Abstract
Hoffman examines depictions of Dorothy L. Sayers’ detective couple Peter Wimsey and Harriet Vane, Margery Allingham’s Albert Campion and Amanda Fitton, Ngaio Marsh’s Roderick Alleyn and Agatha Troy and Agatha Christie’s Tommy and Tuppence Beresford in order to explore how—and if—the ‘gap’ that exists between actively equal partnership and domesticity is negotiated in golden age crime narratives. This chapter also posits that within these couples the modern male must return to a paradigm of dominant masculinity and the modern female must return to a traditionally submissive feminine role in order to establish successful relationships. Hoffman’s examination reveals an ambiguous view on the state of marriage in golden age crime fiction, reflecting uncertainty but not an absolute retreat to less empowering ideals.
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