We live in a world where the 80 novels and collections of short stories by Agatha Christie are in no doubt — she wrote them, they were published, and they will doubtless be available in perpetuity. This is equally true of the work of John Dickson Carr, though less readily available, or Miles Burton or Christianna Brand; the work is closed, finished, and while an occasional unknown one may appear at some point, it’s reasonable to assume that there’s nothing meaningful to be added to these bibliographies.
The tempting extension to the understanding of there being nothing new forthcoming from these authors is to assume that there’s also nothing new to be written about these authors…until you realise just how little about them as people you really know. Hell, I — after realising at some point in the last ten years that classic era detective fiction is where my heart really lies — am still trying to read enough of the books in the genre to be able to discuss it with any authority, never mind also having a sense of the people involved in the writing of the books. Indeed, in my mind I suppose there’s always been a sort of natural inversion in expectation when it comes to the authors of genuine classics from yesteryear and the prevailing publishing trend of today: now you become famous first (via television, radio, YouTube, etc) as a result of which you get offered a publishing deal, so it stood to reason in my mind that a certain occlusion of writers from the 1930s — who did the writing first and then happened to become famous because of that writing — was inevitable. They wrote in less publicity-minded times, and, as mentioned above, the book of their life and works is now closed.
Well, as it turns out, not so much. Led by the savvy, advertising-honed brain of Dorothy L. Sayers — partly responsible, I learned, for those toucan-themed Guinness adverts — the detective fiction writers of the 1930s actively courted publicity and sought to devise their own sense of branding well before branding of authors was a thing. I’m guilty of not realising this in my analyses of radio serials ‘Behind the Screen’ (1930) and ‘The Scoop’ (1931), two novella-length dramas written as collaborations shortly after the formation of the Detection Club that clearly screamed for people to pay attention to a new formal undertaking of literary gamesmanship — essentially the Marvel Cinematic Universe of its time (though not a consistent universe in the same way, since a novel by one author could contain mentions of novels by other authors, rendering those fiction within the first author’s fictional world…my advice is not to think about this too hard). Sure, a lot of the people involved may have still shied away from the limelight, especially since more than a few of them held secrets close to their hearts that they would have preferred remain undisturbed, but the fact remains that a collegiate undertaking was nevertheless undertaken for the purposes of achieving some sense of notice and interest.
The immediate assumption is that this was a purely pecuniary undertaking — hell, no-one is immune to the charms of wealth, as even G.K. Chesterton, first President of the Detection Club, wrote at one point:
The glitter of guineas is like the glitter of buttercups, the chink of pelf is like the chime of bells, compared with the dreary papers and dead calculations which make the hobby of the modern miser.
20 thoughts on “#320: Reflections on Detection – The Golden Age of Murder (2015) by Martin Edwards”
In the pre-reading referred in the last sentence, there is the article Why Do People Read Detective Stories by Edmund Wilson. In the book The Murder Ink there is an article with the same title by Gladys Mitchell. If you are interested, I can send a copy to you.
That would be brilliant, I’d really appreciate it. Many thanks for the offer.
We owe Martin a massive debt 🙂
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That we do, that we do.
I’ll drink to that. If there is such a thing as a Golden Age revival, he may well take a major share of the credit.
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I have felt that ‘out of graspness’ a lot when I find myself trying to kink the history and the relationships together. So I am excited to get on this. I loved the way that this draws out for you the human side of the authors, working away at a new concept in a possibly isolated fashion. What a time it would have been to be alive and to write!
What a time it would have been to be alive and to write!
Oh, I dunno, dude — some of what these people went through on account of the standards of the time…yeesh! Never appreciated how isolating it must have been not just to write in this era, but also to confront a lot of the issues they had to confront.
It’s interesting how reading these novels can draw you further and further in until you’re reading about the novels. I suppose that’s kind of what we’re doing anyway every day on sites like this, but still, I can guarantee I’ll be picking up some books about the authors somewhere down the road. Some of the Carr analysis titles interest me especially. Now that I’ve read the books, I have to read more about them. Anything to draw out that myth. An alternative title. How it was conceived. Anything.
