Intertextuality and detective fiction

“It is no easy trick to keep your characters and your story operating on a level which is understandable to the semi-literate public and at the same time give them some intellectual and artistic overtones which that public does not seek or demand or, in effect, recognize, but which somehow subconsciously it accepts and likes.”

Raymond Chandler, from an April 16, 1951 letter to Bernice Baumgarten (his editor at Brandt and Brandt Literary Agency)

UnknownThe other day I was reading a blog post by a friend, JJ at his blog The Invisible Event, on the topic of how various detective stories are quite similar each to the other: the post is called “When Inspiration Becomes Theft”. JJ makes a first cut at parsing the problems involved in two kinds of similarities found in works of detective fiction.  Sometimes the stories are related to real-life crimes: he mentions Christie’s Murder on the Orient Express as referencing the 1932 Lindbergh kidnapping case.  And sometimes the stories are related to each other: he mentions Christie’s And Then There Were None (1939) and its similarities to the 1934 film, The Ninth Guest, based on a 1930 book, The Invisible Host (by Gwen Bristow and Bruce Manning).

Unknown-1As sometimes happens, JJ’s interesting discussion sent me off in a direction quite far removed from the original inspiration. This is because I’ve been doing a lot of speculation lately about a number of approaches to questions like why people read murder mysteries / detective fiction / crime fiction, what they are learning when they do it, and what is likely to happen in the future with this genre.

Here’s a word that’s been rattling around in my head for a while: intertextuality. It’s defined in various ways in various places (I suspect this is because its use was begun by semioticians in the 1960s, Kristeva and Barthes, and now it has different meanings in post-modern contexts).  I have three shades of meaning for it as it applies to detective fiction, but first here’s a standard definition that will get you on the right track; thanks, as always, to Wikipedia.

Intertextuality is the shaping of a text’s meaning by another text.  Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody.

But as Wikipedia also notes, “As philosopher William Irwin wrote, the term “has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence.”

I’m going to use it in a particular way here to talk about detective fiction, and note that I’m making distinctions among three kinds of intertextuality.

  1. Real life shapes detective fiction; detective fiction shapes real life, and some detective fiction shapes other detective fiction.

    md199363009As noted in The Invisible Event and elsewhere, some detective fiction is inspired by/steals from other detective fiction and/or real life crimes — and vice versa.  Murder on the Orient Express contains an intertextual reference to the Lindbergh kidnapping. In another mode of this intertextual relationship, Elizabeth Linington’s Greenmask! is a story whereby an old J. Jefferson Farjeon novel inspires a “real-life criminal” (in a novel) to copy the methods of that book’s murderer in order to divert suspicion from himself and send the police chasing a non-existent serial killer.  There are at least two cases on record where high-school students have been inspired by Stephen King’s Rage (as by Richard Bachman) to take their fellow students hostage at gunpoint. This intertextuality process can be like the formative process of cliches and tropes; if enough other texts refer to a crime, or a mystery, or a criminal, that concept becomes a cliche. Modern-day detective fiction is intertextual in its marketing; two intertextual references that I’ve seen on book covers recently are “This will delight P.D. James fans” and “This criminal is a modern-day Raffles!”
  2. Each book in a series of novels about the same detective shapes the other books in that series.

    a320e69e73270af80c1e19e5b689aba2The second variety of intertextuality in detective fiction is internal; the best example is my own observations on the Miss Silver novels of Patricia Wentworth, where the same descriptions of the same pieces of clothing, and the same supporting characters, appear again and again in novel after novel. I think it’s safe to say that this is associated with the way in which series characters are created and built. It may be that Sherlock Holmes started it all, with the Persian slipper of tobacco, the supportive Mrs. Hudson, and the ever-present hypodermic for cocaine.  Certainly I am not alone in being able to draw a rough freehand map of Nero Wolfe’s office and properly place the red leather chair … and Kinsey Millhone is constantly accompanied by her all-purpose black dress and her Volkswagen Beetle.

