Detective fiction

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Detective fiction is a subgenre of crime fiction and mystery fiction in which an investigator or a detective—either professional, amateur or retired—investigates a crime, often murder. The detective genre began around the same time as speculative fiction and other genre fiction in the mid-nineteenth century and has remained extremely popular, particularly in novels.[1] Some of the most famous heroes of detective fiction include C. Auguste Dupin, Sherlock Holmes, and Hercule Poirot. Juvenile stories featuring The Hardy Boys, Nancy Drew, and The Boxcar Children have also remained in print for several decades.

Beginnings of detective fiction[edit]

In ancient literature[edit]

Some scholars, such as R. H. Pfeiffer,[2] have suggested that certain ancient and religious texts bear similarities to what would later be called detective fiction. In the Old Testament story of Susanna and the Elders (the Protestant Bible locates this story within the apocrypha), the account told by two witnesses broke down when Daniel cross-examines them. The author Julian Symons has commented on writers who see this as a detective story, argued that "those who search for fragments of detection in the Bible and Herodotus are looking only for puzzles" and that these puzzles are not detective stories.[3] In the play Oedipus Rex by Ancient Greek playwright Sophocles, the protagonist discovers the truth about his origins after questioned various witnesses. Although "Oedipus's enquiry is based on supernatural, pre-rational methods that are evident in most narratives of crime until the development of Enlightenment thought in the seventeenth and eighteenth centuries". This narrative has "all of the central characteristics and formal elements of the detective story, including a mystery surrounding a murder, a closed circle of suspects, and the gradual uncovering of a hidden past."[4]

Early Arab detective fiction[edit]

The oldest known example of a detective story was The Three Apples, one of the tales narrated by Scheherazade in the One Thousand and One Nights (Arabian Nights). In this story, a fisherman discovered a heavy, locked chest along the Tigris river which then he sold it to the Abbasid Caliph, Harun al-Rashid. When Harun broke open the chest, he discovered the body of a young woman who was cut into pieces. Harun then orders his vizier, Ja'far ibn Yahya, to solve the crime and to find the murderer within three days, or be executed if he fails in his assignment.[5] Suspense was generated through multiple plot twists that occurred as the story progressed.[6] WIth these characteristics this may be considered an archetype for detective fiction.[7]

The main difference between Ja'far ("The Three Apples") and later fictional novels, such as Sherlock Holmes and Hercule Poirot, is that Ja'far has no actual desire to solve the case. The whodunit mystery is solved when the murderer himself confessed his crime.[8] This in turn lead to another assignment in which Ja'far has to find the culprit who instigated the murder within three days or else be executed. Ja'far again failed to find the culprit before the deadline, but owing to his chance, he discovered a key item. In the end, he managed to solve the case through reasoning, in order to prevent his own execution.[9]

Early Chinese detective fiction[edit]

Gong'an fiction (公案小说, literally:"case records of a public law court") is the earliest known genre of Chinese detective fiction.[10]

Some well known stories included the Yuan Dynasty story Circle of Chalk (Chinese: ), the Ming Dynasty story collection Bao Gong An (Chinese: ) and the 18th century Di Gong An (Chinese: ) story collection. The latter was translated into English as Celebrated Cases of Judge Dee by Dutch sinologist Robert Van Gulik, who then used the style and characters to write an original Judge Dee series.

The hero/detective of these novels were typically a traditional judge or similar official based on historical personages such as Judge Bao (Bao Qingtian) or Judge Dee (Di Renjie). Although the historical characters may have lived in an earlier period (such as the Song or Tang dynasty) most stories are written in the latter Ming or Qing Dynasty period.

These novels differ from the Western style tradition in several points as described by Van Gulik:[11]

  • The detective is the local magistrate who is usually involved in several unrelated cases simultaneously;
  • The criminal is introduced at the very beginning of the story and his crime and reasons were carefully explained, thus constituting as an inverted detective story rather than a "puzzle";
  • The stories have a supernatural element with ghosts telling people about their death and even accusing the criminal;
  • The stories are filled with digressions into philosophy, the complete texts of official documents, and much more, resulting in long books;
  • The novels tend to have a huge cast of characters, typically in the hundreds, all described with their relation to the various main actors in the story.

Van Gulik chose Di Gong An to translate because in his view it was closer to the Western literary style and more likely to appeal to non-Chinese readers.

One notable fact is that a number of Gong An works may have been lost or destroyed during the Literary Inquisitions and the wars in ancient China.[12] Moreover, in the traditional Chinese culture, this genre had a low prestige, and therefore was less worthy of preserving than works such as philosophy or poetry. Only little or incomplete case volumes can be found; for example, the only copy of Di Gong An was found at a second-hand book store in Tokyo, Japan.

