Murder, there are few words in the English language that can sum up more
feelings of dread and horror. To murder another is one of the worst crimes
imaginable and it is no wonder that fiction writers have long been fascinated
with the dastardly deed. Murder is dark, gruesome and gritty, unless of course
you put the word ‘mystery’ after it; in which case it becomes small English
villages, stately homes and solved before it interrupts tea. A ‘Murder Mystery’
has become shorthand for the old-fashioned, chintzy side of the crime spectrum, crime à la Agatha
Christie's, M C Beaton, Arthur Conan Doyle or, Janet Evanovich for example. Where light-heartedness, romance and even the
odd bit of genuine comedy (I’m looking at you Blotto) threads the drama.
But is this expectation of a less ‘realistic’ affair undermining the credibility of these author’s creations? The exploits of Poirot and Sherlock Holmes are some of the most enduring private detectives to grace the page and Stephanie Plum and Agatha Raisin are more than equal to their modern day roles as amateur sleuths in increasingly sticky situations. Often the lighter stories seem to focus more on these amateurs, whereas the grittier realism tends toward law enforcement officials (Hamish Macbeth, PC Peter Grant and Constable Mike Bradley being obvious exceptions that spring to mind.) Sometimes I feel authors are in danger of substituting gore for great story telling, pain for puzzles and science for cerebral aptitude. The Hollywood style sensationalism draws readers in but can the action scenes with their lust for blood distract from the satisfaction of a genuine whodunit?
- The Muser
No comments:
Post a Comment