<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.</p>
</abstract>

Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.

The Salt of the Earth or the Murderess? The Problem of Femininity in the Novels of Agatha Christie

Pavol Jozef Šafárik University in Košice

Prague Journal of English Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently,...

The Salt of the Earth or the Murderess? The Problem of Femininity in the Novels of Agatha Christie

Publicado en línea: 05 oct 2021

Páginas: 7 - 22

DOI: https://doi.org/10.2478/pjes-2021-0001

Palabras clave
Femininity, domesticity, food, Agatha Christie, detective fiction, Golden Age

© 2021 Silvia Rosivalová Baučeková, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The Salt of the Earth or the Murderess? The Problem of Femininity in the Novels of Agatha Christie

Publicado en línea: 05 oct 2021

Páginas: 7 - 22

DOI: https://doi.org/10.2478/pjes-2021-0001

Palabras claveFemininity, domesticity, food, Agatha Christie, detective fiction, Golden Age

© 2021 Silvia Rosivalová Baučeková, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Palabras clave
Femininity, domesticity, food, Agatha Christie, detective fiction, Golden Age