Considering Vera Caspary's Bedelia as a reimagining of Mary Elizabeth Braddon's Lady Audley's Secret allows for a new critical interpretation that refutes the typical view of Bedelia as reinforcing traditional gender roles. Instead, Caspary critiques World War II America by bringing Victorian concerns with female roles into the twentieth century. A scandalous success during its own time, Mary Elizabeth Braddon's 1863 novel Lady Audiey's Secret was an inspiration for many writers who borrowed both its piot and sensational elements. 1 One adaptation that has not received sustained critical attention in this regard is Vera Capsary's 1944 novel Bedelia. Considering Bedelia as a reimagining of Lady Audley's Secret allows one to read against the grain of critical interpretation of Caspary's novel, which tends to see it as reinforcing traditional gender roles. On the contrary, in rewriting Bradd on's novel , Caspary brings Victorian-era concerns with female identity and women's limited opportunities into the twentieth century, providing a social critique of World War II America. In addition, the genres in which each author was workingnineteenth-century sensation fiction and twentieth-century crime fictionwere especially suited to questioning the cultural hegemonies of their respective time periods, particularly with regard to gender. Although Lady Audley's Secret has garnered much critical attention in recent yea rs, Bedelia, recently reissued by the Feminist Press, is likely less familiar to readers. Caspary's novel focuses on the relationship of a newly married couple, Charlie and Bedelia Horst. The novel is set in a Connecticut country house over a few days in 1913, as Charlie slowly discovers that his perfect wife has not only attempted to poison him but has killed several previous husbands as well. The novel ends with Charlie pressing Bedelia to commit suicide by drinking the very poison she had given him. Although there is no direct evidence that Caspary read Lady Audley's Secret, she was Laura Vorachek is assistant professor in the Department of English at the University of Dayton in Ohio, where she specializes in Victo rian literature and culture, and gender studies. CLUES • A Journal of Detection / Volume 28 . Number 2 I Fall2010 I pp. 69-76 I !SSN 0742-4248 (paper) I lSSN 1940-3046 (online) I DO!: 10.31721CLU.28.2.69 I(!:! 2010 McFarland & Company, Inc.
考虑到维拉·卡斯帕里的《比迪莉亚》是对玛丽·伊丽莎白·布莱登的《奥德利夫人的秘密》的重新想象，可以有一种新的批判性解释，反驳了把比迪莉亚视为强化传统性别角色的典型观点。相反，卡斯帕里通过将维多利亚时代对女性角色的关注带入20世纪来批评第二次世界大战中的美国。玛丽·伊丽莎白·布莱登1863年的小说《奥迪夫人的秘密》在当时取得了惊人的成功，许多作家都借鉴了它的基调和煽情元素，给了她灵感。在这方面，薇拉·卡布萨利1944年的小说《比迪莉亚》并没有得到持续的批评关注。考虑到比迪莉亚是对奥德利夫人的秘密的重新想象，人们可以与卡斯帕里小说的批判性解读背道而驰，后者倾向于认为它强化了传统的性别角色。相反，在改写布拉德的小说时，卡斯帕利将维多利亚时代对女性身份和女性有限机会的关注带入了20世纪，对第二次世界大战中的美国进行了社会批判。此外，每位作者所创作的体裁——19世纪的感觉小说和20世纪的犯罪小说——都特别适合质疑各自时代的文化霸权，尤其是在性别方面。尽管《奥德利夫人的秘密》近年来引起了评论界的广泛关注，但最近由女权主义出版社再版的《比迪莉亚》可能不太为读者所熟悉。卡斯帕里的小说主要讲述了一对新婚夫妇查理和比迪莉亚·霍斯特的关系。小说以1913年康涅狄格州的一所乡间别墅为背景，查理慢慢发现他完美的妻子不仅试图毒死他，还杀死了他的几个前夫。小说的结尾是查理逼迫比迪莉亚喝下她给他的毒药自杀。虽然没有直接证据表明卡斯帕里读过《奥德利夫人的秘密》，但劳拉·沃拉切克是俄亥俄州代顿大学英语系的助理教授，专门研究维多利亚时代的文学和文化，以及性别研究。线索•检测杂志/第28卷。编号2 I Fall2010 I pp. 69-76 I !SSN 0742-4248(论文)I lSSN 1940-3046(在线)我做![10.31721 .28.2.69] [!]2010 McFarland & Company, Inc。
{"title":"Dangerous Women: Vera Caspary’s Rewriting of 'Lady Audley’s Secret' in 'Bedelia'","authors":"Laura Vorachek","doi":"10.3172/CLU.28.2.69","DOIUrl":"https://doi.org/10.3172/CLU.28.2.69","url":null,"abstract":"Considering Vera Caspary's Bedelia as a reimagining of Mary Elizabeth Braddon's Lady Audley's Secret allows for a new critical interpretation that refutes the typical view of Bedelia as reinforcing traditional gender roles. Instead, Caspary critiques World War II America by bringing Victorian concerns with female roles into the twentieth century. A scandalous success during its own time, Mary Elizabeth Braddon's 1863 novel Lady Audiey's Secret was an inspiration for many writers who borrowed both its piot and sensational elements. 