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Introduction 1. Revising the Canon of Crime and Detection

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Introduction 1. Revising the Canon of Crime and Detection Notes Introduction 1. ‘Preface’, in Science, Pseudo-Science and Society, eds M.P. Hanen, M.J. Osler and R.G. Weyant (Waterloo, Ontario: Wilfrid Laurier University Press, 1980), p. viii. 2. See Michel Foucault, L’ordre du discours (Paris: Gallimard, 1971), pp. 16–23. 3. Rosemary Jackson, Fantasy: the Literature of Subversion (London and New York: Routledge, 1981), p. 20. 4. Ibid., pp. 25–6. 5. Clive Bloom, ‘Introduction’, in Gothic Horror: a Reader’s Guide from Poe to King and Beyond, ed. Clive Bloom (Basingstoke and London: Macmillan, 1998), p. 2. 6. Ibid. 7. Clive Bloom, The ‘Occult’ Experience and the New Criticism: Daemonism, Sexuality and the Hidden in Literature (Sussex: Harvester Press, 1986), p. 80. 8. Ibid., p. 81. 9. Linda Hutcheon, A Poetics of Postmodernism: History, Theory, Fiction (New York and London: Routledge, 1988), p. 9. 10. Bloom, ‘Introduction’, in Gothic Horror, p. 16. 1. Revising the canon of crime and detection 1. Hayden White, Metahistory: the Historical Imagination in Nineteenth-Century Europe (Baltimore and London: The Johns Hopkins University Press, 1973), p. ix. 2. See Joseph Bell, Review of The Adventures of Sherlock Holmes (Bookman, December 1892), in The Uncollected Sherlock Holmes, ed. Richard Lancelyn Green (Harm- ondsworth: Penguin, 1983), p. 362. 3. A.C. Doyle, ‘The Adventure of the Cardboard Box’, in Sherlock Holmes: the Complete Illustrated Short Stories (London: Chancellor Press, 1985), p. 257. 4. A.C. Doyle, ‘Preface to The Adventures of Sherlock Holmes’, in The Uncollected Sherlock Holmes, p. 270. 5. Carolyn Wells, The Technique of the Mystery Story (Springfield, MA: The Home Correspondence School, 1913), p. 63. 6. Howard Haycraft, ‘Foreword’, in The Art of the Mystery Story: a Collection of Critical Essays, ed. Howard Haycraft (New York: Simon and Schuster, 1946), p. v. 7. Howard Haycraft, Murder for Pleasure: the Life and Times of the Detective Story (New York: Carroll and Graf, 1984), p. 6. 8. Ibid., p. 1. 9. Ibid., p. 2. 10. Ibid. 11. Haycraft (ed.), The Art of the Mystery Story, p. 128. This definition also embraced Friedrich Depken’s Sherlock Holmes, Raffles, und Ihre Vorbilder: Ein Beitrag zur Entwicklungsgeschichte und Technik der Kriminalerzählung (Heidelberg: C. Winter, 1914). The book was translated into English by Jay Finlay as Sherlock Holmes, Raffles, and their Prototypes (Chicago: Fanlight House, 1949). 175 176 Notes 12. F.W. Chandler, The Literature of Roguery (New York: Burt Franklin, 1958), p. 1. 13. Ibid., p. 406. 14. Ibid., p. 524. 15. Ibid., pp. 532–3. 16. Ibid., p. 547. 17. Régis Messac, Le ‘Detective Novel’ et l’influence de la pensée scientifique [The Detective Novel and the Influence of Scientific Thought] (Paris: Champion, 1929), p. 99. All unsigned translations from Italian and French into English are mine. 18. See Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings 1972–1977, ed. Colin Gordon (New York: Pantheon Books, 1980). 19. Julian Symons, Bloody Murder: from the Detective Story to the Crime Novel: a History (New York: Viking, 1985 [1972]), p. 13. 20. Stephen Knight, Form and Ideology in Crime Fiction (London: Macmillan, 1980), p. 8. 