The Greatest Murder Mysteries of S. S. Van Dine - 12 Titles in One Volume (Illustrated Edition). S.S. Van DineЧитать онлайн книгу.
must be permitted to concentrate on a single black nature.
13 Secret societies, camorras, mafias, et al., have no place in a detective story. Here the author gets into adventure fiction and secret-service romance. A fascinating and truly beautiful murder is irremediably spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance, but it is going too far to grant him a secret society (with its ubiquitous havens, mass protection, etc.) to fall back on. No high-class, self-respecting murderer would want such odds in his jousting-bout with the police.
14 The method of murder, and the means of detecting it, must be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. For instance, the murder of a victim by a newly found element—a super-radium, let us say—is not a legitimate problem. Nor may a rare and unknown drug, which has its existence only in the author’s imagination, be administered. A detective-story writer must limit himself, toxicologically speaking, to the pharmacopœia. Once an author soars into the realm of fantasy, in the Jules Verne manner, he is outside the bounds of detective fiction, cavorting in the uncharted reaches of adventure.
15 The truth of the problem must at all times be apparent—provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face—that all the clues really pointed to the culprit—and that, if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying. And one of my basic theories of detective fiction is that, if a detective story is fairly and legitimately constructed, it is impossible to keep the solution from all readers. There will inevitably be a certain number of them just as shrewd as the author; and if the author has shown the proper sportsmanship and honesty in his statement and projection of the crime and its clues, these perspicacious readers will be able, by analysis, elimination and logic, to put their finger on the culprit as soon as the detective does. And herein lies the zest of the game. Herein we have an explanation for the fact that readers who would spurn the ordinary “popular” novel will read detective stories unblushingly.
16 A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no “atmospheric” preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action, and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude; but when an author of a detective story has reached that literary point where he has created a gripping sense of reality and enlisted the reader’s interest and sympathy in the characters and the problem, he has gone as far in the purely “literary” technique as is legitimate and compatible with the needs of a criminal-problem document. A detective story is a grim business, and the reader goes to it, not for literary furbelows and style and beautiful descriptions and the projection of moods, but for mental stimulation and intellectual activity—just as he goes to a ball game or to a cross-word puzzle. Lectures between innings at the Polo Grounds on the beauties of nature would scarcely enhance the interest in the struggle between two contesting baseball nines; and dissertations on etymology and orthography interspersed in the definitions of a cross-word puzzle would tend only to irritate the solver bent on making the words interlock correctly.
17 A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by house-breakers and bandits are the province of the police department—not of authors and brilliant amateur detectives. Such crimes belong to the routine work of the Homicide Bureaus. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities.
18 A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to play an unpardonable trick on the reader. If a book-buyer should demand his two dollars back on the ground that the crime was a fake, any court with a sense of justice would decide in his favor and add a stinging reprimand to the author who thus hoodwinked a trusting and kind-hearted reader.
19 The motives for all crimes in detective stories should be personal. International plottings and war politics belong in a different category of fiction—in secret-service tales, for instance. But a murder story must be kept gemütlich, so to speak. It must reflect the reader’s everyday experiences, and give him a certain outlet for his own repressed desires and emotions.
20 And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective-story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author’s ineptitude and lack of originality.(a) Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect.(b) The bogus spiritualistic séance to frighten the culprit into giving himself away.(c) Forged finger-prints.(d) The dummy-figure alibi.(e) The dog that does not bark and thereby reveals the fact that the intruder is familiar.(f) The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person.(g) The hypodermic syringe and the knockout drops.(h) The commission of the murder in a locked room after the police have actually broken in.(i) The word-association test for guilt.(j) The cipher, or code letter, which is eventually unravelled by the sleuth.
The Philo Vance Series
THE BENSON MURDER CASE
“Mr. Mason,” he said, “I wish to thank you
for my life.”
“Sir,” said Mason, “I had no interest in your
life. The adjustment of your problem was the
only thing of interest to me.”
—Randolph Mason: Corrector of Destinies.
INTRODUCTORY
If you will refer to the municipal statistics of the City of New York, you will find that the number of unsolved major crimes during the four years that John F.-X. Markham was District Attorney, was far smaller than under any of his predecessors’ administrations. Markham projected the District Attorney’s office into all manner of criminal investigations; and, as a result, many abstruse crimes on which the Police had hopelessly gone aground, were eventually disposed of.
But although he was personally credited with the many important indictments and subsequent convictions that he secured, the truth is that he was only an instrument in many of his most famous cases. The man who actually solved them and supplied the evidence for their prosecution, was in no way connected with the city’s administration, and never once came into the public eye.
At that time I happened to be both legal advisor and personal friend of this other man; and it was thus that the strange and amazing facts of the situation became known to me. But not until recently have I been at liberty to make them public. Even now I am not permitted to divulge the man’s name, and, for that reason, I have chosen, arbitrarily, to refer to him throughout these ex-officio reports as Philo Vance.
It is, of course, possible that some of his acquaintances may, through my revelations, be able to guess his identity; and if such should prove the case, I beg of them to guard that knowledge; for though he has now gone to Italy to live, and has given me permission to record the exploits of which he was the unique central character, he has very emphatically imposed his anonymity upon me; and I should not like to feel that, through any lack of discretion