Theoretical Analysis: Critical Race Theory

The racial history of Agatha Christie’s And Then There Were None leaves room for a critical observation of the use of race in its original publication, Ten Little N******. Though not published under this title presently, there is great significance to its original usage that demands attention. From a critical race theory perspective, the poem “Ten Little N******” in Christie’s novel first creates unsettling undertones of “otherness”, then creates an unconventional double consciousness for the characters in the novel, and finally demands attention to the socio-cultural forces that define the perception of race in the novel. 

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Because all the characters in the novel are European and caucasian, the use of the derogatory term creates a distinguished understanding of “otherness”. In this case, otherness means understood, however misguided, racial and moral differences between white Europeans and those of color in which a comparison of the two to each other would create a, “... ‘dark side’ of the English...” (Light, 99).  Though changed in most publications today, the use of “Ten Little N******” or “Ten Little Indians” serves as a literary tool to create implied themes of race that transcend racist tones by bringing to light the, “...racial fears woven into psychic life as early as the nursery,” (Light, 99). This racial fear is linked to the notion that bad things are associated with others: That “others” commit crimes, and “others” die. Time and time again in this novel, the idea of this “otherness” is exhibited by the characters. For example, Lombard justifies his past actions of killing 21 members of an East African tribe by saying, “...natives don’t mind dying, you know. They don’t feel about it as Europeans do,” (Christie, 67). His line of thinking is not far off from other characters, thus the idea of Europeans having a higher value on their life than natives and that they possess moral authority is crucial to the use of the racial terms. Without this understanding of their colonialist views, this fear-inducing “otherness” cannot exist since the characters rely on their perception that those of color are below them. Therefore, the idea of “otherness” is arguably lost in the newer editions that use the word “soldier” in the nursery rhyme since a soldier would be someone understood to be upright and good in the eyes of the characters. This is important to note because as the novel progresses, it becomes abundantly clear that the guests are in fact the little “indians” they fear since they are the ones who have committed immoral crimes; their white, or pure, exterior is matched with a black, or corrupt, interior. Of course, it is crucial to note that the racist symbolism is a product of its time, and is therefore unacceptable by today’s standards. 

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With this in mind, the racial “otherness” creates an unconventional double consciousness since the characters live both as a “normal” and moral member of European society while also living as the corrupt “other” that they fear. The fact that the nursery rhyme is plastered in every room of the house and there is a presence of racially insensitive figurines in early editions shows how the dual identity of the characters is emphasized and taunting them since their “dark” side is unavoidable. This then means that the characters have to look at themselves through the scope of others, as W.E.B. Du Bois describes when discussing the dual consciousness, since they are looking at the figures and poem critically while also embodying the fate of the characters in the rhyme and the “death” of each figurine. Though the racial slurs are not necessarily okay, they seem to bring Christie’s genius to light because these people, these murderers, are seemingly normal and respectable people however, through their deaths it becomes evident that they act as the “savages” they so condemn; they act violently, maliciously, and stripped of their moral authority. Therefore, by living as both an outwardly embodiment of acceptable Europeans and as a “savage” brute, the guests are in conflict with their identity. 

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The racial undertones of early editions of the novel beg the question of what socio-cultural forces drive this use of race and racist themes. Given that the novel was published in 1939 and later again in 1940, the slurs do not seem appropriate for the time; this is evident merely from the fact that the original title was not acceptable to publish in the U.S. Therefore, a deeper look at the function of the racism is required. It is evident that a large character flaw in many of the guests of the island is their moral complacency. Perhaps Emily Brent is the best example of this as her pious nature blinds her from her own corruption. This complacency is rooted in the imperialist notions that she, and other characters, would be familiar with. The idea that there is a difference between a “civilized” people’s value and a “savage” people’s value is a prime example. Thus, race is used as a way to condemn the imperialist and colonialist beliefs in self-sanctity. Without this context, the use of the rhyme is less potent and the horror of the novel is revealed: ordinary, upstanding, and“ideal” European people can be as cruel and brutal as their conceived definition of “savages”.

Ultimately, the change of the title was important. Without the change, Christie’s success in this novel would likely have been drastically lower and possibly non existent. However in looking  at the function racism plays in the original editions of the novel, it becomes clear that morality and justice is defined in a perceived sense of “otherness” that is a product of the time and the nursery rhyme, a “...ballad [that has shaped] social and cultural race consciousness,” (Anderson, 2009). So while the use of racist names is something that was rightfully changed, the use of the rhyme certainly brings light to a deeper understanding of the novel.

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