Dorothy L. Sayers

In GAD We Trust – Episode 8: Uncovering Long-Forgotten Short Stories + Bodies from the Library 3 (2020) ed. Tony Medawar [w’ Tony Medawar]

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In GAD We Trust BftL3

Today was due to have been the sixth (sixth!) Bodies from the Library conference at the British Library but, for obvious reasons, it’s not.  I can’t, alas, give you a whole day of GAD-based discussion, but I can at least fill an hour with someone from that line-up of exceptionally knowledgable people, Tony Medawar.

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#530: Serving Up a, uhm, Verger’s, er, Breakfast – The Montague Egg Stories of Dorothy L. Sayers (1933-36)

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Complete Sayers

Dorothy Leigh Sayers is undoubtedly one of the most influential and enduring writers to emerge from the Golden Age of Detective Fiction — as a founding member of the Detection Club and the creator of one of last century’s best known amateur sleuths she was in at the blood of the formulation of GAD and has remained hugely popular ever since.

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#355: Change a Letter, Alter the Plot

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Paws

If you’ve been paying attention, especially to my comments left both here and elsewhere, you’ll be aware that my typing is rather famously variable.  90% of the time I’m good, but that other 10% — man, some errors there are.  Writing something recently, I made reference to the novel Five Little Pugs by Agatha Christie and then — catching myself in time to correct it — I had a thought…

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#335: Stand Not Upon the Order of Your Going – Do You Get the Most Out of an Author by Reading Them Chronologically?

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calendar-big

In light of my recent favourable experience with Ellery Queen’s The Chinese Orange Mystery (1934), my thoughts turn to the benefits and pitfalls of reading GAD authors’ novels in chronological order.  The old joke is that they had to write them in that order, but is there any real benefit or detriment in reading them so arrayed?

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#326: Reflections on Detection – ‘Decline of the English Murder’ (1946) by George Orwell and the End of the Golden Age

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George Orwell’s essay ‘Decline of the English Murder’ (1946) is focussed not on the quality of said fictional undertakings but rather the attitudes of a society suffering the “brutalising effects of war” and thus immune to the horror of murder the perspectives of both commission and punishment.  Citing the case of the Cleft Chin Murder, in which three people were killed with no meaningful motivation and the opprobrium of the public was vented upon the couple responsible, the sentiment of the final line is easily the most powerful; “crimes as serious as murder should have strong emotions behind them”.

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