Comments on: From the Archives: Who Cares Who Killed … Whoever It Was?

By: Alex

Alex — Sun, 12 Aug 2012 16:58:25 +0000

Is there also a question of the extent to which the reader depends on the ‘skeleton of expectation’ for their understanding of how the character is developing? We are used to exploring those characters within the confines of their continuing generic roles. I wonder how easy we would be at meeting them in a different environment? And would we ‘forgive’ a writer for stepping out of their usual milieu and writing a different type of novel? I suspect it would depend on what we were reading for. If it was an active read then probably we would be prepared to go with it. If it was something we had picked up for more passive escapism, then possibly not.

By: Rohan

Rohan — Fri, 10 Aug 2012 22:24:24 +0000

I think the comparison to the sonnet is a good one. You have to still be able to recognize the governing conventions of the form. Having said that, I also think that there's an awful lot of flexibility -- even in a sonnet! I've been known to propose to my students that "Dover Beach" is a kind of exploded sonnet. And I've also argued against believing in a real distinction between mystery novels and "literary" novels (here, for instance). And having said that, I agree that mysteries need a mystery to be mysteries, and that both P. D. James and Elizabeth George could conceivably write a novel with no mystery about their detective characters and that would be great--or would it? How much do you suppose they depend on that skeleton of expectations to support their thinking about their characters? 'Tis a muddle.

By: cbjames

cbjames — Fri, 10 Aug 2012 18:59:59 +0000

Lately, I’ve been having similar reactions to the mystery genre. I’ve recently read a few that I honestly thing would be much better books without the mystery plot. For one of them the mystery was almost a subplot.

Your post has me wondering if the failing is with the genre or the author. Maybe I should say limitation. I do believe that an excellent mystery has as it’s central theme a mystery of some sort. When the character’s relationships threaten to take over the book, the author really isn’t writing a mystery anymore.

I’m thinking this is like a sonnet. A sonnet as a clear set of rules that must be followed in order for a poem to be a sonnet. There’s lots of room within the sonnet form for authors to do al sorts of things, but if they break certain rules–add a 15th line for example–then they are no longer writing a sonnet.

At this point I think both authors you mention above could write a novel about their detective characters with no mystery at all and still sell plenty of copies. Maybe even start a trend.