Early Western detective fiction[edit]

Edgar Allan Poe (1809–1849)

One of the earliest examples of detective fiction in Western Literature is Voltaire's Zadig (1748), which features a main character who performs feats of analysis.[13] Things as They Are; or, The Adventures of Caleb Williams (1794) by William Godwin portrays the law as protecting the murderer and destroying the innocent.[14] Thomas Skinner Sturr's anonymous Richmond, or stories in the life of a Bow Street officer was published in London in 1827; the Danish crime story The Rector of Veilbye by Steen Steensen Blicher was written in 1829; and the Norwegian crime novel Mordet på Maskinbygger Rolfsen ("The Murder of Engine Maker Rolfsen") by Maurits Hansen was published in 1839.[15]

"Das Fräulein von Scuderi", an 1819 short story by E. T. A. Hoffmann, in which Mlle de Scudery establishes the innocence of the police's favorite suspect in the murder of a jeweller. This story is sometimes cited as the first detective story and a direct influence on Edgar Allan Poe's "The Murders in the Rue Morgue" (1841).[16] Also suggested as a possible influence on Poe is ‘The Secret Cell’, a short story published in September 1837 by William Evans Burton. It has been suggested that this story may have been known to Poe, who in 1839 worked for Burton.[17] The story was about a London policeman who solves the mystery of a kidnapped girl. Burton’s fictional detective relied on practical methods such as dogged legwork, knowledge of the underworld and undercover surveillance, rather than brilliance of imagination or intellect, but it has been suggested this story may have been known to Poe.

Establishment of the genre[edit]

Detective fiction in the English-speaking world is considered to have begun in 1841 with the publication of Poe's "The Murders in the Rue Morgue" itself,[13] featuring "the first fictional detective, the eccentric and brilliant C. Auguste Dupin". When the character first appeared, the word detective did not even exist. However, the character's name "Dupin" originated from the English word dupe or deception.[18] Poe devised a "plot formula that's been successful ever since, give or take a few shifting variables."[19] Poe followed with further Auguste Dupin tales: "The Mystery of Marie Rogêt" in 1843 and "The Purloined Letter" in 1845.

Poe referred to his stories as "tales of ratiocination".[13] In stories such as these, the primary concern of the plot is ascertaining truth, and the usual means of obtaining the truth is a complex and mysterious process combining intuitive logic, astute observation, and perspicacious inference. "Early detective stories tended to follow an investigating protagonist from the first scene to the last, making the unraveling a practical rather than emotional matter."[19] "The Mystery of Marie Rogêt" is particularly interesting because it is a barely fictionalized account based on Poe's theory of what happened to the real-life Mary Cecilia Rogers.

Émile Gaboriau was a pioneer of the detective fiction genre in France. In Monsieur Lecoq (1868), the title character is adept at disguise, a key characteristic of detectives.[20] Gaboriau's writing is also considered to contain the first example of a detective minutely examining a crime scene for clues.[21]

Charles Dickens (1812–1870). Photo from 1858

Another early example of a whodunit is a subplot in the novel Bleak House (1853) by Charles Dickens. The conniving lawyer Tulkinghorn is killed in his office late one night, and the crime is investigated by Inspector Bucket of the Metropolitan police force. Numerous characters appeared on the staircase leading to Tulkinghorn's office that night, some of them in disguise, and Inspector Bucket must penetrate these mysteries to identify the murderer. Dickens also left a novel unfinished at his death, The Mystery of Edwin Drood.[22][23]

Wilkie Collins (1824–1889)

Dickens's protégé, Wilkie Collins (1824–1889)—sometimes referred to as the "grandfather of English detective fiction"—is credited with the first great mystery novel, The Woman in White. T. S. Eliot called Collins's novel The Moonstone (1868) "the first, the longest, and the best of modern English detective novels... in a genre invented by Collins and not by Poe",[24] and Dorothy L. Sayers called it "probably the very finest detective story ever written".[25] The Moonstone contains a number of ideas that have established in the genre several classic features of the 20th century detective story:

  • English country house robbery
  • An "inside job"
  • red herrings
  • A celebrated, skilled, professional investigator
  • Bungling local constabulary
  • Detective inquiries
  • Large number of false suspects
  • The "least likely suspect"
  • A rudimentary "locked room" murder
  • A reconstruction of the crime
  • A final twist in the plot
Arthur Conan Doyle (1859–1930)

Although The Moonstone is usually seen as the first detective novel, there are other contenders for the honor. A number of critics suggest that the lesser known Notting Hill Mystery (1862–63), written by the pseudonymous "Charles Felix" (later identified as Charles Warren Adams[26][27]), preceded it by a number of years and first used techniques that would come to define the genre.[26][28]

Literary critics Chris Willis and Kate Watson consider Mary Elizabeth Braddon's first book, the even earlier The Trail of the Serpent (1861), the first British detective novel.[29] The novel "features an unusual and innovative detective figure, Mr. Peters, who is lower class and mute, and who is initially dismissed both by the text and its characters."[29] Braddon's later and better-remembered work, Aurora Floyd (printed in 1863 novel form, but serialized in 1862-63[30]), also features a compelling detective in the person of Detective Grimstone of Scotland Yard.

