Twenty months ago I set out to examine each of the ten rules in Ronald Knox’s detective fiction decalogue in laborious detail; this month, that project will finally be completed. Then I can finally return to The Criminous Alphabet, eh?Continue reading
That title is doing a lot of work, isn’t it? Fair warning: this goes on a bit.
At the online Bodies from the Library conference last weekend, I gave a talk inspired in part by E.M. Wrong’s introduction to the 1926 anthology Crime and Detection. And, in addition to coining the term “Wellington of detection” that inspired the thinking I laid out last weekend, there is plenty of material in that piece of prose to get the cogs turning.Continue reading
You’re doubtless aware of the superbly wide-ranging Golden Age-focussed Shedunnit podcast run by Caroline Crampton, and I was delighted to be asked to contribute to an episode about locked room mysteries and impossible crimes. The results are now online for your listening pleasure.
A final (for now) podcast episode before I head off on hiatus, this time discussing the idea of genre with author Ryan O’Neill.
The accepted wisdom is that Edgar Allan Poe wrote five stories which formed the basis of the nascent detective fiction genre, and the plan for this month had originally been to look at one story each week. But that’s what you plan when you fail to account for the rigour and research of Christian, who blogs at Mysteries, Short and Sweet.
It’s Christmas Eve, you’re keenly watching for snow and listening for reindeer hooves on your roof, and Christian and I are moving onto the lesser crime stories of Edgar Allan Poe — the weaklings which nevertheless still hold some sway where the development of detective fiction is concerned.
For this, the third week of examining the hugely influential crime stories of Edgar Allan Poe, we come to the last of the tales to feature his genius amateur detective C. Auguste Dupin.
Another week, another cornerstone of the detection genre as laid by Mr. Edgar Allan Poe.