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Christie's books depict women as adventurous, independent figures who renegotiate sexual relationships along more equal lines. Women are also allowed to disrupt society and yet the texts refuse to see them as double deviant because of their femininity. This book demonstrates exactly how quietly innovatory Christie was in relation to gender.
- Sales Rank: #4170934 in Books
- Brand: Brand: Palgrave Macmillan
- Published on: 2006-12-12
- Released on: 2006-12-12
- Original language: English
- Number of items: 1
- Dimensions: 8.65" h x .75" w x 5.86" l, .84 pounds
- Binding: Hardcover
- 205 pages
- Used Book in Good Condition
About the Author
MERJA MAKINEN is Principal Lecturer in English Literary Studies, Middlesex University, UK, and former Programme Tutor for the MA in Popular Literary Fictions. She has published on feminist writing in the Twentieth-century (especially on Angela Carter and Jeanette Winterson) and on popular genre fiction, including detective and crime writing.
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4 of 4 people found the following review helpful.
Much More of a Feminist than Previous Critics have Argued
By Kevin Killian
Merja Makinen has gone back to basics in her spirited defense of Agatha Christie's feminism, and in doing so, takes nearly every other previous critic to task for errors of fact and emphasis. Makinen follows in the footsteps of Alison Light, whose discussion of Christie's class politics in Forever England (1991) has been something of a beacon to newer generations of scholars. But Forever England is not a monograph, and treats Christie together with several of her contemporaries, while Makinen seems better versed than Light in the poetics, if you will, of the detective novel.
She remarks that one thing that surprised her during her survey of previous academic work on Christie is how little each scholar paid attention to the others. Christie scholars, she concludes, are constantly reinventing the wheel, and even more surprising, they seem to get the same things wrong each time. One of the chief problems is that few academics take the trouble to read all of Christie's work, concentrating instead on a handful of titles, thus missing the boat on the bigger picture. In addition, Christie's autobiography, written late in life when her political views had shifted somewhat, is relied on far too often to provide the reasoning behind her early and much more radical writings.
Over and over again, she explains, we hear from academics that Christie didn't care for career women, etc., when if you actually sit down and read the books you find one glorious career woman after another. Makinen's first chapters are really her best, her readings of Christie's critics. When she ventures out on her own, however, she is nearly as good, and she does her homework. In the course of explicating Christie's generous views on gender parity, she jots down how much of a partnership the Beresford Partners in Crime series turns out to be, and she is able to show that Tommy solves exactly half the cases, and Tuppence exactly an equal number. On page 133 provides an impressive list of Christie works in which a female villain makes an appearance. Looking at it, you nearly think, is there any book that's not on this list? Christie's attraction to writing about the "bad" woman is even more apparent when you consider, as Makinen does, that in several novels heaps of different female villains crop up.
I enjoyed her individual readings of novels, but even more enjoyable is her identification of patterns among Christie's different writing periods, the "dark" novels of the second world war, in which she applies a denser psychology to her characters, the reversals of the Cold War, finally the late period in which (spoilers ahead) Makinen demonstrates that the plots of Third Girl and Endless Night mirror each other--a "coolly efficient" young modern exploits and destroys a younger girl with emotional or mental problems; and then she shows how At Bertram's Hotel plays with this formula and stands it on its head! I hadn't really thought of it like this before. (I guess you could say Cat Among the Pigeons and The Clocks do the same thing!) Anyway I enjoyed the book thoroughly: only one chapter, on real life tabloid treatments of female criminals in Christie's day, seems de trop. (A few pages of Christie's Mrs. McGinty's Dead cover much the same ground with a lot more point and esprit.)
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