Tom Taylor's melodrama The Ticket-of-Leave Man, an adaptation of Léonard by Édouard Brisbarre and Eugène Nus,[31] appeared in 1863, introducing Hawkshaw the Detective. In short, it is difficult to establish who was the first to write the English-language detective novel, as various authors were exploring the theme simultaneously.

In 1887, Arthur Conan Doyle created Sherlock Holmes, arguably the most famous of all fictional detectives. Although Sherlock Holmes is not the original fiction detective (he was influenced by Poe's Dupin and Gaboriau's Lecoq), his name has become a byword for the part. Conan Doyle stated that the character of Holmes was inspired by Dr. Joseph Bell, for whom Doyle had worked as a clerk at the Edinburgh Royal Infirmary. Like Holmes, Bell was noted for drawing large conclusions from the smallest observations.[32] A brilliant London-based "consulting detective" residing at 221B Baker Street, Holmes is famous for his intellectual prowess and is renowned for his skillful use of astute observation, deductive reasoning, and forensic skills to solve difficult cases. Conan Doyle wrote four novels and fifty-six short stories featuring Holmes, and all but four stories are narrated by Holmes's friend, assistant, and biographer, Dr. John H. Watson.

Golden Age detective novels[edit]

Agatha Christie (1890–1976)

The period between World War 1 and World War 2 (the 1920s and 1930s) is generally referred to as the Golden Age of Detective Fiction.[33] During this period, a number of very popular writers emerged, including mostly British but also a notable subset of American and New Zealand writers. Female writers constituted a major portion of notable Golden Age writers. Agatha Christie, Dorothy L. Sayers, Josephine Tey, Margery Allingham, and Ngaio Marsh were particularly famous female writers of this time.[33] Apart from Ngaio Marsh (a New Zealander), they were all British.

Various conventions of the detective genre were standardized during the Golden Age, and in 1929, some of them were codified by writer Ronald Knox in his 'Decalogue' of rules for detective fiction. One of his rules was to avoid supernatural elements so that the focus remained on the mystery itself.[33] Knox has contended that a detective story "must have as its main interest the unravelling of a mystery; a mystery whose elements are clearly presented to the reader at an early stage in the proceedings, and whose nature is such as to arouse curiosity, a curiosity which is gratified at the end."[34] Another common convention in Golden Age detective stories involved an outsider — sometimes a salaried investigator or a police officer, but often a gifted amateur — investigating a murder committed in a closed environment by one of a limited number of suspects.

The most widespread subgenre of the detective novel became the whodunit (or whodunnit, short for "who done it?"). In this subgenre, great ingenuity may be exercised in narrating the crime, usually a homicide, and the subsequent investigation. This objective was to conceal the identity of the criminal from the reader until the end of the book, when the method and culprit are both revealed. According to scholars Carole Kismaric and Marvi Heiferman, "The golden age of detective fiction began with high-class amateur detectives sniffing out murderers lurking in rose gardens, down country lanes, and in picturesque villages. Many conventions of the detective-fiction genre evolved in this era, as numerous writers — from populist entertainers to respected poets — tried their hands at mystery stories."[19]

John Dickson Carr — who also wrote as Carter Dickson — used the “puzzle” approach in his writing which was characterized by including a complex puzzle for the reader to try to unravel. He created ingenious and seemingly impossible plots and is regarded as the master of the "locked room mystery". Two of Carr’s most famous works are The Case of Constant Suicides (1941) and The Hollow Man (1935).[35] Another author, Cecil Street — who also wrote as John Rhode — wrote of a detective, Dr. Priestley, who specialised in elaborate technical devices. In the United States, the whodunit subgenre was adopted and extended by Rex Stout and Ellery Queen, along with others. The emphasis on formal rules during the Golden Age produced great works, albeit with highly standardized form. The most successful novels of this time included “an original and exciting plot; distinction in the writing, a vivid sense of place, a memorable and compelling hero and the ability to draw the reader into their comforting and highly individual world.”[33]


A whodunit or whodunnit (a colloquial elision of "Who [has] done it?" or "Who did it?") is a complex, plot-driven variety of the detective story in which the audience is given the opportunity to engage in the same process of deduction as the protagonist throughout the investigation of a crime. The reader or viewer is provided with the clues from which the identity of the perpetrator may be deduced before the story provides the revelation itself at its climax. The "whodunit" flourished during the so-called "Golden Age" of detective fiction, between 1920 and 1950, when it was the predominant mode of crime writing.

Agatha Christie[edit]

Agatha Christie is not only the most famous Golden Age writer, but also considered one of the most famous authors of all genres of all time. At the time of her death in 1976, “she was the best-selling novelist in history.”[36]

Many of the most popular books of the Golden Age were written by Agatha Christie. She produced long series of books featuring detective characters like Hercule Poirot and Miss Marple, amongst others. Her use of basing her stories on complex puzzles, “combined with her stereotyped characters and picturesque middle-class settings”, is credited for her success.[36] Christie's works include Murder on the Orient Express (1934), Death on the Nile (1937), and And Then There Were None (1939).

