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The Multiplicity of the Detective Thriller As Literary Genre KWOK Sze-Ki A

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The Multiplicity of the Detective Thriller As Literary Genre KWOK Sze-Ki A The Multiplicity of the Detective Thriller as Literary Genre KWOK Sze-Ki A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Philosophy in English Literary Studies ©The Chinese University of Hong Kong June 2003 4 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. 統系餘書 rf 2 8 継 2034 jlj >^^IBRARY SYSTEM/^f CONTENTS Abstract i 摘要 m Acknowledgements v Introduction The Genre of Detective Thriller l Chapter One The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackrovd Chapter Two "Thrillers are like life—more like life than you are": Graham Greene's The Ministry of Fear 68 Chapter Three Cultural and Metaphysical Mysteries: Paul Bowles's "The Eye" and 99 Jorge Luis Borges's "The Garden of Forking Paths" Concluding Remarks 127 Bibliography 131 Kwok i Abstract Of thesis entitled: The Multiplicity of the Detective Thriller as Literary Genre Submitted by KWOK Sze-Ki for the degree of Master of Philosophy in English Literary Studies at The Chinese University of Hong Kong in June 2003 Detective fiction/thrillers are often stigmatized as escapist literature and standardized commercial products meant for mere entertainment. This thesis examines six pieces of detective fiction/thrillers, including Edgar Allan Poe's "The Murders in the Rue Morgue" (1841)，Conan Doyle's "The Red-headed League" (1891)，Agatha Christie's The Murder of Roger Ackrovd (1926), Graham Greene's The Ministry of Fear (1943)，Paul Bowles's "The Eye" (1981) and Jorge Luis Borges's "The Garden of Forking Paths" (1941). From the perspective of a genre criticism that is both rhetorical and thematic in nature, the study argues that despite the formulaic nature of the genre of detective thriller, each story is an idiosyncratic and aesthetic creation and thus is worthy of serious critical appreciation. The Introduction provides an overview to the thesis. First of all, it recognizes the potential problems in terminology of this popular genre, and defines my specific usage of the term "Detective Thriller". Secondly, a preliminary theoretical framework is established by a brief introduction to the main concepts and critical schools the thesis adopts: mine is essentially a combined approach. Thirdly, through an analysis of the two short stories by Edgar Allan Poe and Conan Doyle respectively, the prototypical features of the genre of detective thriller are outlined. They serve as the blueprint against which the other four detective thrillers are juxtaposed in the subsequent chapters. Each chapter consists of a brief introduction to the author's life and works. This is essential for a basic understanding to the stylistic tendencies of the specific authors, and the possible influences of their life on the detective thrillers in question. Kwok ii This is followed by a detailed analysis of the content and form of each specific detective thriller. Structural conventions and formalist effects are considered, as well as readers' possible responses towards these structural and formalist elements (possibly in the form of "play"), for readers from different communities are likely to engage in different hermeneutic play with the (game-)structure of detective thrillers. Chapter One deals with Agatha Christie's The Murder of Roger Ackrovd. It analyses its structural conventions and underlying pattern, that is, the "figure in the carpet" of Christie's fiction. Her ingenious assembly of clues for the intellectual puzzle (a form of play) constitutes its innovative idiosyncrasy. Chapter Two assesses Graham Greene's The Ministry of Fear in relation to the conventions set up by the previous detective thrillers discussed. The work's idiosyncrasy lies mainly in the thematic issues of identity and pity raised by the protagonist: these problems of identities and virtues are essentially questions of our reality in a world of conflict and danger. This is a breakthrough to the genre, because serious issues are rarely discussed in detective thrillers, which are often read for entertainment. Chapter Three explores Paul Bowles's and Jorge Luis Borges's detective thrillers; their idiosyncrasy consists in their boldness in revising the boundaries of the genre: they are experimental in both their narratological features and their themes of cultural and metaphysical mysteries. The Concluding Remarks recapitulate the significance and implications of this attempt in genre criticism of the detective thriller. Kwok iii 摘要 「偵探小說」/「驚慄小說」此類文種常被人吃爲逃避現實的文學，甚至淪爲純 粹供人消遣解悶、公式化的商業產品°本論文將探討六篇長、短篇「偵探小說」 /「驚慄小說」：艾倫坡的《莫格街謀殺案》（1841)、柯南道爾的《紅髮會》 (1891)、阿加莎•克里斯蒂的《羅傑疑案》（1926)、格雷安•葛林的《恐怖 內閣》（1943)、保羅•柏爾斯的《眼》(1981)和波赫士的《盆路之園》(1941)， 分別就其修辭及主題作出體裁文評。本硏究主張’基於「驚慄偵探小說」體裁 的特點，其作品無可避免會有公式化之傾向；但實際上每一篇作品皆是獨具個 人風格和藝術價値的創作，故它們每一篇均値得我們作出嚴謹、具批判性的賞 析。 導言爲整篇論文提供了一槪觀性之預覽。筆者先提出爲此通俗體裁下定義的潛 在問題，並爲本論文中筆者自行杜撰的文種名稱：「驚慄偵探小說」一詞下定 義。下一部分則簡介本論文採用的文學批評派別及當中之重要槪念，以建構起 一理論架構。最後，透過分析艾倫坡和柯南道爾的兩則短篇故事，勾畫出「驚 慄偵探小說」之典型特徵。