Talking about Detective Fiction, Page 2

  If we are looking for the origins of detective fiction, most critics are agreed that the two novelists who vie for the distinction of writing the first full-length classical detective story are William Godwin, Shelley's father-in-law, who in 1794 published Caleb Williams, and Wilkie Collins, whose best-known novel, The Moonstone, appeared in 1868. Neither writer would have been gratified at this posthumous distinction. Wilkie Collins in particular saw himself as a mainstream novelist, albeit one who worked within the category which Victorians described as sensational. These works of mystery, suspense and danger with an overlay of horror had an increasingly strong hold on the popular imagination, and there was much argument among critics, both about their literary merit and about their social desirability. Did these sensational outpourings even deserve the name of novel, or were they a new and inferior form of fiction provided to meet a rapacious public demand focused on W. H. Smith railway station bookstalls? This debate has, of course, continued, but in the mid-nineteenth century it was a new and particular concern. In 1851 The Times complained:

  Every addition to the stock [of the bookstalls] was positively made on the assumption that persons of the better class who constitute the larger portion of railway readers lose their accustomed taste the moment they enter the station.

  In 1863 a leading review in the Quarterly Review stated:

  A class of literature has grown up around us... playing no inconsiderable part in moulding the minds and forming the habits and tastes of its generation; and doing so principally, we had almost said exclusively, by "preaching to the nerves." ... Excitement, and excitement alone, seems to be the great end at which they aim.... Various causes have been at work to produce this phenomenon of our literature. Three principal ones may be named as having had a large share in it--periodicals, circulating libraries, and railway bookstalls.

  By 1880 Matthew Arnold was describing these novels as "cheap ... hideous and ignoble of aspect... tawdry novels which flare in the bookshelves of our railway stations, and which seem designed, as so much else that is produced for the use of our middle-class, for people with a low standard of life." The unfortunate Mr. W. H. Smith, whose bookstalls did so much to promote reading, had apparently much to answer for.

  But in my view the final and accurate words about the controversy were written by Anthony Trollope in his Autobiography, published posthumously in 1883.

  A good novel should be both [realistic and sensational], and both in the highest degree.... Truth let there be--truth of description, truth of character, human truth as to men and women. If there be such truth, I do not know that a novel can be too sensational.

  Trollope was undoubtedly categorised by his contemporaries as a sensational novelist and was here defending his own work, but these words are as true of the sensational novel of today as they were when they were written.

  Both Caleb Williams and The Moonstone could be described as sensational. Hazlitt, the theatre critic and essayist (1778-1830), thought that nobody who began Caleb Williams could fail to finish it and that nobody who read it could possibly forget it, yet I have to admit that in adolescence I found it difficult to get through and now have only the vaguest memory of its long and complicated plot. Certainly the novel has at its heart a murder, an amateur detective--Caleb Williams--who tells the story, a pursuit, disguise, clues to the truth of the murder for which two innocent men were hanged, and at the end a deathbed confession. But Godwin was using this dramatic and complicated adventure story to promote his belief in an ideal anarchism and, so far from justifying the rule of law, Caleb Williams was intended to show that to trust in social institutions is to invite betrayal. The novel is important both to English fiction generally and to the history of the detective story because Godwin was the first writer to use what he hoped would be a popular form as propaganda on behalf of the poor and exploited, and in particular to expose the injustice of the legal system. This was not a path followed by writers of the interwar years, who were more interested in puzzling and entertaining their readers than in the defects of contemporary society, and I would argue that, with a very few exceptions, it is mainly the modern detective writers who have set out not only to provide an exciting and credible mystery, but to examine and criticise the world which their characters inhabit. Today, however, this is done with less didacticism and more detachment and subtlety than was shown by William Godwin, and arises from the reality of the characters and their world rather than from any ostensible desire to promote a particular social doctrine.

