From Retirement to Investigation: Ageing Characters in Detective Fiction

Literary gerontology, emerging as a dynamic and relatively nascent field of scholarship, seeks to delve deeply into the intricate representations of ageing as depicted in literary narratives. Scholars in this discipline, known as literary gerontologists, aim to uncover how “the aging body is never just a body subjected to the imperatives of cellular and organic decline, for as it moves through life it is continuously being inscribed and reinscribed with cultural meanings” (Featherstone and Wernick, 1995). The interdisciplinary domain engages in a critical examination of the social, cultural, and biological norms that shape our understanding of old age, while simultaneously interrogating the pervasive ageist stereotypes that often permeate literature. By scrutinising the multifaceted portrayals of ageing, frailty, and dementia, literary gerontology aims to uncover the nuanced perceptions, representations, and misrepresentations that inform societal attitudes towards the elderly. The field not only addresses the victimisation of older individuals as depicted in literature but also explores the complex dynamics of family and intergenerational relationships. Through this lens, scholars analyse how narratives reflect and influence societal views on ageing, challenging reductive portrayals and advocating for a more nuanced understanding of the ageing experience (Harris, 2020). By engaging with these themes, literary gerontology offers a political reading on how literary representations shape cultural perceptions of ageing and the implications these narratives hold for real-world attitudes and policies affecting the elderly population (Barry and Skagen, 2020). This article employs aspects of literary gerontology to analyse how detective writers of the 21st century conceptualise and depict ageing, old age, and the elderly. In particular, it examines how these narratives subvert traditional tropes, presenting elderly characters not merely as victims of time but as complex individuals with rich inner lives and agency through the case study of Richard Osman’s The Thursday Murder Club.

Figure 1: Miss Marple from Miss Marple the BBC tv-series (n.d.)

Agatha Christie’s Miss Marple serves as a lasting symbol of the adaptability of detective literature, surpassing the limitations imposed by age and contesting prevailing societal conventions. Initially introduced in the mid-20th century, Miss Marple has emerged as a quintessential character, defying ageist stereotypes and establishing herself as a perceptive and sagacious investigator. Her persona not only revitalized the ageing detective archetype but also facilitated the emergence of a modern literary trend.


In recent years, there has been a remarkable resurgence of contemporary adaptations and reinterpretations of the Miss Marple archetype, evident in both literature and television. The traditional detective figure, often a youthful male with exceptional skills and years of professional experience with a lesser side-kick, has become viewed as limiting and predictable. This has led to a demand for more diverse and relatable characters, resulting in the emergence of alternative figures like Miss Marple, an elderly amateur sleuth whose wisdom and observational skills effectively solve mysteries. Notable examples include the popular TV series Only Murders in the Building (2021) and various novels such as An Elderly Lady Is Up to No Good by Helene Tursten (2013), The Lavender Ladies Detective Agency series by Minna Lindgren (2016), The Postscript Murders by Elly Griffiths (2020), The Thursday Murder Club series by Richard Osman (2020), The Marlow Murder Club by Robert Thorogood (2021), Killers of a Certain Age by Deanna Rayburn (2022), and Vera Wong’s Unsolicited Advice for Murderers (2023). This trend showcases a deliberate departure from ageist conventions, casting older characters as central figures in the unravelling of intricate mysteries. However, it is crucial to approach this phenomenon with a critical lens. While these adaptations showcase older individuals as competent and engaging, it is essential to assess whether they are genuinely afforded agency within their narratives or merely serve as vehicles for younger characters’ development. The exploration of ageing and the representation of aged characters must be examined carefully to ensure that they are not only included but also empowered to drive their own stories forward. With this critical lens in mind, this article seeks to explore the age poetics present in The Thursday Murder Club. By analyzing the societal attitudes towards ageing and the intentional crafting of characters within Osman's narrative, this exploration aims to uncover whether the portrayal of older individuals is truly empowering or if it inadvertently reinforces preconceived notions about the elderly. Drawing on the experiences of the titular Thursday Murder Club, the article argues that the novel challenges ageist assumptions and offers a refreshing perspective on ageing that celebrates the richness of life beyond conventional youth-oriented narratives.

Figure 2: Only Murders in the Building (n.d.)

Unlike traditional narratives that might relegate older individuals to supporting roles or depict them as frail and dependent, The Thursday Murder Club places ageing protagonists at the forefront of the narrative. Set within a retirement community, the novel depicts a group of retirees who convene weekly to solve cold cases. However, the dynamics of their routine are significantly altered when a murder transpires within their otherwise serene neighbourhood. Confronted with a tangible mystery unfolding at their doorstep, the members of the Club find themselves compelled to participate in the investigation.

With the origin story of the Thursday Murder Club, the narrative explores the dynamics of living in a retirement home and how easily they can be reconfigured. “Many years ago, everybody here would wake early because there was a lot to do and only so many hours in the day. Now they wake early because there is a lot to do and only so many days left” (Osman, 2020). Elizabeth, one of the founding members of the Thursday Murder Club, established this intriguing group alongside her friend Penny. Penny, with her extensive background as a police inspector in Kent, brings a wealth of knowledge and unsolved murder case files to their meetings. Although she technically should not possess these files, her age affords her a certain freedom—an unwritten rule that allows her to bend the norms of authority. “After a certain age, you can pretty much do whatever takes your fancy. No one tells you off, except for your doctors and your children” (Osman, 2020). This playful defiance illustrates how the characters embrace their autonomy and the thrill of their newfound purpose.

Figure 3: The Thursday Murder Club Netflix Adaptation Cast with Richard Osman (n.d.)

