Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-02T18:19:18.913Z Has data issue: false hasContentIssue false

Chapter 10 - The Golden Age Meets the Age of Aquarius: Agatha Christie in the 1960s

Published online by Cambridge University Press:  13 April 2024

Meghan P. Nolan
Affiliation:
Rockland Community College, New York
Rebecca Martin
Affiliation:
Pace University, New York
Get access

Summary

Introduction

Agatha Christie's work has traditionally been regarded as emblematic of the Golden Age of Detective Fiction, which covers the twenty or so years between the two world wars. Her first novel, The Mysterious Affair at Styles, was published in 1920, and her most famous works—The Murder of Roger Ackroyd (1926), Murder on the Orient Express (1934), Death on the Nile (1937)—are products of this period as well. This timeframe is aptly referred to as the Golden Age because the most widely read and influential novels of Dorothy Sayers, Ngaio Marsh, John Dickson Carr, S. S. Van Dine, and Marjorie Allingham were written at the time as well. Yet to limit Christie's achievement to the years between the two world wars is a failure to acknowledge the fact that Christie, as well as several other Golden Age authors, continued to produce major work after 1940. In Christie's case, she continued to write until the mid-1970s, and the later books comment on the changing mores and values of the times, most interestingly those associated with the young generation of the mid and late nineteen sixties. As a result, analyzing these late novels demonstrates that the label “Golden Age” and the years 1920–1940 as its time period are both “uncertain spaces” that need to be qualified by attention to the entire span of Christie's career.

What I will discuss here primarily are some of the novels she published between 1965 and 1970, books in which she depicted the youth culture of those turbulent years: the rebelliousness, the rejection of authority, the widespread bohemianism that involved drugs and the relaxation of sexual standards. This is a world far removed from the country estates or middle-class tourist life she commonly treated in the past, and her vision of the world is darker, with the books taking on their own noirish sensibility. Five books from this period—At Bertram's Hotel (1965), Third Girl (1966), Endless Night (1967), Hallowe’en Party (1969), and Passenger to Frankfurt (1970)—include references to the new youth culture that was exploding in the Western world.

Type
Chapter
Information
The Crossroads of Crime Writing
Unseen Structures and Uncertain Spaces
, pp. 209 - 224
Publisher: Anthem Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×