21. Martin Kayman, From Bow Street to Baker Street: Mystery, Detection and Narrative (London: Macmillan, 1992), p. 105. 22. Martin Priestman, Detective Fiction and Literature: the Figure on the Carpet (London: Macmillan, 1990), p. xi. 23. Martin Priestman, ‘Introduction’, in The Cambridge Companion to Crime Fiction, ed. Martin Priestman (Cambridge: Cambridge University Press, 2003), p. 6. 24. Stephen Knight, Crime Fiction, 1800–2000: Detection, Death, Diversity (London: Macmillan, 2004), p. xii. 25. Alastair Fowler, Kinds of Literature: an Introduction to the Theory of Genres and Modes (Cambridge, MA: Harvard University Press, 1982), p. 154. 26. Ibid., p. 56. 27. Ibid., p. 38. 28. Ibid., p. 37. 29. Stephen Knight, ‘Enter the Detective: Early Patterns of Crime Fiction’, in The Art of Murder. New Essays on Detective Fiction, eds H.G. Klaus and Stephen Knight (Tübingen: Stauffenburg Verlag, 1998), p. 11. 30. See Stephen Knight, ‘Radical Thrillers’, in Watching the Detectives: Essays on Crime Fiction, eds Ian A. Bell and Graham Daldry (Basingstoke and London: Macmillan, 1990), p. 173. 31. Kayman, From Bow Street to Baker Street, p. 62. 32. Caleb Carr, The Italian Secretary: a Further Adventure of Sherlock Holmes (London: Little, Brown, 2005), p. 260. 33. See Umberto Eco, ‘Postille a Il nome della rosa’ (Milano: Bompiani, 1984). The text had previously appeared in Alfabeta, 49 (June 1983). 34. Michael Holquist, ‘Whodunit and Other Questions: Metaphysical Detective Stories in Post-war Fiction’, New Literary History, 3(1) (Autumn 1971): 135–56; reprinted in Two Centuries of Detective Fiction: a New Comparative Approach, ed. Maurizio Ascari (Bologna: COTEPRA, 2000), p. 176. 35. P.D. James, The Murder Room (London: Faber and Faber, 2003), p. 7. 36. Ibid., p. 286. 2. Detection before detection 1. Quoted in Barry Cunliffe, Roman Bath Discovered (Stroud, Gloucestershire: Tempus, 2000), p. 64. Notes 177 2. Everyman, in Everyman and Medieval Miracle Plays, ed. A.C. Cawley (London and Melbourne: Dent, 1977), p. 210. 3. Michel Foucault, ‘Truth and Power’, in Power/Knowledge, p. 119. 4. Ibid., p. 118. 5. Suffice it to think of Artemidorus Daldianus’s Oneirocritica – a treatise on the interpretation of dreams. 6. In the Book of Genesis, Joseph, who is a prisoner in Egypt, interprets the dreams of two fellow convicts – Pharaoh’s cupbearer and baker. After predicting the former’s freedom and the latter’s death, Joseph professes the sacred origin of his divinatory power: ‘Do not interpretations belong to God?’ (40:8; quotations are from the New International Version). Two years later Joseph is summoned by the cupbearer to interpret a dream of Pharaoh, who has already consulted wise men and fortune tellers in vain; the young Hebrew reasserts his role as a messenger of God: ‘The dreams of Pharaoh are one and the same. God has revealed to Pharaoh what he is about to do’ (41:25). This scenario recurs later in the Bible when Chaldean magicians, enchanters, astrologers and diviners fail to interpret the dream of Nebuchadnezzar, and Daniel decodes this secret because ‘the spirit of the holy gods is in him’ (Daniel 4:8). 7. The story is based on a classic source – Cicero’s De Divinatione (I, 27). 8. Geoffrey Chaucer, The Canterbury Tales, a verse translation with an introduction and notes by David Wright (Oxford and New York: Oxford University Press, 1985), p. 208. 