The Van Dine Decline and Fall Narrative

I know this idea is pushed by Van Dine’s own biographer (who, granted, seems to
have loathed Van Dine and had little interest in the mystery form), but is it
really accurate to see his later books increasingly as artisitc and financial
failures? Is there any actual hard data on the sales of Van Dine’s detective
novels? I know that Canary, Greene and Bishop were actual bestsellers in the
1920s, a rare thing for detective novels in those days (their being mostly
borrowed from rental libraries). But I get the impression that many of his
later books were selling pretty well and were quite respectfully reviewed. It’s
clear he wasn’t the toast of the intelligentsia in 1935 like he was in, say,
1929, and that he had vocal detractors but I think he was seen still by many as
a major figure in the genre. Does it break down rather like this?

Benson Murder Case, 1926 (introduction to Philo Vance catches people’s eyes,
though relatively spartan compared to the following books; still, Vance is as
Vaneish as can be)
Canary Murder Case, 1927 (broadens appeal, poker game considered brilliant
device)
Greene and Bishop, 1928/1929 (height of Golden Age Baroque (GAB), with bizarre
situations, elaborate footnote lecturettes and multiple murders)
Scarab, 1930 (continuation of GAB in Egytptology setting, though Van Dine has
crested in popularity)
Kennel, 1933 (three year gap, Van Dine driven by lavish lifestyle to writing
again? not quite as baroque though lots about terriers and ceramics; best of
Vance films made from this one, Vance films still getting top people)
Dragon, 1933(return to full GAB style, though with a less elaborate plot)
Casino/Garden 1934/1935 (a break here, Vance a bit less Vanceish and much less
baroque settings, though still emphasis on odd, wealthy families; but still
quite solid plotting)
Kidnap, 1936 (same as above, though intrusion of action and violence suggests to
his biographer that Van Dine is aesthetic ceding ground to the hardboiled
school)
Gracie Allen/Winter, 1938/1939 (the film scenario novels, more of a sharp break,
with Vance second banana to a comedienne and a Scandinavian ice skater;
suggestion Van Dine running out of creative steam?)

I’m rereading Casino and actually finding quite enjoyable. Shorn of the more
elaborate footnotes and lecturettes of the earlier books, as well as Vance’s
more kick-in-the-panceish mannerisms, it’s actually rather like a English
Humdrum work, which is a complement form me!

I don’t think it’s fair to say Van Dine was a “goat” in 1934-35 though, do you?
I’d rank the real running out of steam period from 1936-38 (certainly death
would qualify).

Curt

Sayers’ Gaudy Night — and Chandler

On the Poe’s Deadly Daughters weblog, Elizabeth Zelvin
selects her favorite mystery authors — and there’s not a
man among them:

http://tinyurl.com/bdp5ke

“My feminist dander is up, and I’m ready to charge to the
defense of the traditional and especially the character-driven
mystery, as well as the matrilineage of mysteries by women.”

”
Dorothy L. Sayers, Gaudy Night
The presiding genius of the Detective Club during the Golden Age of mystery in the 1930s, Sayers reached her peak in this mystery without a murder that is also a richly textured novel, which I believe earned her the right to be considered the mother of the character-driven mystery. I’ve posted this opinion elsewhere, but it bears saying again. The key passage is one in which Harriet Vane asks Lord Peter Wimsey for advice about her novel.

“‘Well,’ said Harriet….”I admit that Wilfrid is the world’s worst goop. But if he doesn’t conceal the handkerchief, where’s my plot?’
[Peter suggests a way to define Wilfrid’s character that would give him motivation for concealing the handkerchief.] ….’He’d still be a goop, and a pathological goop, but he would be a bit more consistent.’
‘Yes–he’d be interesting. But if I give Wilfrid all those violent and lifelike feelings, he’ll throw the whole book out of balance.’
‘You would have to abandon the jig-saw kind of story and write a book about human beings for a change.’
….’It would hurt like hell.’
‘What would that matter, if it made a good book?'”

I suspect that Sayers and her muse had precisely this conversation in her head, and Gaudy Night was the result. The creation of Harriet and Sayers’s increasingly three-dimensional portrayal of her both in relation to Lord Peter and grappling with her own dilemmas regarding her work and what kind of life to choose ushered in the transition of the traditional mystery from primarily a puzzle to a puzzle embedded in a character-driven novel.”

Mike Tooney

Does Size Matter?

Curt asked: “Why are crime novels so long these days?”

Because most of them are throwbacks to the nineteenth and early twentieth style of wide-ranging psychological/realistic novels, and those were usually and almost by definition long, very long books. It’s one of the most fascinating paradoxes about *modern* crime fiction that it’s actually not *modernistic* – the genre has eschewed surrealism, structuralism, Nouveau Roman, stream of consciousness, magical realism, oulipianism and other movements that shaped literature in the last century, and basically remained stuck in the era when it was born. Which in turn raises another question: is it possible for crime fiction to be genuinely modern and accept, if not embrace, the state of the art?

Xavier