1 One adaptation that has not received sustained critical attention in this regard is Vera Capsary's 1944 novel Bedelia. Considering Bedelia as a reimagining of Lady Audley's Secret allows one to read against the grain of critical interpretation of Caspary's novel, which tends to see it as reinforcing traditional gender roles. On the contrary, in rewriting Bradd on's novel , Caspary brings Victorian-era concerns with female identity and women's limited opportunities into the twentieth century, providing a social critique of World War II America. In addition, the genres in which each author was workingnineteenth-century sensation fiction and twentieth-century crime fictionwere especially suited to questioning the cultural hegemonies of their respective time periods, particularly with regard to gender. Although Lady Audley's Secret has garnered much critical attention in recent yea rs, Bedelia, recently reissued by the Feminist Press, is likely less familiar to readers. Caspary's novel focuses on the relationship of a newly married couple, Charlie and Bedelia Horst. The novel is set in a Connecticut country house over a few days in 1913, as Charlie slowly discovers that his perfect wife has not only attempted to poison him but has killed several previous husbands as well. The novel ends with Charlie pressing Bedelia to commit suicide by drinking the very poison she had given him. Although there is no direct evidence that Caspary read Lady Audley's Secret, she was Laura Vorachek is assistant professor in the Department of English at the University of Dayton in Ohio, where she specializes in Victo rian literature and culture, and gender studies. CLUES • A Journal of Detection / Volume 28 . Number 2 I Fall2010 I pp. 69-76 I !SSN 0742-4248 (paper) I lSSN 1940-3046 (online) I DO!: 10.31721CLU.28.2.69 I(!:! 2010 McFarland & Company, Inc.","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125130287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Celebrating the Familiar and Unfamiliar","authors":"M. Kinsman","doi":"10.3172/CLU.28.2.5","DOIUrl":"https://doi.org/10.3172/CLU.28.2.5","url":null,"abstract":"","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129749560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hemingway's Nick Adams and the Creation of Raymond Chandler's Philip Marlowe","authors":"Mason Smith","doi":"10.3172/CLU.28.2.55","DOIUrl":"https://doi.org/10.3172/CLU.28.2.55","url":null,"abstract":"","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"51 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128968323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Darwin and the Detective: Aspects of the Darwinian Worldview and the Sherlock Holmes Stories of Arthur Conan Doyle","authors":"Hilary A. Goldsmith","doi":"10.3172/CLU.28.2.19","DOIUrl":"https://doi.org/10.3172/CLU.28.2.19","url":null,"abstract":"","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133095041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Robicheaux's Revenants: The Use and Function of the Revenant in James Lee Burke's Dave Robicheaux Novels","authors":"Patricia M. Gaitely","doi":"10.3172/CLU.28.2.77","DOIUrl":"https://doi.org/10.3172/CLU.28.2.77","url":null,"abstract":"","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114680479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Regarding The Dorrington Deed-Box (1897), Arthur Morrison’s critically neglected second contribution to the post–Sherlock Holmes detective short story genre, the author argues that as Dorrington is both a detective and a criminal, and the victim is the narrator, the stories subvert the usual reassuring moral and formal conventions of the late–Victorian detective genre. After Sherlock Holmes’s “death” in December 1893, many magazines were desperate to poach the readers who had developed an appetite for Arthur Conan Doyle’s detective fic tion. Arthur Morrison’s Martin Hewitt, the most well known and critically appreciated of the Holmes imitators, was the Strand Magazine’s swift replacement for Holmes, appearing in March 1894. Morrison, best known for his naturalistic material analyses of the monotonous poverty and criminality of East End London slum life—Tales of Mean Streets (1894) and A Child of the Jago (1896)—produced with Hewitt his first detective stories. However, his less well-known second foray into detective