  But if one is to award the distinction of being the first detective story to one single novel, my choice--and I think the choice of many others--would be The Moonstone, which T. S. Eliot described as "the first, the longest and the best" of modern English detective novels. In my view no other single novel of its type more clearly adumbrates what were to become the main characteristics of the genre. The Moonstone is a diamond stolen from an Indian shrine by Colonel John Herncastle, left to his niece Rachel Verrinder and brought to her Yorkshire home to be handed over on her eighteenth birthday by a young solicitor, Franklin Blake. During the night it is stolen, obviously by a member of the household. A London detective, Sergeant Cuff, is called in, but later Franklin Blake takes over the investigation, although he himself is among the suspects. The Moonstone is a complex and brilliantly structured story told in narrative by the different characters involved directly or indirectly in the story. The varied styles, voices and viewpoints not only add variety and interest to the narrative, but are a powerful revelation of character.

  Collins is meticulously accurate in his treatment of medical and forensic details. There is an emphasis on the importance of physical clues--a bloodstained nightdress, a smeared door, a metal chain--and all the clues are made available to the reader, foreshadowing the tradition of the fair-play rule whereby the detective must never be in possession of more information than the reader. The clever shifting of suspicion from one character to another is done with great adroitness, and this emphasis on physical evidence and the cunning manipulation of the reader were both to become common in succeeding mysteries. But the novel has other and more important virtues as a detective story. Wilkie Collins is excellent at describing the physical appearance and the atmosphere of the setting, particularly the contrast between the secure and prosperous Victorian Verrinder household and the eerie loneliness of the shivering sands; between the exotic and accursed jewel that has been stolen and the outwardly respectable privileged lives of upper-class Victorians. The novel provides an interesting insight into many aspects of its age, particularly through the truth and variety of its characterisation, and since clue-making is largely concerned with the minutiae of everyday life, this reflection of contemporary social mores was to become one of the most interesting features of the detective story. The innovative importance of The Moonstone was recognised at the time. Henry James acknowledged its influence in an article in The Nation.

  To Mr. Collins belongs the credit of having introduced into fiction those most mysterious of mysteries, the mysteries which are at our own doors. This innovation ... was fatal to the authority of Mrs. Radcliffe and her everlasting castle in the Apennines. What are the Apennines to us or we to the Apennines? Instead of the terrors of "Udolpho," we were treated to the terrors of the cheerful country-house and the busy London lodgings.

  Wilkie Collins was innovative in more than the setting. In the rose-growing detective Sergeant Cuff, Wilkie Collins created one of the earliest professional detectives, eccentric but believable, shrewdly knowledgeable about human nature and based on a real-life Scotland Yard inspector, Jonathan Whicher. The Moonstone is the only detective novel as far as I know in which the hero is so obviously based on a real-life police officer; the case to which he was summoned to investigate, the murder at Road Hill House in Wiltshire, caused a country-wide sensation at the time and became one of the most intriguing and written-about murders of the nineteenth century. The year was 1860, the place was the detached, impressivethe story
to India during the period home of a prosperous factory inspector, Samuel Kent, and his second wife, Mary, and the victim, their three-year-old son, Francis Saville. On the night of 29 June he was taken from his cot in the room next to the marital bedroom, and carried from the house while the family and servants slept. His body with its throat slashed was found next morning in a privy in the garden. There could be no doubt that the killer was either a member of the family or one of the domestic staff, and the atmosphere of fascinated horror and conjecture spread from the neighbourhood to the whole country, while the local police tried to cope with a crime which, from the first, proved well beyond their powers.

  In June 1842 the Home Office had approved the setting up of an elite detective force to investigate particularly atrocious crimes, and Whicher was its most famous and successful member, lauded by Dickens, friend of the famous and something of a national hero. When the local police proved ineffective, Whicher was called in to take over the investigation. The horror of the deed, the age and innocence of the victim, the prosperous upper-class setting, the rumours of sexual scandal and the near certainty that the murderer was one of the household provoked a nationwide heady mixture of revulsion and fascination. It seemed that the whole country, uninhibited by considerations of family grief or privacy, was composed of amateur detectives both in the press and in personal gossip. Whicher was convinced from the start that Constance, the sixteen-year-old half-sister of the child, was guilty, but the arrest of the daughter of a respectable upper-class family provoked outrage. When Constance was released by the magistrates and the case remained unsolved, Whicher's reputation never recovered. Five years later Constance confessed that, alone and unaided, she had murdered her half-brother.