  3. Every solution to a puzzle mystery shapes every other solution to every other puzzle mystery.

    AC6_13975779961The final variety of intertextuality is most interesting to me because it appears to be a peculiar property of detective fiction. That is, at least in terms of detective fiction / puzzle stories / Golden Age mysteries and others that choose to follow in their footsteps, every mystery assumes in its solution that the reader is intertextually familiar with the solution to every other existing mystery, and the author makes an implicit pact with the reader that the solution to this particular volume will not repeat any “trick” or effect or subterfuge that has been demonstrated in any other story. Without getting into detail, the reader is quite safe from reading a brand-new mystery where the answer to “who killed a child-murdering kidnapper in the confines of a snowbound vehicle” is “everyone” — that’s because that’s already been done, and quite well too. More to the point, authors know it and readers know it, and each knows that the other knows it. And since the author knows that the readers know it, the author cannot produce a version of this old book where, say, a blackmailer is murdered aboard an airplane by everyone else aboard. “It’s been done!” the reader will cry, and quite rightly too.  But the justification for this cry is Type 3 intertextuality.

If you think about it, this kind of self-referential intertextuality (Type 3) is peculiar to the literary tradition that started with Golden Age detective fiction, at least when you compare it to other large-scale genres. Romance stories, for instance, are quite the opposite; every story of young love exists in a kind of romantic bubble, where the young lovers — and with any luck, the reader — all exist outside real life. No other love stories are invoked. Westerns resolve into a handful of sub-types (settlers versus Indians, gunmen versus other gunmen, etc.) but there is very little intertextuality in the stories each to the other. And while the worlds of science fiction are many and all wildly different, it is an uncommon exercise for one writer to create within the universe of another, as if a Dune-ean sandworm were to attack the Los Angeles of Blade Runner. But in detective fiction, this Type 3 intertextuality of solutions is embedded at a very basic level, and in a way that no other genre of fiction either requires or displays.

Admittedly there is a kind of intertextuality that operates above the level of genre fiction. Romances don’t require you to admit the existence of any or all other romances, but if the author mentions Romeo and Juliet, it will not be misunderstood. Neither will it be misunderstood to mention the star-crossed lovers in a Western, a mystery or a science fiction novel; their intertextuality is at a scale that transcends genre.  Similarly there is a kind of type 3 intertextuality that is below the level of usefulness and is generally ignored.

c700x420Yes, it is  accepted intertextuality that one writer does not copy the solution of another writer’s mystery; but there are some areas of situational intertextuality that have become more like sub-genres than any kind of rule-breaking. If Chapter 2 of your mystery reveals that an elderly millionaire has invited eight of his quarrelling relatives to his snowbound country estate, changed his will, and given his staff notice, you will not be surprised when he’s murdered. But you should also not be offended by the fact that he’s been murdered with the same blunt instrument, or poison, or pistol as the last six such Golden Age mysteries you read where that situation happens. You might be surprised in Chapter 19 if the corpse has been stabbed with an icicle of frozen blood that promptly melts and confuses estimations of the time of death, but I daresay you will not be surprised to learn that that’s been done a couple of times before. If you set out to write — or deliberately set out to purchase and read — a Golden Age country house mystery, the list of reasonable methods, characters, motivations, and locations available is quite small. Mystery writers cannot help repeating them; in order to avoid suggestions of that intertextuality that is plagiarism, they generally try and make them as different each from the other as possible. Patricia Wentworth’s Wicked Uncle (1947) and Ngaio Marsh’s A Man Lay Dead (1934) are practically the same book in many, many ways, but I don’t think they support an allegation that Wentworth was in any sense trying to “copy” Marsh. They’re just both country house mysteries about the same kinds of people committing the same kind of crime in the same kind of location.