Modern regional detective fiction[edit]

Japanese detective fiction[edit]

Edogawa Rampo is the first Japanese modern mystery writer and the founder of the Detective Story Club in Japan. Rampo was an admirer of western mystery writers. He gained his fame in early 1920s, when he began to bring to the genre many bizarre, erotic and even fantastic elements. This is partly because of the social tension before World War II.[37] In 1957, Seicho Matsumoto received the Mystery Writers of Japan Award for his short story The Face ( kao). The Face and Matsumoto's subsequent works began the "social school" (社会派 shakai ha) within the genre, which emphasized social realism, described crimes in an ordinary setting and sets motives within a wider context of social injustice and political corruption.[37] Since the 1980s, a "new orthodox school" (新本格派 shin honkaku ha) has surfaced. It demands restoration of the classic rules of detective fiction and the use of more self-reflective elements. Famous authors of this movement include Soji Shimada, Yukito Ayatsuji, Rintaro Norizuki, Alice Arisugawa, Kaoru Kitamura and Taku Ashibe.

Chinese detective fiction[edit]

Through China’s Golden Age of crime fiction (1900-1949), translations of Western classics, and native Chinese detective fictions[38] circulated within the country.

Cheng Xiaoqing had first encountered Conan Doyle’s highly popular stories as an adolescent. In the ensuing years, he played a major role in rendering them first into classical and later into vernacular Chinese. Cheng Xiaoqing’s translated works from Sir Arthur Conan Doyle introduced China to a new type of narrative style. Western detective fiction that was translated often emphasized “individuality, equality, and the importance of knowledge” , appealing to China that it was the time for opening their eyes to the rest of the world.

This style began China’s interest in popular crime fiction, and is what drove Cheng Xiaoqing to write his own crime fiction novel, Sherlock in Shanghai.[39] In the late 1910s, Cheng began writing detective fiction very much in Conan Doyle’s style, with Bao as the Watson-like narrator; a rare instance of such a direct appropriation from foreign fiction.[39] Famed as the “Oriental Sherlock Holmes”,[38] the duo Huo Sang and Bao Lang become counterparts to Doyle’s Sherlock Holmes and Dr. Watson characters.

Other regional and ethnic subcultures[edit]

Especially in the United States, detective fiction emerged in the 1960s, and gained prominence in later decades, as a way for authors to bring stories about various subcultures to mainstream audiences. One scholar wrote about the detective novels of Tony Hillerman, set among the Native American population around New Mexico, "many American readers have probably gotten more insight into traditional Navajo culture from his detective stories than from any other recent books."[40] Other notable writers who have explored regional and ethnic communities in their detective novels are Harry Kemelman, whose Rabbi Small series were set in the Conservative Jewish community of Massachusetts; Walter Mosley, whose Easy Rawlins books are set in the African American community of 1950s Los Angeles; and Sara Paretsky, whose V. I. Warshawski books have explored the various subcultures of Chicago.


Standard private eye, or "hardboiled"[41][edit]

Martin Hewitt, created by British author Arthur Morrison in 1894, is perhaps the first example of the modern style of fictional private detective.

By the late 1920s, Al Capone and the Mob were inspiring not only fear, but piquing mainstream curiosity about the American crime underworld. Popular pulp fiction magazines like Black Mask capitalized on this, as authors such as Carrol John Daly published violent stories that focused on the mayhem and injustice surrounding the criminals, not the circumstances behind the crime. From within this literary environment emerged many stories and novels about private detectives, also known as private investigators, PIs and "private eyes" ("eye" being the vocalization of "I" for "investigator"). Very often, no actual mystery even existed: the books simply revolved around justice being served to those who deserved harsh treatment, which was described in explicit detail."[19]

In the 1930s, the private eye genre was adopted wholeheartedly by American writers. The tough, stylish detective fiction of Dashiell Hammett, Jonathan Latimer, Erle Stanley Gardner and others explored the "mean streets" and corrupt underbelly of the United States. Their style of crime fiction came to be known as "hardboiled", which encompasses stories with similar attitudes concentrating not on detectives but gangsters, crooks, and other perpetrators or victims of crimes. "Told in stark and sometimes elegant language through the unemotional eyes of new hero-detectives, these stories were an American phenomenon."[19]

In the late 1930s, Raymond Chandler updated the form with his private detective Philip Marlowe, who brought a more intimate voice to the detective than the more distanced "operatives report" style of Hammett's Continental Op stories. Despite struggling through the task of plotting a story, his cadenced dialogue and cryptic narrations were musical, evoking the dark alleys and tough thugs, rich women and powerful men about whom he wrote. Several feature and television movies have been made about the Philip Marlowe character. James Hadley Chase wrote a few novels with private eyes as the main hero, including Blonde's Requiem (1945), Lay Her Among the Lilies (1950), and Figure It Out for Yourself (1950). Heroes of these novels are typical private eyes very similar to Philip Marlowe.