餘下各章所分析的四篇「驚慄偵探小說」，會採用 此兩篇短篇故事爲藍本作出並排的參照° 第一、二、三章均包含該章所硏究的作品著者的生平及該作品簡介。這會幫助 我們了解該著者文體風格的流變，以及其生平對寫作該本「驚慄偵探小說」的 Kwok iv 影響。緊隨其後的是對每篇「驚慄偵探小說」的內容及結構所作的詳盡分析。 討論集中於該作品所示範了的傳統敍述結構和形式主義中的「效果」槪念，以 及讀者對上述原素（例如遊戲結構）可能會產生的回應；因爲來自不同社群的 讀者會和「驚慄偵探小說」中的遊戲結構進行不同的解釋遊戲。 第一章討論阿加莎•克里斯蒂的《羅傑疑案》。本章嘗試分析故事中被大量應用 的傳統敍述結構以及範本，亦即在所有克里斯蒂小說中的「地趨裏的人形」。克 里斯蒂組織線索的巧妙方式構成其創新的獨有風格。 第二章以前面透過分析首三篇「驚慄偵探小說」而歸納出來的原素，評析葛林 的《恐怖內閣》。該作品的獨有個人風格主要顕露於著者竟在一本普遍被認爲只 供娛樂的「驚慄偵探小說」中討論身份、憐憫這兩個嚴肅論題；主角的掙扎充 分帶出了在充滿危險和衝突的現實生活中個體身份以及美德的問題。 第三章探索保羅•柏爾斯的《眼》和波赫士的《忿路之園》；他們的獨有個人風 格在於其大膽的敍事手法’以及其牽涉到文化和形而上學疑案的主題。 總結部分會重申本論文對「驚慄偵探小說」作出體裁文評背後的重要性和含意。 Kwok V Acknowledgements I would like to express my most heartfelt thanks to my supervisor, Professor Timothy Weiss, for his intelligent guidance, careful editing remarks and supportive attitude. I have benefited tremendously from both his seminar and supervision, and I always wonder whether I would be able to finish this thesis on time without his early schedules. The number of "sorry"s for my delays in handing in every thesis chapter pitiably far exceeds the number of drafts I have handed in to my dear supervisor! My appreciation extends to other members of my thesis committee, Professor Benzi Zhang and Professor Lisa Lai Ming Wong. I am especially indebted to Professor Wong for her encouragement and understanding throughout the final editing period. And I thank them for reading my thesis. Thanks are also due to the professors who have taught me more than I could imagine through the postgraduate seminars: our kind department head, Prof. David Parker; our brilliant poet, Prof. Louise Ho; our easy-going Division Head, Prof. Kwok Kan Tarn; and our expert in Modernism, Prof. Mimi Ching. I must give my sincerest compliments to Tracy Liang, Nellie, Carol and Olivia, the office staff at the Department of English; during the five years here，all of them have given me a lot of assistance, some time for free-chatting and quite a number of sweet candies. I wish so much to thank my colleagues during my postgraduate study here, including Shirley Lam, Chloe Li, Sally Cheung, Lorraine Ng，Nicole Wong, and Victor Chau. Without our time of studying and discussing together, I know I will not be the person I am now. Special thanks are due to Shirley Lam, for her company during my difficult times and spiritual crisis. I will never forget those precious times Kwok vi of we two praying together at the Roman Square, Main Campus in the bright afternoon sun. Words cannot express my gratitude to my family. Though they did not always � understand the necessary efforts to make this thesis possible and always negotiated with my time-management, I love them all the more simply because I know how much they care about me as a daughter who does not know how to take care of herself. I know my dad, my mom, my brother Kelvin, and my sister Grace are all disguised blessings from God. My gratitude also goes to my best friends: Grace Cheung, Mandy Li, Curtis Cheng, and my siblings at church. You have witnessed my struggles, pain and growth; and now I am completing my thesis and becoming a tougher person. Despite the tiny wounds that you might have made on me carelessly, your prayers, sharing and encouragement have, more than any thing, become a part of my permanent memories. Thanks to those friends who have read some of my manuscripts in the last weeks. I would especially express my appreciation towards Ken Choi (my student and now postgraduate too), Chiang Cheuk To (for his draft for my Chinese abstract) and Ms. Emily Wong (my first secondary English teacher who gives me my English name, plus a lot of vocabularies). Most importantly, thank you for all of you to participate in my life's story. How can this be possible except for the grace of God? Sometimes I think my personal story resembles a detective thriller; but now my greatest wish is to live a simple and beautiful life for God. "To the only wise God our Saviour, be glory and majesty, dominion and power, both now and ever. Amen." (Jude 25) ‘ Kwok 1 INTRODUCTION The Genre of Detective Fiction/Thriller "[Detective fiction/Thriller] is arguably the most important literary development of the twentieth century, and has attracted many of the best writers at one time or another. It is serious literature, and it is about time that it be treated with the respect and dignity it deserves" (i). The editors (1975) "Introduction", The Encyclopedia ofMvstery and Detentinn This dissertation is a study of long and short detective fiction/thrillers by a group of selected writers, including Edgar Allan Poe's "The Murders in the Rue Morgue，，，Conan Doyle's "The Red-headed League", Agatha Christie's The Murder of Roger Ackroyd, Graham Greene's The Ministry of Fear. Paul Bowles's "The Eye" and Jorge Luis Borges's "The Garden of Forking Paths". As common sense will tell, the juxtaposition of works by such a group of different authors implies that this study has to do with a seemingly “loose，，group of writings within the field of detective fiction/thriller, each differing from the others in a number of ways.
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