And why have I been so fascinated by all three types of intertextuality? Well, after my lengthy burbling, you may have forgotten the quotation from Raymond Chandler with which I started this post. For detective fiction, what are the “intellectual and artistic overtones which that public does not seek or demand or, in effect, recognize, but which somehow subconsciously it accepts and likes”? Based on demand, I’m going to suggest that intertextuality — at least types 2 and 3 — meets that definition. I’ll go as far to suggest that it is an important part of the reason why detective fiction continues to be published. Most readers haven’t the faintest idea of what intertextuality is, and yet subconsciously they accept it and like it.

bloody_murderI’ve been really digging into an old reference book, Julian Symons’ Bloody Murder, and finding that I continue to disagree with much of what he had to say about detective fiction. (I may well publish a long article in the near future called something like “Where Symons Got It Wrong” ;-).) I’ve always felt there was something vaguely bogus about his contention — and if I do him wrong in summarizing it, I’m sure I’ll hear about it — that we read detective fiction because we enjoy seeing a state of peace and order being broken and then restored by authority.  Honestly, I’ve been reading mysteries for 50 years and I’ve NEVER felt like that.

The two reasons that I actually DO think that people read mysteries took a long time for me to figure out; I’m not sure if they comprise a complete list, just that they seem to be characteristics that to me explain a lot of why people read mysteries.  One is because they like the experience of intertextuality (all three types) and the other is because they like … a concept I’ll call indoctrination.  I look forward to discussing that one at length in the near future, and I’ll merely leave the name as a hint of things to come.


19 thoughts on “Intertextuality and detective fiction

  1. Interesting stuff Noah – must admit, I would normally take a more postmodern view to the intertextual label.

    I love the sound of GREENMASK – seems more like a Philip MacDonald than a Farjeon, I must try and get it! I look forward to hearing about “indoctrination” – and was so glad it wasn’t an ‘Epilog’ a spelling that always throws me (probably all the fault of all those old Quinn Martin shows).

    Sorry to see that Symons is likely to get in the neck yet again, though I think his comments about the reason why we read crime and detective fiction must to some extent be accurate in the sense that we draw satisfaction from the restoration of order, as otherwise why would we need a solution if all we want to do is keep meeting the same old characters and situation irrespective and reaching an ending? Books that deliberately flout that, such as Gilbert Adair’s Christie pastiches, were treated very harshly by fans os the Golden Age detective story I think at least partly for that reason.

    Otherwise, surely, a lot of the intertextual elements of familiarity and repetition you refer to would apply to practically any series within any genre – romance, western, SF – without being specific to the crime genre. Also, Symons was talking about why the genre took off when it did in the first place, a century ago, right?

    • Noah Stewart says:

      I hope to offer an interesting new way of looking at your comment, “why would we need a solution if all we want to do is keep meeting the same old characters and situation irrespective and reaching an ending?” Essentially I’ve been thinking about the idea that the murder plot of a murder mystery is kind of a carrier wave that is designed to support other kinds of information transmission. We’ve thought for a while that it was the breaking and restoration of order, but I think it might be … “indoctrination”.
      I agree with you that others may see intertextuality as being more post-modern and that’s why I’ve defined it in such a limited context here. It’s the word I needed, and it has been defined as I needed it to be defined; not my fault if there are many, many other definitions 😉
      “Greenmask” by Farjeon is, frankly, kind of boring and old-fashioned. “Greenmask!” by Linington suffers from THAT author’s flaws of multiple bigotries and doesn’t pay much attention to Farjeon’s novel, it’s merely a red herring. Linington’s solution to “Greenmask!”, however, does intertextually refer to, of all things, the Leopold and Loeb case.

      • Interesting to hear of a link to the the Leopold and Loeb case, just prepping a post on one of the films based on it, COMPULSION. I do like the idea of a carrier wave!

      • Noah Stewart says:

        The solution has elements of both homosexuality and folie a deux. It gets the first one wrong and doesn’t allow us to see both characters of the “deux”. I think you might agree with me that this one is meretricious, but I’m biased against all of Linington’s work.

      • I’ll stay away but always intrigued by how the sase is referenced. Out of interest, are there many novels that you are aware of, outside of the Meyer Levin, that explicitly reference it?

      • Noah Stewart says:

        Hitchcock’s “Rope”, of course, and the novelization that’s available as a Dell mapback. I’m aware of a solution involving folie a deux but not between two men (a Michael Gilbert novel from 1976 whose initials are TNOTT). And I would have to have another look at Patrick Quentin’s The Grindle Nightmare before I answered completely. But other than those possibilities, no, nothing to my knowledge.