Ross Macdonald, pseudonym of Kenneth Millar, updated the form again with his detective Lew Archer. Archer, like Hammett's fictional heroes, was a camera eye, with hardly any known past. "Turn Archer sideways, and he disappears," one reviewer wrote. Two of Macdonald's strengths were his use of psychology and his beautiful prose, which was full of imagery. Like other 'hardboiled' writers, Macdonald aimed to give an impression of realism in his work through violence, sex and confrontation. The 1966 movie Harper starring Paul Newman was based on the first Lew Archer story The Moving Target (1949). Newman reprised the role in The Drowning Pool in 1976.

Michael Collins, pseudonym of Dennis Lynds, is generally considered the author who led the form into the Modern Age. His PI, Dan Fortune, was consistently involved in the same sort of David-and-Goliath stories that Hammett, Chandler, and Macdonald wrote, but Collins took a sociological bent, exploring the meaning of his characters' places in society and the impact society had on people. Full of commentary and clipped prose, his books were more intimate than those of his predecessors, dramatizing that crime can happen in one's own living room.

The PI novel was a male-dominated field in which female authors seldom found publication until Marcia Muller, Sara Paretsky, and Sue Grafton were finally published in the late 1970s and early 1980s. Each author's detective, also female, was brainy and physical and could hold her own.[42] Their acceptance, and success, caused publishers to seek out other female authors.

Inverted detective[edit]

An inverted detective story, also known as a "howcatchem", is a murder mystery fiction structure in which the commission of the crime is shown or described at the beginning,[43][44] usually including the identity of the perpetrator.[45] The story then describes the detective's attempt to solve the mystery.[46] There may also be subsidiary puzzles, such as why the crime was committed, and they are explained or resolved during the story. This format is the opposite of the more typical "whodunit", where all of the details of the perpetrator of the crime are not revealed until the story's climax.

Police procedural[edit]

Many detective stories have police officers as the main characters. These stories may take a variety of forms, but many authors try to realistically depict the routine activities of a group of police officers who are frequently working on more than one case simultaneously. Some of these stories are whodunits; in others, the criminal is well known, and it is a case of getting enough evidence.

In the 1940s the police procedural evolved as a new style of detective fiction. Unlike the heroes of Christie, Chandler, and Spillane, the police detective was subject to error and was constrained by rules and regulations. As Gary Huasladen says in Places for Dead Bodies, "not all the clients were insatiable bombshells, and invariably there was life outside the job." The detective in the police procedural does the things police officers do to catch a criminal. Writers include Ed McBain, P. D. James, and Bartholomew Gill.[44]

Historical mystery[edit]

These works are set in a time period considered historical from the author's perspective, and the central plot involves the solving of a mystery or crime (usually murder). Though works combining these genres have existed since at least the early 20th century, many credit Ellis Peters's Cadfael Chronicles (1977–1994) for popularizing what would become known as the historical mystery.[47][48]

Cozy mysteries[edit]

"Cozy mysteries" began in the late 20th century as a reinvention of the Golden Age whodunit; these novels generally shy away from violence and suspense and frequently feature female amateur detectives. Modern cozy mysteries are frequently, though not necessarily in either case, humorous and thematic (culinary mystery, animal mystery, quilting mystery, etc.)

This style features minimal violence, sex, and social relevance; a solution achieved by intellect or intuition rather than police procedure, with order restored in the end; honorable and well bred characters; and a setting in a closed community. Writers include Agatha Christie, Dorothy L. Sayers, and Elizabeth Daly.[44]

Serial killer mystery[edit]

Another subgenre of detective fiction is the serial killer mystery, which might be thought of as an outcropping of the police procedural. There are early mystery novels in which a police force attempts to contend with the type of criminal known in the 1920s as a homicidal maniac, such as a few of the early novels of Philip Macdonald and Ellery Queen's Cat of Many Tails. However, this sort of story became much more popular after the coining of the phrase "serial killer" in the 1970s and the publication of The Silence of the Lambs in 1988. These stories frequently show the activities of many members of a police force or government agency in their efforts to apprehend a killer who is selecting victims on some obscure basis. They are also often much more violent and suspenseful than other mysteries.

Legal thriller or courtroom[edit]

The legal thriller or courtroom novel is also related to detective fiction. The system of justice itself is always a major part of these works, at times almost functioning as one of the characters. In this way, the legal system provides the framework for the legal thriller as much as the system of modern police work does for the police procedural.[49] The legal thriller usually starts its business with the court proceedings following the closure of an investigation, often resulting in a new angle on the investigation, so as to bring about a final outcome different from the one originally devised by the investigators. In the legal thriller, court proceedings play a very active, if not to say decisive part in a case reaching its ultimate solution. Erle Stanley Gardner popularized the courtroom novel in the 20th century with his Perry Mason series. Contemporary authors of legal thrillers include Michael Connelly, Linda Fairstein, John Grisham, John Lescroat, Paul Levine, Lisa Scottoline, and Scott Turow.