fiction, The Dorrington Deed-Box (1897), deserves further scrutiny. Horace Dorrington appeared in only six stories that were first published in the Windsor Magazine from January to June 1897 and then collected in an edition published later the same year by Ward, Lock. Morrison’s biographer, Peter Keating, describes the stories as an “unusual, if hardly successful” addition to the late–Victorian detective canon; and indeed, they have all but disappeared from critical accounts of the genre (33). Dorrington, a “private enquiry agent” from the firm Dorrington and Hicks, is both detective and criminal (Morrison, Dorrington 18). Dorrington’s detective work merely affords him the cover of respectability and the opportunity to exploit his clients. He is always on the lookout for an “...opening for any piece of rascality by which he might make more of the case than by serving his client loyally” and, throughout his adventures, is seen lying to, stealing from, blackmailing, and attempting to kill various clients and criminals (65). This article provides the first sustained analysis of the Dorrington stories. Dorrington is called here a criminal-detective, the oxymoron deliberately emphasizing the unusual and unsettling ways in which his character functions both as source of the stories’ crimes and as the supposed provider of solutions to the crimes. These terms and functions are, of course, essentially at odds with one another and emphasize one way that the Dorrington collection draws on, but transgresses, the usual political and narrative rules of the genre. This article argues that, despite the stories’ relative unpopularity and current obscurity, they deserve critical reconsideration because of the number of ways in which Dorrington’s character sub verts the usual moral, formal, and political conventions of the late–Victorian detective genre. It has become a commonplace in the study of crime fiction for critics to argue that the late–Victori
{"title":"Horace Dorrington, Criminal-Detective: Investigating the Re-Emergence of the Rogue in Arthur Morrison's The Dorrington Deed-Box (1897)","authors":"C. Clarke","doi":"10.3172/CLU.28.2.7","DOIUrl":"https://doi.org/10.3172/CLU.28.2.7","url":null,"abstract":"Regarding The Dorrington Deed-Box (1897), Arthur Morrison’s critically neglected second contribution to the post–Sherlock Holmes detective short story genre, the author argues that as Dorrington is both a detective and a criminal, and the victim is the narrator, the stories subvert the usual reassuring moral and formal conventions of the late–Victorian detective genre. After Sherlock Holmes’s “death” in December 1893, many magazines were desperate to poach the readers who had developed an appetite for Arthur Conan Doyle’s detective fic tion. Arthur Morrison’s Martin Hewitt, the most well known and critically appreciated of the Holmes imitators, was the Strand Magazine’s swift replacement for Holmes, appearing in March 1894. Morrison, best known for his naturalistic material analyses of the monotonous poverty and criminality of East End London slum life—Tales of Mean Streets (1894) and A Child of the Jago (1896)—produced with Hewitt his first detective stories. However, his less well-known second foray into detective fiction, The Dorrington Deed-Box (1897), deserves further scrutiny. Horace Dorrington appeared in only six stories that were first published in the Windsor Magazine from January to June 1897 and then collected in an edition published later the same year by Ward, Lock. Morrison’s biographer, Peter Keating, describes the stories as an “unusual, if hardly successful” addition to the late–Victorian detective canon; and indeed, they have all but disappeared from critical accounts of the genre (33). Dorrington, a “private enquiry agent” from the firm Dorrington and Hicks, is both detective and criminal (Morrison, Dorrington 18). Dorrington’s detective work merely affords him the cover of respectability and the opportunity to exploit his clients. He is always on the lookout for an “...opening for any piece of rascality by which he might make more of the case than by serving his client loyally” and, throughout