      • The Hitchcock is from the Patrick Hamilton play, which I have never seen performed, sorry to say. I remember the Gilbert, under an alternate title, and it is one of his best I reckon, Very interesting about GRINDLE as I read it about 35 years ago in Italian and have not read it since and really don’t remember much at all now.

      • Noah Stewart says:

        I don’t remember much about GRINDLE either, but I have a vague memory of folie a deux playing a part.

    • Noah Stewart says:

      If you understand post-modern literary theory, I suggest that you will very much enjoy a book by an old friend of mine: “An Old-Fashioned Mystery” by “Runa Fairleigh”, actually Edgar-winner L.A. Morse. I won’t say much about it, but mystery writer Monseigneur Knox convenes a discussion group in heaven after all the suspects are dead, at about the 3/4 mark. And it’s funny.

  2. Noah Stewart says:

    By the way, I have few issues with Symons when he’s expressing his ideas on individual authors and novels; we frequently disagree, but I can’t actually say that his opinions are WRONG, they’re merely different. The only bits I seem to disagree with strenuously are pretty much the first few and the last few pages of “Bloody Murder”, where he bounds his topics. And I must admit in advance that waggling my finger at him for predictions that he made in 1975 about the future of detective fiction is really the critical equivalent of taking candy from a baby; he says himself he’s probably got it wrong. However, it will be a place to start, and I’m actually grateful to him for giving me something against which to react.

    • JJ says:

      I’ve not read the Symons, but reading Curtis Evans refutation of some of his points in Masters of the Humdrum Mystery I was struck by how much was he (Symons) did was talk about his own preferences…and somehow this seems to have been adopted as a legitimate case to wholesale dismiss certain authors or styles.

      It struck me particularly because I’d recently read PD James’ Talking About Detective Fiction (which largely talks about crime fiction) in which she does the same: dismissed Christie for showing no innovation or growth, for instance, conveniently ignoring the creation of the gathering the suspects, or the fact that she wrote first proper historical mystery with Death Comes, etc. Now, Christie isn’t going to suffer as the result of some negative opinioning, but it does seem that there are two very visible works from popular authors that critique aspects of the genre from nothing more than a thinly-veiled personal dislike.

      I suppose my point is that it’s a shame these books don’t do more to actually study what they’re dimissing, as due to the perceived expertise of their authors the opinions will take on an added weight in the minds of readers who don’t have their (supposed) experience in reading these things. So a critique to address this is probably long-overdue!

      • Noah Stewart says:

        Back when “Bloody Murder” came out, it was the ONLY intelligent discussion of detective fiction generally available (I don’t count Murder Ink, which I think is amusing but slight). Symons knew a lot about the Golden Age and was immensely well read in detective fiction but had formed a preference for what he termed the “crime novel”. The problem is, Symons doesn’t seem to be able to sensibly define what he likes about the crime novel except that he knows it’s not the puzzle mystery, so he slags the Humdrums (which term he invented, I believe) for not writing crime novels. Not really legitimate. Symons also appears to have believed that the spy novel was something other than a brief flash in the 60s and was destined to take a huge place in the history of the genre.
        Well, I guess part of it is he doesn’t have the benefit of 40 years of distance in the present day. However in the 70s, I found “Bloody Murder” immensely valuable in telling me what to read next, and his opinions were useful until I formed my own.

  3. […] Noah’s Archives. He titled it, “Intertexuality and Detective Fiction”. I include a link to it here because it’s must reading for mystery fans, and because its points stuck with me while re-reading […]

  4. […] recent discourse on the dying message, my reading of Tour de Force (1955) by Christianna Brand, and Noah’s previous post on intertextuality in detective fiction — have brought me to the point where I want to ask the question “What is reality in […]

  5. […] months back I published an essay on intertextuality and detective fiction, suggesting that it was one of the reasons we liked to read Golden Age detective fiction […]

  6. […] GAD blogger Noah Stewart has in the past talked about intertextuality in detective fiction, part of which is how each mystery’s solution feeds into a general awareness of all other […]

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