At the beginning of the story, Mary and Patrick Maloney fulfill traditional feminine and masculine roles. Dahl subverts these conventional gender tropes as the plot progresses by reversing the power dynamics between the male and female characters. In doing so, the author challenges rigid gender roles, suggesting they are the product of a patriarchal society that favors men.

Mary initially embodies the 1950s homemaker. Confined to the domestic sphere, her life revolves around her husband. While Mr. Maloney is at work, she ensures the house looks welcoming, then sits with her sewing. The way Mary listens for “tires on the gravel outside” illustrates her eagerness for her husband’s return (22). Once Patrick Maloney is home, Mary endeavors to meet his every need. Although six months pregnant, she performs the role of a domestic servant, hanging up Mr. Maloney’s coat, preparing him a drink, offering to fetch his slippers, and insisting on making supper. She also provides emotional support, reflecting on how tired her husband must be after his day at work. Entirely submissive to Mr. Maloney, Mary performs these tasks without resentment, as she has fully embraced the role of the “good wife.”

Mary’s pampering of Mr. Maloney meets all the advice proffered in women’s magazines of the 1950s.