Golden Age of Detective Fiction
From The Art and Popular Culture Encyclopedia
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"Hardboiled crime fiction - sometimes also referred to as noir fiction - was a U.S. reaction to the cosy conventionality of British murder mysteries with protagonists such as Sherlock Holmes and Hercule Poirot. --Sholem Stein |
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The Golden Age of Detective Fiction was an era of classic murder mystery novels of similar patterns and styles, predominantly in the 1920s and 1930s.
The Golden Age proper is, in practice, usually taken to refer to a type of fiction which was predominant in the 1920s and 1930s but had been written since at least 1911 and is still being written today. In his history of the detective story, Bloody Murder: From the Detective Story to the Crime Novel, the author Julian Symons heads two chapters devoted to the Golden Age as "the Twenties" and "the Thirties". Symons notes that Philip Van Doren Stern's article, "The Case of the Corpse in the Blind Alley" (1941)
Most of the authors of the Golden Age were British: Margery Allingham (1904–1966), Anthony Berkeley (aka Francis Iles, 1893–1971), Nicholas Blake (1904–1972), Lynn Brock (1877–1943), G. K. Chesterton (1874–1936), Dame Agatha Christie (1890–1976), Edmund Crispin (1921–1978), Freeman Wills Crofts (1879–1957), R. Austin Freeman (1862–1943), Joseph Jefferson Farjeon (1883–1955), Cyril Hare (1900–1958), Georgette Heyer (1902–1974), Anne Hocking (1890–1966), Michael Innes (1906–1993), Msgr. Ronald Knox (1888–1957), E. C. R. Lorac (1894–1958), Philip MacDonald (1900–1980), Gladys Mitchell (1901–1983), John Rhode (1884–1964), Dorothy L. Sayers (1893–1957), Josephine Tey (1896–1952), Patricia Wentworth (1877-1961), Henry Wade (1887–1969), and many more. Dame Ngaio Marsh (1895–1982), was a New Zealander but was also British, as was her detective Roderick Alleyn. Georges Simenon was from Belgium and wrote in French; his detective, Jules Maigret, was a Frenchman. Some writers, such as Mary Roberts Rinehart, S. S. Van Dine, Earl Derr Biggers, John Dickson Carr, Ellery Queen, Erle Stanley Gardner, Rex Stout and Elizabeth Daly, were American but had similar styles. Others, such as Raymond Chandler, Dashiell Hammett, and James M. Cain, had a more hard-boiled, American style.
The Queens of Crime is a term for authors Christie, Sayers, Allingham and Marsh.
Description of the genre
Certain conventions and clichés were established that limited any surprises on the part of the reader to the details of the plot and, primarily, to the identity of the murderer. The majority of novels of that era were "whodunits", and several authors excelled, after misleading their readers successfully, in revealing the least likely suspect convincingly as the villain. There was also a predilection for certain casts of characters and certain settings in a secluded English country house and its upper-class inhabitants (although they were generally landed gentry; not aristocracy with their country house as a second house).
The rules of the game – and Golden Age mysteries were considered games – were codified in 1929 by Ronald Knox. According to Knox, a detective story
Knox's "Ten Commandments" (or "Decalogue") are as follows:
- The criminal must be mentioned in the early part of the story, but must not be anyone whose thoughts the reader has been allowed to know.
- All supernatural or preternatural agencies are ruled out as a matter of course.
- Not more than one secret room or passage is allowable.
- No hitherto undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end.
- No Chinaman must figure in the story.Template:Refn
{{quote|Even by the 1930s its assumptions were being challenged. [...] Where it had once been commonplace to view the Golden Age as a Template:Sic of achievement, it became equally the fashion to denounce it. It had, so the indictment ran, followed rules which trivialized its subject. It had preferred settings which expressed a narrow, if not deliberately elitist, vision of society. And for heroes it had created detectives at best two-dimensional, at worst tiresome.
Attacks on the genre were made by the influential writer and critic Julian Symons (who was dismissive of postwar detective fiction in Bloody Murder), Edmund Wilson ("Who Cares Who Killed Roger Ackroyd?"), and Raymond Chandler ("The Simple Art of Murder"). But in sheer number of sales — particularly those of Agatha Christie — modern detective fiction has never approached the popularity of Golden Age writing.
- Every so often somebody reprises Edmund Wilson's famous put-down of detective novels, "Who Cares Who Killed Roger Ackroyd?" Wilson regarded the genre as terminally subliterary, either an addiction or a harmless vice on a par with crossword puzzles. But the truth is that for every Edmund Wilson who resists the genre there are dozens of intellectuals who have embraced it wholeheartedly. The enduring highbrow appeal of the detective novel ... is one of the literary marvels of the century.
Enduring influence
Current writing influenced by the Golden Age style is often referred to as "cosy" mystery writing, as distinct from the "hardboiled" style popular in the United States. Recent writers working in this style include Sarah Caudwell, Ruth Dudley Edwards, Peter Lovesey and Simon Brett. Television series that emulate the style include Murder, She Wrote and Midsomer Murders. Films and TV series based on the classic Golden Age novels continue to be produced.
The Country house mystery was a popular genre of English detective fiction in the 1920s and 1930s; set in the residences of the gentry and often involving a murder in a country house temporarily isolated by a snowstorm or similar with the suspects all at a weekend house party.
The board game Cluedo (Clue in North America) relies on the structure of the country house mystery.
From the late 1980s to the early 1990s, not a few mystery writers who were influenced by the Golden Age style made their debut one after another in Japan. They are referred to as Template:Nihongo or Template:Nihongo.
