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A_THING_OF_WIND_AND_LIGHT
Sharon's frigid and easy grace dominated
that red hung room. Her face was quite
expressionless now, and the black eyelashes
flickered over cool, impersonal eyes. She
became a thing of wind and light; that is
the only way it can be described. Taking a
cigarette from a silver box on a tabouret,
very calmly, she lighted it and closed the
lid of the box with a snap.
"The Lost Gallows" (1931)
by John Dickson Carr
Chapter 12 "The Mirth of the Murderer", p. 137
And there you have
the Modern Woman A few years later, Carr had lost
of the twenties... interest in such things, and began
writing about typically very British,
very Nice Girls (though almost always
Good Sports, you know), and not very
Plucky ones, either:
This apology should come from that fact that
on one point all the leading authorities are
agreed: to introduce a heroine (whether or
not the tale be fact) is bad. Very bad. As
Henry Morgan says, you know what I mean: the
gray-eyed, fearless Grace Darling with the
cool philosophy, who likes to poke her nose
into trouble and use a gun as well as the
detective, and who requires the whole book to
make up her mind whether she is more than
casually interested in the hero.
John Dickson Carr (addressing the reader)
"The Eight of Swords" (1934)
Chapter 8 "At the Chequers Inn", p.93
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