“Mystery fiction is a game with rules, an intellectual competition between writer and reader. To keep the game honest, both writer and reader must be playing by the same rules” (Miller). Some of the conventional rules of detective fiction are listed in S. S. Van Dine’s “Twenty Rules for Writing Detective Stories” and Ronald Knox’s “10 Commandments of Detective Fiction.” However, some of the ‘rules’ Knox and Van Dine list do not extend to Ruth Rendell’s A Judgement in Stone and Agatha Christie’s The Murder of Roger Ackroyd. Despite Rendell and Christie not conforming to these ‘rules’ of detective fiction put forth by Van Dine and Knox, their novels challenge the reader, create thrilling suspense, and while unorthodox are extremely successful.
The most important of Ronald Knox’s “10 Commandments of Detective Fiction” is the first commandment: “The criminal must be someone mentioned in the early part of the story, but must not be anyone whose thoughts the reader has been allowed to follow.” Rendell and Christie somewhat abide by Knox’s first commandment, and introduce the criminal at the beginning of their respective novels. However, both novelists defy Knox’s commandment by allowing the reader access to the guilty criminal’s mind. While Christie and Rendell allow access to the minds of the criminals in two different ways, their access allows the reader insight to the minds of these criminals and allows them to view the events that have taken place from the criminal’s perspective, and understand the reasons why each criminal committed their crimes. This provides an interesting and exciting twist to the novel that would not be present if Christie and Rendell had conformed to Knox’s first commandment.
In The Murder of Roger Ackroyd, Ch...
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...ority of the rules, and the ones they have broken only lead to a more riveting story. Overall, while it might seem sacrilegious to disregard some of Van Dine’s rules and Knox’s commandments, both authors do so to create a novel that takes its reader by surprise.
Works Cited
Christie, Agatha. The Murder of Roger Ackroyd: A Hercule Poirot Mystery. New York:
Harper, 2011. Print.
Knox, Richard. “10 Commandments of Detective Fiction.”
Miller, Susan Cummins. "Blazing Trails, Redefining the Game; New Rules for Mystery Fiction with a Geoscientific Twist." Abstracts with Programs - Geological Society of America 35.6 (2003): 20. ProQuest. Web. 28 May 2014.
Rendell, Ruth. A Judgement in Stone. New York: Vintage Books, 2000. Print.
Van Dine, S. S. "Twenty Rules for Writing Detective Stories." Handout. The English Detective Novel: EN 3178. York University. May 2014. Print.
Dashiell Hammett’s novel, The Maltese Falcon, is a hard-boiled detective novel; a subset of the mystery genre. Before the appearance of this sub-genre, mystery novels were mainly dominated by unrealistic cases and detectives like Conan Doyle’s Sherlock Holmes. As Malmgren states, “The murders in these stories are implausibly motivated, the plots completely artificial, and the characters pathetically two-dimensional, puppets and cardboard lovers, and paper mache villains and detectives of exquisite and impossible gentility.” (Malmgren, 371) On the other hand, Hammett tried to write realistic mystery fiction – the “hard-boiled” genre.
This essay will examine both "The Speckled Band" by Conan Doyle and "Visitors" by Brian Moon and will look at how each one conforms to or diverges from the conventions of the detective story and also how each story is representative of the century it was written in by how it presents the woman, the hero and the villain.
The questions being answered in this paper is” What are red herrings and how are they used in the novel The Body in the Library?”. Red herrings are used in literature a lot during detective, or mystery fiction books. Red herrings are made to misled the reader, to make them believe it is one thing when something else is happening they do not realize. An example of a red herring would be “She said frankly, "It gives you a turn, doesn't it, seeing anything
Mysteries have always held great fascination for the human mind, not least because of the aura that surrounds them and the realm of the Unknown into which they delve. Coupled with the human propensity of being particularly curious about aspects which elude the average mind, the layer of intrigue that glosses over such puzzles makes for a heady combination of the literary and the popular. In the canon of detective fiction worldwide, no detective has tickled the curious reader’s imagination and held it in thrall as much as Sir Arthur Conan Doyle’s Sherlock Holmes. The 221-B, Baker Street, London ‘amateur’ detective combines a rare blend of intellectual prowess and sharp wit to crack a series of baffling riddles.
My initial inspiration for this piece was Trifles, which funnily enough only shares the characteristic of detectives being involved within the plot. As per suggestion on my proposal, I developed my idea of detectives solving a case further by including dialogue and inter-personnel relationships similar to those found in Glengarry Glen Ross. Taking the idea of different members of the real-estate office discussing work and plotting in Glengarry Glen Ross, and applying them to a trio of detectives on a case was interesting to say the least.
Agatha Christie depicts a descriptive, fictional murder mystery in the novel ABC Murders. With the help of the narrator, Captain Arthur Hastings, Hercule Poirot solves the murders of four victims who are killed in alphabetical order by Franklin Clarke, more commonly known as ABC. The story elicits copious high points but the rare low point as well. Examples of these aspects can be found within the plot, setting, characters, conflict, and theme of the book. According to Stanford’s Suggested Reading List, the book is considered a “must read.” ABC Murders definitely holds up to the reputation placed upon it by Stanford and would be a favorable choice for anyone wishing to read a well written novel.
