The Technique of the Mystery Story - Carolyn Wells

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It is a battle of wits, a mental duel, involving close logic, a certain amount of applied psychology, and also a high degree of daring on the part both of the criminal and of the man who hunts him down. Here is nothing in itself 'sensational' in the popular acceptance of that word.

      "Therefore, when we speak of the detective story, and regard it seriously, we do not mean the penny-dreadfuls, the dime-novels, and the books which are hastily thrown together by some hack-writer of the 'Nick Carter' school, but the skillfully planned work of one who can construct and work out a complicated problem, definitely and convincingly. It must not be too complex; for here, as in all art, simplicity is the soul of genius. The story must appeal to our love of the mysterious, and it must be characterized by ingenuity, without transcending in the least the limits of the probable."

      This is a clear and rational definition of the Detective Story as we propose to consider it, and it seems to justify the acceptance of such stories as literature.

      But even in the complete absence of necessity for apology, we must consider the rightful place of the Mystery Story in fiction.

      It is neither below nor above other types of story, but side by side with character studies, problem novels, society sketches or symbolic romances; and in so far as it fulfils the requirements of the best literature, just so far it is the best literature.

      There are bigoted and thoughtless critics who deny the Mystery Story any right to be considered as literature at all. But better judges are better pleased.

      To quote from a personal letter of Mr. Arlo Bates:

      "As to whether a Detective Story is literature, it seems to me that the question is not unlike asking whether a man with blue eyes is moral. No story ever took a place as literature on the strength of its plot. I am in the habit of telling my classes that one can no more judge the literary value of a novel from its plot, than one can judge of the beauty of a girl from an X-ray photograph of her skeleton. To exclude detective tales would be greatly to diminish the world's literary baggage."

      Professor Brander Matthews tells us in "Inquiries and Opinions" that "Poe transported the detective story from the group of tales into the group of portrayals of character. By bestowing upon it a human interest, he raised it in the literary scale."

      But Mr. Matthews continues:

      "Even at its best, in the simple perfection of form that Poe bestowed on it, there is no denying that the Detective Story demanded from its creator no depth of sentiment, no warmth of emotion, and no large understanding of human desire. There are those who would dismiss it carelessly, as making an appeal not far removed from that of the riddle and of the conundrum. There are those again who would liken it rather to the adroit trick of a clever conjurer. No doubt, it gratifies in us chiefly that delight in difficulty conquered, which is a part of the primitive play-impulse potent in us all, but tending to die out as we grow older, as we lessen in energy, and as we feel more deeply the tragi-comedy of existence. But inexpensive as it may seem to those of us who look to literature for enlightenment, for solace in the hour of need, for stimulus to stiffen the will in the never ending struggle of life, the detective tale, as Poe contrived it, has merits of its own as distinct and as undeniable, as those of the historical novel, for example, or of the sea-tale. It may please the young rather than the old, but the pleasure it can give is ever innocent; and the young are always in the majority."

      Perhaps with his inerrant sense of terminology, Professor Matthews struck the right word when he called the Mystery Story inexpensive. It is that, but it is not necessarily cheap.

      The indiscriminate critic who pronounces all detective stories trash, would be quite as logical and veracious should he call all love stories trash or all historical novels trash. The matter of a detective story is definite and easily invoiced; the manner allows scope as high as poetry or as deep as philosophy or as wide as romance. There is as true literature in Poe's detective stories as in Bacon's Essays, though of a different sort.

      A recent well-known author published a book of clever detective stories anonymously. Asked why, he said that he considered the admission of its authorship beneath his literary dignity. "Because," he explained, "they are false to life and false to art."

      As a generalization, nothing could be more untrue. A detective story may be these things, but so may stories in any other field of fiction. It depends on the author.

      But to imply that a detective story is necessarily false to life and is false, per se, to art, is a mistake.

      To quote Julian Hawthorne's very able essay on this subject:

      "Of course 'The Gold Bug' is literature; of course any other story of mystery and puzzle is also literature, provided it is as good as 'The Gold Bug,'—or I will say, since that standard has never since been quite attained, provided it is a half or a tenth as good. It is goldsmith's work; it is Chinese carving; it is Daedalian; it is fine. It is the product of the ingenuity lobe of the human brain working and expatiating in freedom. It is art; not spiritual nor transcendental art but solid art, to be felt and experienced. You may examine it at your leisure, it will be always ready for you; you need not fast or watch your arms overnight in order to understand it. Look at the nice setting of the mortises; mark how the cover fits; how smooth is the working of that spring drawer. Observe that this bit of carving, which seemed mere ornament, is really a vital part of the mechanism. Note, moreover, how balanced and symmetrical the whole design is, with what economy and foresight every part is fashioned. It is not only an ingenious structure, it is a handsome bit of furniture, and will materially improve the looks of the empty chambers, or disorderly or ungainly chambers that you carry under your crown. Or if it happen that these apartments are noble in decoration and proportions, then this captivating little object will find a suitable place in some spare nook or other, and will rest or entertain eyes too long focused on the severely sublime and beautiful."

      2. The Mystery Story Considered as Art

      Yes, the detective story at its best is primarily and integrally a work of art. It is like those Chinese carved balls, referred to by Tennyson as, "Laborious orient ivory, sphere in sphere," and as the mystery story originated in the Orient, there may be some correlation.

      The detective story has been called "ingenious but somewhat mechanical." Here the stigma lies in the "but." The detective story is ingenious and mechanical. On these two commandments hang all the laws of mystery fiction writing. Also ingenious and mechanical are the Fixed Forms of verse. Who denies the beauty and art of sonnets and rondeaux, and even sestinas, because they are ingenious and mechanical?

      As the mosaic worker in Florence picks out his colored bits with utmost skill, care and patience, so the worker in Fixed Forms selects his words and fits them into his inexorable pattern until he achieves his perfect and exquisite result.

      Heraldic devices are not "artistic" in the accepted sense of the word, but they are an art in themselves; ingenious and mechanical, but still art. The Heraldic lions in front of the New York Public Library may not be true to nature's lions, may not be true to a poetic imagination of a lion, but they are true to the laws of the conventional lion of heraldry, and are therefore art.

      Oriental embroidery is art as much as an impressionist picture, though of a different type, and characterized by ingenuity and mechanism.

      If, as Lowell says, "genius finds its expression in the establishment of a perfect mutual understanding between the worker and his material," then we can exclude no serious endeavors from the possibility of being art.

      And the qualities of ingenuity and mechanism are peculiarly fitted to bring about the establishment of just such an understanding.

      3. The Claims of Antagonists and Protagonists

      One reason for a sweeping denouncement of the detective story is the innate propensity of the human mind for bluffing at intellect. Many people would be glad to admit a taste for mystery fiction, but tradition tells them that such things are but child's play, while a love of ethics or metaphysics betokens a great mind. Ashamed then, of their honest liking for puzzle solving, they deny it, and pretend a deep interest in subjects which really mean little or nothing to them.

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