  I think it would be going too far to see the Road Hill House case itself as directly influencing the development of detective fiction, but the national reaction to the crime at the time certainly confirmed the Victorian interest in sensational murders and in the process of detection. Largely because Constance Kent's confession, although accepted by the court, could not possibly have been completely true, interest in the case has never ceased and there have been a number of well-documented accounts.

  The crime also inspired later novelists, including Dickens, and as late as 1983 Francis King transferred the story to India during the period of the British Raj in his novel Act of Darkness. The most recent account is by Kate Summerscale in The Suspicions of Mr. Whicher, which concentrates on the investigation of the murder and provides fascinating details of the extraordinary public response to the crime and the subsequent lives of those concerned. Kate Summerscale also provides a solution to the mystery which I find convincing.

  It seems now that all the participants in the tragedy and the general public were enacting in advance and in real life the storyline of detective novels which were to become common in the interwar years: the mysterious murder, the closed circle of suspects, the isolated rural community, the respectable and prosperous setting and the brilliant detective called in from outside to solve the crime when the local police are baffled. An age so fascinated by violence, both in real life and in literature, so ready to involve itself with relish in the process of detection, was certainly ready for the advent of the man who is commonly regarded as the first great British fictional detective and who was to appear in 1887 with the publication of Arthur Conan Doyle's A Study in Scarlet.

  2

  The Tenant of 221B Baker

  Street and the Parish Priest

  from Cobhole in Essex

  You mentioned your name, as if I should recognize it, but I assure you that, beyond the obvious facts that you are a bachelor, a solicitor, a Freemason, and an asthmatic, I know nothing whatever about you.

  Arthur Conan Doyle, "The Adventure of the Norwood Builder"

  IT IS a safe assumption that enthusiasts for detective fiction, whatever their country or nationality, if asked to name the three most famous fictional detectives, will begin with Sherlock Holmes. In the long list of amateur sleuths down the last nine decades, he remains unique, the unchallenged Great Detective, whose brilliant deductive intelligence could outwit any adversary, however cunning, and solve any puzzle, however bizarre. In the decades following his creator's death in 1930, he has become an icon.

  "I must say, Mr. Baskerville, we had expected something larger."

  When Arthur Conan Doyle published A Study in Scarlet he was a newly married general practitioner living in Southsea with ambitions to become a writer, but so far with better success in medicine than in fiction, despite being both prolific and hard-working. Then, in 1886, came the idea which was to bear fruit beyond his imagination. He decided to try his luck with a detective story, but one markedly different from the tales then being published, which he thought unimaginative, unfair in their denouement, and whose detectives were mere stereotypes who depended for success more on luck and the stupidity of the criminal than their own cleverness. His detective would employ scientific methods and logical deduction. A Study in Scarlet was first published in 1887 as one contribution in Beeton's Christmas Annual, priced at one shilling. The annual was hugely popular and quickly sold out, but the story was not widely reviewed, gaining only a few mentions in the national press. A year later A Study in Scarlet was published as a separate volume, and reprinted in 1889. Conan Doyle, however, gained very little from this attempt at detective fiction, having relinquished all rights in his story for twenty-five pounds. But it is here in his first detective story, seen through the eyes of his friend and flatmate Dr. Watson, that the great detective is brought clearly before us in an image which, with the addition of his deerstalker hat and pipe, has remained fixed in the public imagination.

  In height he was rather over six feet, and so excessively lean that he seemed to be considerably taller. His eyes were sharp and piercing, save during those intervals of torpor to which I have alluded; and his thin hawk-like nose gave his whole expression an air of alertness and decision. His chin, too, had the prominence and squareness which mark the man of determination. His hands were invariably blotted with ink and stained with chemicals, yet he was possessed of extraordinary delicacy of touch, as I frequently had occasion to observe when I watched him manipulating his fragile philosophical instruments.

