additional info for Agatha Christie: Investigating Femininity (Crime Files)
Misleading, then, to take the fiction at face value, and imagine that Agatha Christie never addresses any sense of social disturbance: on one level her writing speaks to nothing else. 84 Gill’s nuanced readings of the female characters and Light’s argument that Christie does engage with a society in transition, ‘despite’ being a conservative writer, helped to buoy up this project during its darker days. Marion Shaw and Sabine Vanacker’s Reflecting on Miss Marple85 (1991) completes the important trio of feminist books at the beginning of the nineties, renegotiating and rehabilitating Christie’s oeuvre.
119 I would want to argue, following the readings of her portrayal of career women and wives renegotiating marital roles, in Chapter 3, that quietly and less obtrusively, Christie is in accord with, rather than in contrast to, such feminist agendas. 120 Perhaps it comes down to how one reads ‘renegotiation’ in relation to ‘reinvigoration’ within the cultural crisis of gender norms of the inter-war years, since the two might not necessarily be mutually exclusive. 122 Despite my occasional disagreements with particular conclusions, Rowland’s analysis of Christie’s representations of gender are enormously useful and yet another ally in the thesis that ‘The claim that detecting and crime fiction is an essentially conservative literary art rests upon the privileging of “closure” over “process” in storytelling’ and that The literary arts of these six crime writers have re-plotted the process of crime novels in ways that profoundly affect the reading experience.
It is a decidedly feminist event for the 1920s where a man was conventionally expected to pay. 23 But in the twenties, struggling for a new gender configuration within the changing modern world, Holtby argues for who pays for dinner being a site of struggle and re-negotiation for gender equality. 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.