The birth of classic detective fiction was originated just in the mid nineteenth century, and was producing its own genre. Classical detective fiction follows a set of rules called the ‘Ten commandments of detective fiction’. The genre is so popular it can bee seen by the number of sales in any good book stores. Many of these books have been created a long time ago and there is still a demand for these types of books. The popularity is still ongoing because it provides constant entertainment, and also the reader can also have a role of detective trying to solve the crime/case committed. Classical detective fiction has a formula, the detective story starts with a seemingly irresolvable mystery, typically a murder, features the astute, often unconventional detective, a wrongly accused suspect to whom the circumstantial evidence points, and concludes with a startling or unexpected solution to the mystery, during which the detective explains how he or she solved the mystery. Formula that includes certain elements such as, a closed location to keep the number of suspects down, red hearings spread around the stories to keep the reader entertained yet interacted.
One of the basic assumptions underlying any detective novel is a sense of social order. The novelist assumes that the reader agrees that killing people is wrong; it does not matter if the victims are exemplary citizens or odious individuals, it is the mere act of snuffing out another’s life that is against the social order. In P.D. James’ A Mind To Murder, Nurse Marion Bolam’s murder of her stuffy and self-righteous cousin Enid illustrates a situation where the nurse and her invalid mother had suffered from her cousin’s stinginess; James gives us a clear look at the murderer’s fear that if Enid had been given time to change her will as she had threatened to do, the Marion and her mother would never get the money to which they considered themselves entitled. However, James urges us to understand, this does not matter. Murder, for whatever reason it is committed, is still murder, and it is always wrong.
In the mystery genre one can agree that for a mystery to function as it does, it must have elements like a case that must be solved, a detective or someone who is playing as the detective, and, in most cases, murder. But in the short story “A Scandal in Bohemia,” by Sir Arthur Conan Doyle, a social scandal is a part of the theme, which is also seen in “Witness for the Prosecution,” by Agatha Christie and “Amber Gate,” by Walter Mosley. Just as a murder or a crime disrupts an aspect of society, a social scandal functions the same way. Normally, what we view as the “private life” and “public life” is kept separately because private life operates as the “fantasy” of the two worlds by creating the image of a “normal life”, which consists of a good and happy husband and wife, the ability to be financially stable, social wellbeing and even in some cases a child. On the other hand, the public life consists of the poor, who are considered to be liars and cheaters, crime, murder, and heinous women. The private life predominately functions in favor of the man, more so a white male, and when the public, or characteristics of the public, alters the established private life, then his happiness ceases and the private fantasy is then disrupted or destroyed. Specifically speaking, the marginalized threaten the exposure of the social hierarchy by disrupting the domestic private fantasy by unmasking its instability.
“The ABC Murders” is about a detective by the name of Poirot who has to find clues on a killer who is killing people whose names are in alphabetical order. It started off with Alice Ascher from Andover. Then it went to Betty Barnard from Bexhill and then to Sir Carmichael Clarke from Churston. Each time the murderer committed a crime he would leave an ABC Train Map by the victim. The murderer was an experienced criminal who left no trace of his identity. He goes by the name of ABC. Before each murder ABC would send Poirot a letter saying the date and town the murder would happen. The relatives of the victims came together with Poirot to help try and get ahead of the criminal. In the ending Poirot reveals that the brother of Sir Carmichael Clarke, Franklin Clarke committed the crimes to draw away attention from him wanting to inherit his brothers treasures. He had to kill him so he couldn’t marry Thora Grey and not get the money. Franklin Clarke tried to frame the murders on Mr. Cust who is a travelling salesman.
People cannot do the bad morals. However, in Murder on the Orient Express, some of them are endorsed. First, the family of Armstrong commits the murder of Ratchett, but this action is correct because the victim is evil. Second, the Armstrongs lie to Hercule Poirot. They purposefully attempt to confuse and fool Poirot. They set an elaborate set of clues, lies and misleading evidence to veer the detective from the truth. Lastly, Poirot overlooks the Armstrong family because Ratchett is more evil than the murderers and the police want the simple answer. Murder on the Orient Express is a morality novel because it specifically judges and defines the bad moralities.
Christie, Agatha. "The Witness for the Prosecution." MASTERPIECES OF MURDER. New Work: Kodd, Mead and Co. 1977.
Agatha Christie wrote most of her books with the same recurring themes. One of the themes that Christie has in her books is feminism. The definition of feminism is the belief in the need to protect rights, and opportunities for women to be equal to those of men. It is also saying they can go through life without having a man in their lives and living as independent women. Anti-feminism is the opposite of feminism and says women are all the same and do need a man in their life. Christie uses feminism and anti-feminism to view women during the twentieth century in the three books.
Pos-Ho. Critical survey of mystery and Detective Fiction. Englewood Cliffs, New Jersey Salem Press, 1988. pgs 1332-1337
The Murder of Roger Ackroyd was first published in 1926, and is one of many of Christie’s Hercule Poirot Mystery novels. In this novel, we obtain a deeper understanding of the impact social standings has and the influence it has on how people perceive you. The mystery takes place in an era where social class was extremely divided, and it is shown throughout the novel how a character’s social class can hinder or help. Even when the characters are faced with a crime, and the person who did it is unknown, social class still plays a magnificent role in unraveling the explanation of who would have committed something as dreadful as murdering a man. The Murder of Roger