Brown, Rebecca

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Criminal Waters: Lakeside Piracy & Phantom Ships in The Clue of the Broken Locket Accessibility to lakefront cottages due to car ownership and highway networks allowed the postwar middle class(es) to escape from urban homes to enjoy “simplicity, naturalness, and informality” in rural environs (Löfgren 138). The Clue of the Broken Locket (1965) inverts the connotations of serene vacationing when Nancy Drew, George Fayne, and Bess Marvin travel to “a summer cottage on Misty Lake” (2), to unravel a new mystery. Although earlier Nancy Drew books, like The Mystery at Lilac Inn (1930, 1961), associate water with lower-class criminality and symbolically charged storms, as I argue in this paper, The Clue of the Broken Locket constructs Misty Lake as a vexed site of modernity and nostalgia that metaphorically parallels the novel’s piratical overtones. I begin by contextualizing the plot revisions to the 1965 edition of Clue of the Broken Locket that lend Misty Lake its postwar sociocultural resonance(s). The 1934 version of the book is a domestic mystery focusing on twin orphans’ unknown parentage and suspicious adoption. While a river plays a pseudo- biblical role in simultaneously separating the babies from their mother and sustaining the children, no vacationing, no lakes, and no implications of piracy appear. Next I analyze the tensions between modernity and nostalgia in the 1965 edition, embodied in the criminal activities Nancy, George, and Bess uncover. Their journey to Misty Lake is catalyzed by the appearance of a phantom ship, initially a symbol of ghostly nostalgia, but later revealed as a film projection and thus a signifier of modernity. As missing inheritances, uncanny doubles, orphaned children, and record piracy manifest on the borders of Misty Lake, the water itself becomes a shifting symbol of danger, violence, and social class struggles. I conclude by considering the significance of record piracy in relation to Misty Lake as a vacation site and as a body of water, as well as the ways that both crime and lake connect to other aquatic-based criminal activities in the Nancy Drew books, including The Haunted Showboat (1957) and The Invisible Intruder (1969). .

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KEENE, Carolyn
KEENE, Carolyn Harriet Stratemeyer Adams Geboren: 1892. Overleden: 1982 Zoals veel juniorenmysteries, is de Nancy Drew-serie bedacht en werd (althans in het begin) de plot geschetst door Edward Stratemeyer [> Franklin W. Dixon] van het Stratemeyer Concern. Zijn dochter, Harriet Stratemeyer Adams nam later de uitgeverij over en claimde lange tijd de schrijver te zijn van àlle Nancy Drew-verhalen vanaf 1930 tot 1982. Onderzoek bracht aan het licht dat dit niet het geval was. De Nancy-verhalen werden, evenals andere Stratemeyer-series, geschreven door een aantal voorheen anonieme professionele schrijvers, waarvan de belangrijkste Mildred A. Wirt Benson (zie onder) was tot het moment dat Harriet Adams in 1953 (vanaf nummer 30) inderdaad begon met het schrijven van nieuwe delen en ook de oude delen vanaf 1959 reviseerde. Opmerkelijk en uniek is de zorgvuldigheid waarmee geprobeerd werd alle sporen omtrent de ‘echte’ auteurs uit te wissen. Byzantijnse plotten en samenzweringen werden gesmeed om veranderde copyrights; dossiers van The Library of Congress verdwenen en niet bestaande overheidsambtenaren werden opgevoerd om de namen van de ware schrijvers uit de boeken te laten verdwijnen. (foto: Internet Book List) website: http://en.wikipedia.org/wiki/Carolyn_Keene en http://www.keeline.com/Ghostwriters.html Nederlandse website: http://ccw.110mb.com/beeldverhalen/publicaties/N/nancydrew/index.htm Mildred Augustine Wirt Benson Geboren: Ladora, Iowa, USA, 10 juli 1905. Overleden: Toledo, Ohio, 28 mei 2002 Mildred Benson schreef de eerste 25 Nancy Drew-titels en nr 30 (uitgezonderd de nrs 8, 9 en 10) en schreef daarnaast nog vele andere juniorentitels, voornamelijk avonturen voor meisjes: Ruth Fielding (o.ps.
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