  And it is in A Study in Scarlet that Holmes himself gives proof of his deductive powers.

  "There has been murder done, and the murderer was a man. He was more than six feet high, was in the prime of life, had small feet for his height, wore coarse, square-toed boots and smoked a Trichinopoly cigar. He came here with his victim in a four-wheeled cab, which was drawn by a horse with three old shoes and one new one on his off foreleg. In all probability the murderer had a florid face, and the fingernails of his right hand were remarkably long. These are only a few indications but they may assist you."

  Lestrade and Gregson glanced at each other with an incredulous smile.

  "If this man was murdered, how was it done?" asked the former.

  "Poison," said Sherlock Holmes curtly, and strode off.

  Despite the amount of detailed information about Holmes and his habits provided by Watson in the short stories, the core of the man remains elusive. He is obviously clever with a practical, rational, non-threatening intelligence, patriotic, compassionate, resourceful and brave--qualities which mirror those of his creator. This is not surprising, since writers who create a serial character inevitably endow him or her with their own interests and preoccupations. Conan Doyle admitted that "a man cannot spin a character out of his own inner consciousness and make it really life-like unless he has some possibilities of that character within him." Even so, I would have expected him to have been more attached to the valiant Dr. Watson, wounded hero of the second Afghan war, than to this unsentimental, neurotic and cocaine-injecting genius of deduction. Holmes is a violinist, so he is not without a cultural interest, but we are probably unwise to accept Watson's partial view of the measure of his talent. Although the call to a new case provokes
in Holmes a surge of enthusiasm and physical and mental energy, he has a doubting and pessimistic streak, and more than a touch of modern cynicism. "What you do in this world is a matter of no consequence. The question is, what you can make people believe you have done" (A Study in Scarlet). "We reach. We grasp. And what is left in our hands at the end? A shadow. Or worse than a shadow--misery" ("The Adventure of the Retired Colourman"). In this too Holmes could be reflecting a dichotomy in his own character, and indeed one aspect of Victorian sensibility. He is of his age but, curiously, also of ours, and this too may be part of the secret of his lasting appeal. The inspiration for Sherlock Holmes was Dr. Joseph Bell, a consultant surgeon at the Edinburgh Royal Infirmary whose reputation as a brilliant diagnostician was based on his ability to observe closely and interpret the apparently insignificant facts presented by the appearance and habits of his patients. Conan Doyle also acknowledged the influence of Edgar Allan Poe, who was born in 1809 and died in 1849, and whose detective, Chevalier C. Auguste Dupin, was the first fictional investigator to rely primarily on deduction from observable facts. Many critics would argue that the main credit for inventing the detective story and influencing its development should be shared by Conan Doyle and Poe. Poe is chiefly remembered for his tales of the macabre, but in four short stories alone he introduced what were to become the stock plot devices of early detective stories. "The Murders in the Rue Morgue" (1841) is a locked-room mystery. In "The Mystery of Marie Roget" (1842) the detective solves the crime from newspaper cuttings and press reports, making this the first example of armchair detection. In "The Purloined Letter" (1844) we have an example of the perpetrator being the most unlikely suspect, a ploy which was to become common with Agatha Christie and in danger of becoming a cliche, so that readers whose main interest in the story was to correctly identify the murderer had only to fix on the least likely suspect to be sure of success. "The Gold-Bug" makes use of cryptography in solving the crime; so too did Dorothy L. Sayers, both in Have His Carcase and in The Nine Tailors. Poe did not describe himself as a detective writer, but both he and his hero, C. Auguste Dupin, have their rightful importance in the history of the genre, although Dupin cannot challenge the dominance of Sherlock Holmes and has little in common with Holmes except for their deductive skills. Sherlock Holmes remains unique. We may not feel personally drawn to his eccentricities, but generations have entered into his world and have shared the excitement, entertainment and pure reading pleasure of his adventures. Conan Doyle was a superb storyteller, the Sherlock Holmes canon is still in print and the stories are being read by new generations nearly eighty years after Conan Doyle's death.