Locked-room mystery[edit]

The locked-room mystery is a subgenre of detective fiction in which a crime—almost always murder—is committed under circumstances which it was seemingly impossible for the perpetrator to commit the crime and/or evade detection in the course of getting in and out of the crime scene. The genre was established in the 19th century. Edgar Allen Poe’s "The Murders in the Rue Morgue" (1841) is considered the first locked-room mystery; since then, other authors have used the scheme. The crime in question typically involves a crime scene with no indication as to how the intruder could have entered or left, i.e., a locked room. Following other conventions of classic detective fiction, the reader is normally presented with the puzzle and all of the clues, and is encouraged to solve the mystery before the solution is revealed in a dramatic climax.[50]

Amateur railway detective[edit]

One of the most prolific writers of the railway detective genre is Keith Miles, who is also best known as Edward Marston. His "Railway Detective" series, published by Allison & Busby, is set in the mid-19th century, against the background of the "Railway Age". The cases, oftentimes linked with railways, unravel through the endeavors of two Scotland Yard detectives. To the end of 2017, there are sixteen titles in the series.

Modern criticism of detective fiction[edit]

Preserving the story's secrets[edit]

Even if they do not mean to, advertisers, reviewers, scholars and aficionados sometimes give away details or parts of the plot, and sometimes—for example in the case of Mickey Spillane's novel I, the Jury—even the solution. After the credits of Billy Wilder's film Witness for the Prosecution, the cinemagoers are asked not to talk to anyone about the plot so that future viewers will also be able to fully enjoy the unravelling of the mystery.

Plausibility and coincidence[edit]

For series involving amateur detectives, their frequent encounters with crime often test the limits of plausibility. The character Miss Marple, for instance, dealt with an estimated two murders a year; De Andrea has described Marple's home town, the quiet little village of St. Mary Mead, as having "put on a pageant of human depravity rivaled only by that of Sodom and Gomorrah". Similarly, TV heroine Jessica Fletcher of Murder, She Wrote was confronted with bodies wherever she went, but most notably in her small hometown of Cabot Cove, Maine; The New York Times estimated that, by the end of the series' 12-year run, nearly 2% of the town's residents had been killed.[51] It is arguably more convincing if police, forensic experts or similar professionals are made the protagonist of a series of crime novels.

The television series Monk has often made fun of this implausible frequency. The main character, Adrian Monk, is frequently accused of being a "bad luck charm" and a "murder magnet" as the result of the frequency with which murder happens in his vicinity.[52]

Likewise Kogoro Mori of the manga series Detective Conan got that kind of unflattering reputation. Although Mori is actually a private investigator with his own agency, the police never intentionally consult him as he stumbles from one crime scene to another.

The role and legitimacy of coincidence has frequently been the topic of heated arguments ever since Ronald A. Knox categorically stated that "no accident must ever help the detective" (Commandment No. 6 in his "Decalogue").[53]

Effects of technology[54][edit]

Technological progress has also rendered many plots implausible and antiquated. For example, the predominance of mobile phones, pagers, and PDAs has significantly altered the previously dangerous situations in which investigators traditionally might have found themselves.

One tactic that avoids the issue of technology altogether is the historical detective genre. As global interconnectedness makes legitimate suspense more difficult to achieve, several writers—including Elizabeth Peters, P. C. Doherty, Steven Saylor, and Lindsey Davis—have eschewed fabricating convoluted plots in order to manufacture tension, instead opting to set their characters in some former period. Such a strategy forces the protagonist to rely on more inventive means of investigation, lacking as they do the technological tools available to modern detectives.

As technology advances, so does the genre of crime fiction, as we now have the issue of cyber crime, or a crime that involves a computer and a network.[55] There is also the new issue of cyberterrorism, which is being more frequently incorporated into modern crime fiction.

Detective Commandments[edit]

Several authors have attempted to set forth a sort of list of “Detective Commandments” for prospective authors of the genre.

According to "Twenty Rules for Writing Detective Stories," by Van Dine in 1928: "The detective story is a kind of intellectual game. It is more—it is a sporting event. And for the writing of detective stories there are very definite laws—unwritten, perhaps, but nonetheless binding; and every respectable and self-respecting concocter of literary mysteries lives up to them. Herewith, then, is a sort of credo, based partly on the practice of all the great writers of detective stories, and partly on the promptings of the honest author's inner conscience."[56] Ronald Knox wrote a set of Ten Commandments or Decalogue in 1929,[53] see article on the Golden Age of Detective Fiction.