In her work Aging and Its Discontents, Kathleen Woodward has described it as an “infinitesimally incremental process of the subtraction of strengths” (1991). However, in The Thursday Murder Club old age is not regarded as a subtraction of strengths but rather as a displacement. Retirement or proximity to death is not regarded as a lack of potential, on the contrary, the characters in the novel show potential for new possibilities alongside the wit that is already expected of them. Their sharp minds and unyielding curiosity drive them to solve mysteries that have been overlooked, proving that age can be an asset in investigative procedures.

Joyce, one of the club’s members and a partial narrator, demonstrates this notion with her humorous reflection: “I read that if mankind doesn’t stop eating meat, there will be mass starvation by 2050. With respect, I am nearly eighty, and so this won’t be my problem, but I do hope they sort it out” (Osman, 2020). This sentiment not only denotes her acceptance of her own mortality but also hints at her desire to engage fully in life, as evidenced by her whimsical plans for flirtation during bus rides: “Perhaps I will just sit next to him at the back of the bus one day, what am I waiting for?” (Osman, 2020). Here, Joyce exemplifies the spirit of the Thursday Murder Club—embracing life and embarking on adventures that defy the expectations of age.

The members of the Thursday Murder Club are acutely aware of how society perceives them and what it expects of them, yet they choose to reject those stereotypes. Joyce’s candid observation, “[p]erhaps they only came to help because I look old. I look frail and helpless. But I don’t think so,” reveals a deeper understanding of the prejudices that often accompany ageing (Osman, 2020). Rather than allowing these perceptions to confine them, the members of the Club cleverly leverage these biases to their advantage. They use such stereotypes as a disguise that grants them the freedom to operate with greater flexibility and autonomy. The characters subvert the ageist discourses by using the ageist assumptions to their benefit. When faced with the prospect of police interrogation, one of them remarks, “[i]t can be very stressful for elderly people to talk to police officers” (Osman, 2020). The narrative unfolds to reveal that this claim is a calculated maneuver designed to deflect scrutiny and manipulate perceptions, rather than a genuine demand for empathy. As the club conducts their own investigations through unconventional means and methods, they consciously choose to sidestep the police, crossing boundaries that many would deem inappropriate. Joyce comments on this rebellious spirit, stating, “I think that we are doing something illegal, but we are past the age of caring. Perhaps we are raging against the dying of the light, but that is poetry, not life” (Osman, 2020). Joyce's comment itself is a critical reading of literature and the literary stereotypes as well as defiance against the constraints of ageing and a refusal to be defined by societal limitations.

The physical challenges faced by the characters are not merely sidestepped; instead, they are confronted head-on, signifying a deeper acceptance of their realities. At a certain moment, Ron, one of the members of the Club, attempts to articulate his thoughts regarding David Cameron and the EU referendum, but he finds himself losing his train of thought, a reflection of the cognitive dissonance. As he settles into his chair, he is also reminded of the physical implications of his age with the sound of his “knees cracking like gunshots” (Osman, 2020). Similarly, Joyce reflects on the past vitality of the men in her life—Ron, Bernard, John, and Ibrahim—pondering the strength they once possessed. Her musings reveal a deep-seated awareness of their current diminished states, a poignant acknowledgement of how age has eroded their former prowess. “How strong these men must have been in their time,” she contemplates, contrasting their past vigour with their present fragility. The wistfulness in her observation, “[t]he testosterone was lovely while it lasted though,” touches upon a broader discourse on sexuality and masculinity (Osman, 2020).

Figure 4: Child dressed as Elizabeth Best from The Thursday Murder Club for World Book Day (2024).

Sarah Falcus has rightfully asserted that "in literary studies, ageing has been the unacknowledged shadow that intersects with more prominent approaches such as gender or postcolonialism" (2015). However, within the boundaries of detective fiction, there seems to be another pattern—one that is becoming more critical and inclusive in its portrayal of ageing. Drawing attention to age, The Thursday Murder Club effectively challenges and subverts traditional stereotypes associated with ageing. By showcasing a diverse group of retirees engaged in amateur sleuthing, the narrative not only entertains but also prompts readers to reevaluate the capabilities and contributions of older individuals. Osman’s novel fosters a more inclusive and critical reading of ageing. Ultimately, it paves the way for transformative dialogue around age. The representations of ageing within such narratives offer significant insights into the theorization of ageing and old age in literary studies. As the landscape of fiction evolves, it becomes increasingly evident that older characters are no longer relegated to the background; instead, they are gaining prominence and complexity. As noted by Rooke, "old people are now regarded by the writers of fiction as interesting; increasingly; they are now assigned major roles" (1992). This shift not only enriches the literary canon but also presents an opportunity for scholars in the field of literary gerontology to explore new dimensions of character development and narrative structure that reflect the realities of ageing in contemporary society.

Bibliographical References

Barry, E., & Skagen, M. V. (Eds.). (2020). Literature and ageing (Vol. 73). Boydell & Brewer.

Falcus, S. (2015). Literature and ageing. In J. Twigg and W. Martin (eds) Routledge Handbook of Cultural Gerontology (pp. 53-60). Routledge.

Featherstone, M., & Wernick, A. (1995). Introduction. In M. Featherstone & A. Wernick (Eds.), Images of aging: Cultural representations of later life (pp. 1–14). Routledge.

Harris, J. G. (2020). Confronting ageism and the dilemmas of aging: Literary gerontology and poetic imagination—Baranskaya to Marinina. Laboratorium. Журнал социальных исследований, 12(2), 146-168.

Osman, R. (2020). The Thursday Murder Club: A novel. Penguin.

Rooke, C. (1992). Old age in contemporary fiction: A new paradigm of hope. In R.T. Cole, D.D. Van Tassel, R. Kastenbaum (Eds.) Handbook of the Humanities and Aging, 241, 257.

Woodward, K. (1991). Aging and Its Discontents: Freud and Other Fictions. Indiana UP.

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