his adventures, is seen lying to, stealing from, blackmailing, and attempting to kill various clients and criminals (65). This article provides the first sustained analysis of the Dorrington stories. Dorrington is called here a criminal-detective, the oxymoron deliberately emphasizing the unusual and unsettling ways in which his character functions both as source of the stories’ crimes and as the supposed provider of solutions to the crimes. These terms and functions are, of course, essentially at odds with one another and emphasize one way that the Dorrington collection draws on, but transgresses, the usual political and narrative rules of the genre. This article argues that, despite the stories’ relative unpopularity and current obscurity, they deserve critical reconsideration because of the number of ways in which Dorrington’s character sub verts the usual moral, formal, and political conventions of the late–Victorian detective genre. It has become a commonplace in the study of crime fiction for critics to argue that the late–Victori","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123232124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Out from the mentor's shadow\": Siobhan Clarke and the Feminism of Ian Rankin's Exit Music (2007)","authors":"L. Severin","doi":"10.3172/CLU.28.2.87","DOIUrl":"https://doi.org/10.3172/CLU.28.2.87","url":null,"abstract":"","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125511855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Secret Pilgrim was John le Carre's first novel to consider the end of the cold war. The author describes how the novel's embedded structure reveals le Carre's political perspective more clearly than previous works and argues that this narrative frame is an adaptation to the sud- den collapse of le Carre's traditional subject matter. In a speech given at University of Edinburgh, John le Carre remarked that only the spy novel could reveal the world's hidden agendas (qtd. in Atwood 21). His own represen- tational agendas of betrayal and duplicity in the cold war (and after) are revealed in an unusual way in his The Secret Pilgrim (1990). The book, which contains a series of discrete episodes linked with a frame narrative, reveals the relationship between le Carre's politi- cal thought and narrative technique more clearly than any of his other works because of the bareness of its structure. A source for le Carre's title may be Rupert Brooke's poem "Dust":
{"title":"John le Carré's The Secret Pilgrim and the End of the Cold War","authors":"J. Goodwin","doi":"10.3172/CLU.28.1.102","DOIUrl":"https://doi.org/10.3172/CLU.28.1.102","url":null,"abstract":"The Secret Pilgrim was John le Carre's first novel to consider the end of the cold war. The author describes how the novel's embedded structure reveals le Carre's political perspective more clearly than previous works and argues that this narrative frame is an adaptation to the sud- den collapse of le Carre's traditional subject matter. In a speech given at University of Edinburgh, John le Carre remarked that only the spy novel could reveal the world's hidden agendas (qtd. in Atwood 21). His own represen- tational agendas of betrayal and duplicity in the cold war (and after) are revealed in an unusual way in his The Secret Pilgrim (1990). The book, which contains a series of discrete episodes linked with a frame narrative, reveals the relationship between le Carre's politi- cal thought and narrative technique more clearly than any of his other works because of the bareness of its structure. A source for le Carre's title may be Rupert Brooke's poem \"Dust\":","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127499499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anne Perry: World War I as Period Mystery","authors":"Barbara Korte","doi":"10.3172/CLU.28.1.79","DOIUrl":"https://doi.org/10.3172/CLU.28.1.79","url":null,"abstract":"","PeriodicalId":221689,"journal":{"name":"Clues: A Journal of Detection","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127887673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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