A general consensus among crime fiction authors is there is a specific set of rules that must be applied for a novel to truly be considered part of the detective fiction genre. As noted in "Introduction to the Analysis of Crime Fiction",[57] crime fiction from the past 100 years has generally contained 8 key rules to be a detective novel:

  • A crime, most often murder, is committed early in the narrative
  • There are a variety of suspects with different motives
  • A central character formally or informally acts as a detective
  • The detective collects evidence about the crimes and it's victim
  • Usually the detective interviews the suspects,  as well as the witnesses
  • The detective solves the mystery and indicates the real criminal
  • Usually this criminal is now arrested or otherwise punished

Influential fictional detectives[edit]

Sherlock Holmes[edit]

Sherlock Holmes is British detective fiction written by Sir Arthur Conan Doyle. The first appearance of Sherlock Holmes is at “A study in Scarlet”. At first, Sherlock Holmes did not result massive success, however starting from 1891, after published Sherlock Holmes at “Strand Magazine”, it became unquestionably popular.[58] After Sherlock Holmes, many detective stories followed Conan Doyle’s structure and also include characters which have Sherlock Holmes characteristics.

Sherlock Holmes has most huge fandom in detective fiction. Conan Doyle tried to kill Sherlock Holmes after twenty three stories, but because of people’s request, he had to continue writing Sherlock Holmes series. Today, Sherlock Holmes popularity became more obsessive since past. Sherlock Holmes is not only reference as one character from detective fiction but also influenced in many other area. For example, due to enormous fandom all around the world, TV series based on Sherlock Holmes have been created; title named as “Sherlock”. Because of Holmes, Conan Doyle was “well-known as Queen Victoria”.[58]

Hercule Poirot[edit]

Hercule Poirot is a fictional Belgian private detective, created by Agatha Christie. As the one of Christie's most famous and long-lived characters, he appeared in 33 novels, one play (Black Coffee), and more than 50 short stories published between 1920 and 1975. The stories are throughout the Hercule Poirot’s whole life in the UK, which he first appeared in The Mysterious Affair at Styles (published in 1920) and died in Curtain (published in 1975), which is Agatha Christie’s last work. August 6, 1975, The New York Times published the obituary of Paolo's death and the cover of the newly published novel on the front page. [1][59]

C. Auguste Dupin[edit]

Le Chevalier C. Auguste Dupin is a fictional character created by Edgar Allan Poe. Dupin made his first appearance in Poe's "The Murders in the Rue Morgue" (1841), widely considered the first detective fiction story.[60] He reappears in "The Mystery of Marie Rogêt" (1842) and "The Purloined Letter" (1844).

C. Auguste Dupin is generally acknowledged as the first detective in fiction. The character served as the prototype for many that were created later, including Sherlock Holmes by Arthur Conan Doyle and Hercule Poirot by Agatha Christie.[60] Conan Doyle once wrote, "Each [of Poe's detective stories] is a root from which a whole literature has developed... Where was the detective story until Poe breathed the breath of life into it?"[60]

Ellery Queen[edit]

Ellery Queen is a fictional detective-hero, created by Manfred Bennington Lee (1905-1971), and Frederic Dannay (1905~1982), as well as a joint pseudonym for the cousins Dannay and Lee. Ellery Queen first appeared in The Roman Hat Mystery  (1929), and was the hero of more than 30 novels and several short story collections, During the 1930s and much of the 1940s, that detective-hero was possibly the best known American fictional detective.[61]

Detective debuts and swansongs[edit]

Many detectives appear in more than one novel or story. Here is a list of a few debut and swansong stories:

Detective Author Debut Swansong
Misir Ali Humayun Ahmed Devi Jakhan Namibe Andhar
Roderick Alleyn Ngaio Marsh A Man Lay Dead Light Thickens
Lew Archer Ross Macdonald The Moving Target The Blue Hammer
Byomkesh Bakshi Sharadindu Bandyopadhyay Satyanweshi Bishupal Badh
Parashor Barma Premendra Mitra Goenda Kobi Parashar
Tom Barnaby Caroline Graham The Killings at Badger's Drift A Ghost in the Machine
Martin Beck Maj Sjöwall and Per Wahlöö Roseanna The Terrorists
Bimal Hemendra Kumar Roy jakher dhan
Anita Blake Laurell K. Hamilton Guilty Pleasures
Harry Bosch Michael Connelly The Black Echo
Father Brown G. K. Chesterton "The Blue Cross"
Brother Cadfael Ellis Peters A Morbid Taste for Bones Brother Cadfael's Penance
Vincent Calvino Christopher G. Moore Spirit House
Albert Campion Margery Allingham The Crime at Black Dudley
Nick Charles Dashiell Hammett The Thin Man
Elvis Cole Robert Crais The Monkey's Raincoat
Lord Edward Corinth and Verity Browne David Roberts Sweet Poison Sweet Sorrow
Jerry Cornelius Michael Moorcock The Final Programme
Dr. Phil D'Amato Paul Levinson "The Chronology Protection Case"
Harry D'Amour Clive Barker "The Last Illusion"
Andrew Dalziel and Peter Pascoe Reginald Hill A Clubbable Woman Midnight Fugue
Peter Decker Faye Kellerman The Ritual Bath
Alex Delaware Jonathan Kellerman When the Bough Breaks
Harry Devlin Martin Edwards All the Lonely People
Harry Dresden Jim Butcher Storm Front
Nancy Drew Carolyn Keene The Secret of the Old Clock
Auguste Dupin Edgar Allan Poe "The Murders in the Rue Morgue"
Marcus Didius Falco Lindsey Davis The Silver Pigs
Feluda Satyajit Ray Feludar Goyendagiri Robertson-er Ruby
Erast Fandorin Boris Akunin The Winter Queen
Kate Fansler Amanda Cross In the Last Analysis
Dr. Gideon Fell John Dickson Carr Hag's Nook Dark of the Moon
Sir John Fielding and Jeremy Proctor Bruce Alexander Blind Justice
Gordianus the Finder Steven Saylor Roman Blood
Dirk Gently (Svlad Cjelli) Douglas Adams Dirk Gently's Holistic Detective Agency
Mike Hammer Mickey Spillane I, the Jury
The Hardy Boys (ghostwriters) The Tower Treasure
Heiji Hattori Gosho Aoyama Detective Conan
Sherlock Holmes Sir Arthur Conan Doyle A Study in Scarlet The Adventure of Shoscombe Old Place
Jayanta Hemendra Kumar Roy Jayanter Keerti
Kikira Bimal Kar Kapalikera Ekhono Ache Ekti Photo Churir Rahasya
Shinichi Kudo / Conan Edogawa Gosho Aoyama Detective Conan  
Jake Lassiter Paul Levine "To Speak For The Dead"
Joe Leaphorn Tony Hillerman The Blessing Way
Thomas Lynley and Barbara Havers Elizabeth George A Great Deliverance
Philip Marlowe Raymond Chandler The Big Sleep Playback
Miss Marple Agatha Christie The Murder at the Vicarage Sleeping Murder
Travis McGee John D. MacDonald The Deep Blue Good-by The Lonely Silver Rain
Mehul and Kairav Adventures of Mehul & Kairav A Modest Beginning
Sir Henry Merrivale Carter Dickson The Plague Court Murders The Cavalier's Cup
Kinsey Millhone Sue Grafton 'A' is for Alibi
Inspector Morse Colin Dexter Last Bus to Woodstock Remorseful Day
Thursday Next Jasper Fforde The Eyre Affair
Stephanie Plum Janet Evanovich One for the Money
Hercule Poirot Agatha Christie The Mysterious Affair at Styles Curtain
Ellery Queen Ellery Queen The Roman Hat Mystery A Fine and Private Place
Jack Reacher Lee Child Killing Floor
Precious Ramotswe Alexander McCall Smith The No. 1 Ladies' Detective Agency
John Rebus Ian Rankin Knots and Crosses
Dave Robicheaux James Lee Burke The Neon Rain
Kiriti Roy Nihar Ranjan Gupta Kalo Bhramar avagunthita
Lincoln Rhyme Jeffery Deaver The Bone Collector
Matthew Scudder Lawrence Block Sins of the Fathers
Miss Silver Patricia Wentworth Grey Mask The Girl in the Cellar
Spenser Robert B. Parker The Godwulf Manuscript
Dan Shepherd Stephen Leather True Colours
Sam Spade Dashiell Hammett The Maltese Falcon
Tintin Hergé Tintin in the Land of the Soviets Tintin and Alph-Art
Philip Trent E. C. Bentley Trent's Last Case Trent Intervenes
Kurt Wallander Henning Mankell Faceless Killers
V.I. Warshawski Sara Paretsky Indemnity Only
Reginald Wexford Ruth Rendell From Doon with Death
Lord Peter Wimsey Dorothy L. Sayers Whose Body? Busman's Honeymoon
Nero Wolfe Rex Stout Fer-de-Lance A Family Affair
Huo Sang Chen Xiaoqing The Shadow in the Lamplight


  • Bloody Murder: From the Detective Story to the Crime Novel—A History by Julian Symons ISBN 0-571-09465-1
  • Stacy Gillis and Philippa Gates (Editors), The Devil Himself: Villainy in Detective Fiction and Film, Greenwood, 2001. ISBN 0-313-31655-4
  • The Manichean Investigators: A Postcolonial and Cultural Rereading of the Sherlock Holmes and Byomkesh Bakshi Stories by Pinaki Roy, New Delhi: Sarup and Sons, 2008, ISBN 978-81-7625-849-4
  • Killer Books by Jean Swanson & Dean James, Berkley Prime Crime edition 1998, Penguin Putnam Inc. New York ISBN 0-425-16218-4
  • Delightful Murder: A Social History of the Crime Story by Ernest Mandel, 1985. Univ. of Minnesota Press.

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Further reading[edit]