9. See The Wakefield Second Shepherds’ Pageant, in Everyman and Medieval Miracle Plays, pp. 79–108. 10. See Jeremiah 27: 9–10; 28: 8–9. 11. This is what happens to Joseph when in a dream he first sees the haystacks erected by his brothers prostrating before him, and then sees the sun, the moon and eleven stars paying homage to him – two images which prefigure his ascent (Genesis 37:5–11). 12. Christopher Marlowe, The Jew of Malta, ed. Richard W. Van Fossen (London: Edward Arnold, 1965), pp. 8–9. 13. Francis Bacon, Essays (London: Oxford University Press, n.d.), p. 18. 14. Thomas Kyd, The Spanish Tragedy, ed. J.R. Mulryne (London: A. & C. Black, New York: W.W. Norton & Company, 1989), p. 9. 15. Virgil, The Aenaeid, Book VI, vv. 893–6. Translated by John Dryden. 16. Kyd, The Spanish Tragedy, p. 85. 17. Here Saint Paul is quoting in turn Deuteronomy 32:35. 18. William Shakespeare, Hamlet, in The Norton Shakespeare, general ed. Stephen Greenblatt (New York and London: W.W. Norton & Company, 1997), pp. 1703–4. 19. Ibid., p. 1715. 20. Cyril Tourneur, The Atheist’s Tragedy, eds Brian Morris and Roma Gill (London: Ernest Benn, New York: W.W. Norton & Company, 1976), p. 51. 21. Ibid., p. 52. 22. Ibid., p. 103. 23. The Murder of John Brewen, p. 15, in Illustrations of Early English Popular Literature, ed. J. Payne Collier, 2 vols (New York: Benjamin Blom, 1966), Vol. I. 24. Thomas Nashe, The Unfortunate Traveller, in An Anthology of Elizabethan Prose Fiction, ed. Paul Salzman (Oxford and New York: Oxford University Press, 1987), p. 303. 178 Notes 25. Ibid., p. 302. 26. Ibid., pp. 303–4. 27. Ibid., pp. 307–8. 28. Ibid., p. 308. 29. Ibid., p. 305. 30. The six books were published in the following order: Book 1 (1621), Book 2 (1622), Book 3 (1623), Books 4–6 (1635). 31. John Reynolds, The Triumphs of Gods Revenege, Book I (London: Felix Kyngston, 1621), p. 1 32. Albert Borowitz, An International Guide to Fact-based Crime Literature, Note by Jacques Barzun, Foreword by Jonathan Goodman (Kent, OH: Kent State Uni- versity Press, 2002), p. 5. 33. Reynolds, ‘Historie I’, in The Triumphs of Gods Revenege, Book I, p. 47. 34. Reynolds, ‘Historie V’, in The Triumphs of Gods Revenege, Book I, p. 197. 35. Reynolds, ‘Historie VII’, in The Triumphs of Gods Revenege, Book II (London: Felix Kyngston, 1622), p. 93. 36. Reynolds, ‘Historie IV’, in The Triumphs of Gods Revenege, Book I, p. 165. 37. Reynolds, ‘Historie I’, in The Triumphs of Gods Revenege, Book I, p. 55. 38. John Reynolds, ‘Historie XII’, in The Triumphs of Gods Revenege, Book III (London: Felix Kyngston, 1623), p. 108. 39. See F.W. Chandler, The Literature of Roguery, 2 vols (New York: Burt Franklin, 1907), Vol. I, p. 4. 40. Hal Gladfelder, Criminality and Narrative in Eighteenth-century England: Beyond the Law (Baltimore: Johns Hopkins University Press, 2001), p. 33. 41. Ibid., p. 297. 42. Thomas Middleton, The Last Will and Testament of Laurence Lucifer, in The Elizabethan Underworld, ed. A.V. Judges (London and New York: Routledge, 2002), p. 302. 43. Due to the success of Richard Head’s 1665 book, in 1668 Francis Kirkman, the bookseller, supplied a second part, while in 1671 a third and fourth part were jointly authored by Head and Kirkman.
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