It’s a bit like music for me, I suppose. That favorite obscure band from the 80s will never write another song, and so now you chase down every radio session and live version, hoping to hear some different inspiration. Well, at least I do.
Oh, and the one “young readers” book you left out last month just happens to be the review that I’ve been dying to read!
Oh, actually, it wasn’t that book — it was something equally as intriguing which I’m a little bummed to have to put off…but, well, time constraints. Still, maybe I can do them both in the same month at some future point.
It’s interesting just how little of the GAD analysis that exists I was interested in before this. I know there are books on Carr and Chrisite, and doubtless ,any others, but I was always more about the novels than the authors themselves. This is a wonderful insight into that, though, and a great book with which to break my duck!
And, yeah, your music example strikes a particular chord (Ithankyou), not least on account of obscure treasures turning up in EQMM of late and all the other scope for rerelease of classics forgotten and simply OOP. It’s an exciting time to be a GAD fan.
There’s an interesting British expression! What does it mean to “break one’s duck?”
A “duck” in cricket is a score of zero — so “out for a duck” is exiting the game without scoring any runs. To “break one’s duck” is essentially to get off zero, or to do something for the first time.
At least, that’s how I use it…
Ah, too bad it wasn’t that book, because you know that when you review that book it’s going to send ripples across the GAD universe. I really think you’ll have the first review of that book online.
What sort of treasures have made it into EQMM recently? I saw a comment by you the other day that implied there was a previously unknown Christianna Brand short story (and that you didn’t think much of it?). Is that the same as the “lost” Christianna Brand book that we’ve been hearing about for the past year, or is that something different?
True, the treasures in EQMM have been a little sparse, but the recent Shimada translation, the brand new halter story from a few issues back, and the Brand (while not exactly groundbreaking) all have a high curiosity value that definitelt pays off in the first two cases. And you’re never sure if these will ever be anthologised anywhere else…
My understanding is that the “lost” Brand book of which you speak is something different. What, I don’t exactly know, but I have an impression from somewhere that it’s a collection of short stories rather than a novel. Someone may be able to correct me on that, though.
That was more of an honest question – I don’t read EQMM, and so I don’t know what sort of treasures have been coming out recently. I practically fell out of my seat when I saw you mention a new Brand story, although I stopped myself in mid-air when you said it wasn’t that great.
I’m tempted to pick up a few issues if there is content like new Halter and Brand stories. Do you find the magazine to generally be worth reading? Do you read through it all, or just pick out a few stories here and there?
I tend to start most things and then abandon them if they turns out to be more in the modern idiom. For my tastes, there’s less in the classical vein in a typical issue than I’d like to read….but I appreciate they can only pubilsh what people write and/or translate.
They’ve recently dropped down to six “double” issues a year rather than releaseing one every month, and part of me has to wonder why they don’t just republish more of the classic stuff from their back catalogue. I know Crippen & Landru have done a lot of anthologies of particular authors’ work, but there are doubtless still some belters that are unlikely to’ve seen the light of day since EQMM first published them…
Couldn’t agree more with your assessment of this one. Insightful, absorbing, funny and sometimes a little sad.
The ending is actually a bit bittersweet, isn’t it? This is waht non-genre novels must be like: spend ages with a group of people, get to know them and their foibles, and then watch it being acknowledged that nothing lasts forever and things fall apart. I can’t say I teared up exactly, but I felt a certain poignancy in the decriptions of the Club’s moving on as the founder members lost interest or died. Sign of a good story well told!
As another “lonely little boy” whose interests – murder mysteries, musical theatre, soap operas, and novels about everyday kids finding magic coins! – tended to isolate him from the rest of humanity, I will vouch for the fact that when you find a book that talks about the things you love, it validates your interest in them. Heck, it celebrates that interest, and – most important – it tells you you’re not alone!
How exciting to come upon a community that celebrates GAD and to be a part of some sort of resurrection! Bravo to Martin for this book! And bravo to all of us!
I really feel like Martin has done much more to earn this “Bravo” than I have…
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