Let’s get the new year off to a happy start by showing some appreciation for contemporary authors who make life difficult for themselves by upholding the traditions of Golden Age detective fiction in their own works. And, if you want to discuss modern detective fiction, few are better-placed than Puzzle Doctor, a.k.a. Steve from In Search of the Classic Mystery Novel.Continue reading
We’re all prone to speculate at times about how wonderful it would be to discover a previously-unpublished work by a beloved Golden Age author, and for today’s podcast episode Tony Medawar rejoins me to tempt you with two forthcoming collections of hard-to-find material from two of the genre’s titans — John Dickson Carr and Freeman Wills Crofts.Continue reading
It’s rather a coup of scheduling that the British Library opted to reissue this November-set second case for Henri Bencolin in November 2020, because there’s something distinctly eerie the fog-shrouded, darkening streets of the London of John Dickson Carr’s second novel The Lost Gallows (1931) that would, one feels, be lost if read in the blistering July sunshine (yes, thank-you, the Southern Hemisphere). Indeed, I enjoyed this one more at this second reading than I thought I would — in part because Carr’s melodrama doesn’t hit me so hard second time around, but I’m also going to cite “tis the season” as a definite factor.
It’s fair to say that no-one has done more for the curation of John Dickson Carr’s work than Douglas G. Greene: collecting various obscure short pieces in the likes of The Door to Doom and Other Detections (1980), Merrivale, March, and Murder (1991), and Fell and Foul Play (1991), writing the staggeringly comprehensive (and recently reprinted) biography The Man Who Explained Miracles (1995), and enabling, through Crippen & Landru, publication of two — soon to be three — collections of Carr’s radio scripts edited by Tony Medawar.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.
As a reader, there’s a tension to be found at the heart of every writer’s work once it’s a closed set, especially when they’ve scaled the heights that John Dickson Carr did: with nothing else to be added, at what point does The Decline set in? From Till Death Do Us Part (1944), arguably the pinnacle of his glittering career, it’s a sawtooth diagram of quality all the way to Papa La-Bas (1968), arguably the nadir, but at what point does a downward trajectory become the prevailing trend rather than the occasional, forgivable oversight? It’s obviously impossible to pick the precise moment — helloooo, subjectivity — which inevitably makes such a moment impossible not to look for.