The Oxford Book of American Detective Stories

Edgar Allan Poe's Murders in the Rue Morgue launched the detective story in 1841. The genre began as a highbrow form of entertainment, a puzzle to be solved by a rational sifting of clues. In Britain, the stories became decidedly upper crust: the crime often committed in a world of manor homes and formal gardens, the blood on the Persian carpet usually blue. But from the beginning, American writers worked important changes on Poe's basic formula, especially in use of language and locale. As early as 1917, Susan Glaspell evinced a poignant understanding of motive in a murder in an isolated farmhouse. And with World War I, the Roaring '20s, the rise of organized crime and corrupt police with Prohibition, and the Great Depression, American detective fiction branched out in all directions, led by writers such as Dashiell Hammett and Raymond Chandler, who brought crime out of the drawing room and into the mean streets where it actually occurred. In The Oxford Book of American Detective Stories , Tony Hillerman and Rosemary Herbert bring together thirty-three tales that illuminate both the evolution of crime fiction in the United States and America's unique contribution to this highly popular genre. Tracing its progress from elegant locked room mysteries, to the hard-boiled realism of the '30s and '40s, to the great range of styles seen today, this superb collection includes the finest crime writers, including Erle Stanley Gardner, Raymond Chandler, Ross Macdonald, Rex Stout, Ellery Queen, Ed McBain, Sue Grafton, and Hillerman himself. There are also many delightful surprises: Bret Harte, for instance, offers a Sherlockian pastiche with a hero named Hemlock Jones, and William Faulkner blends local color, authentic dialogue, and dark, twisted pride in An Error in Chemistry. We meet a wide range of sleuths, from armchair detective Nero Wolfe, to Richard Sale's journalist Daffy Dill, to Robert Leslie Bellem's wise-cracking Hollywood detective Dan Turner, to Linda Barnes's six-foot tall, red-haired, taxi-driving female P.I., Carlotta Carlyle. And we sample a wide variety of styles, from tales with a strongly regional flavor, to hard-edged pulp fiction, to stories with a feminist perspective. Perhaps most important, the book offers a brilliant summation of America's signal contribution to crime fiction, highlighting the myriad ways in which we have reshaped this genre. The editors show how Raymond Chandler used crime, not as a puzzle to be solved, but as a spotlight with which he could illuminate the human condition; how Ed McBain, in A Small Homicide, reveals a keen knowledge of police work as well as of the human sorrow which so often motivates crime; and how Ross Macdonald's Lew Archer solved crime not through blood stains and footprints, but through psychological insight into the damaged lives of the victim's family. And throughout, the editors provide highly knowledgeable introductions to each piece, written from the perspective of fellow writers and reflecting a life-long interest-not to say love-of this quintessentially American genre. American crime fiction is as varied and as democratic as America itself. Hillerman and Herbert bring us a gold mine of glorious stories that can be read for sheer pleasure, but that also illuminate how the crime story evolved from the drawing room to the back alley, and how it came to explore every corner of our nation and every facet of our lives. Copyright © 1996 by Tony Hillerman and Rosemary Herbert......Page 2 Introduction......Page 3 INTRODUCTION......Page 4 EDGAR ALLAN POE (1809-1849)......Page 9 SIR THOMAS BROWNE......Page 10 Perdidit antiquum litera prima sonum......Page 14 The Stolen Cigar Case......Page 32 The Problem of Cell 13......Page 39 IV......Page 52 V......Page 57 VI......Page 61 MELVILLE DAVISSON POST (1869-1930)......Page 68 The Doomdorf Mystery......Page 69 ANNA KATHARINE GREEN (1846-1935)......Page 79 Missing: Page Thirteen......Page 80 RHODA......Page 89 IV......Page 92 V......Page 94 VI......Page 96 VII......Page 98 ARTHUR B. REEVE (1880-1936)......Page 104 GIRL IN COMA SIX DAYS—SHOWS NO SIGN OF REVIVAL......Page 105 “Yes,” replied Doctor Haynes, “rather refractory, too. I—“......Page 110 SUSAN GLASPELL (1882-1948)......Page 120 A Jury of Her Peers......Page 121 CARROLL JOHN DALY (1889-1958)......Page 139 The False Burton Combs......Page 140 CLINTON H. STAGG (1890-1916)......Page 158 II......Page 167 III......Page 180 “We didn’t come to hear—“......Page 183 IV......Page 184 RICHARD SALE (1911-1993)......Page 187 TWO......Page 191 THREE......Page 195 FOUR......Page 198 FIVE......Page 203 SIX......Page 205 “But you said you had never seen her—“......Page 210 “Jim Byrne,” fluttered Caroline. “His father and my father—“......Page 222 ERLE STANLEY GARDNER (1889-1970)......Page 230 Leg Man......Page 231 “You mean the affair with that redhead? It started—“......Page 244 “Yes,” she said, “I—“......Page 262 RAYMOND CHANDLER (1888-1959)......Page 263 I’ll Be Waiting......Page 264 JOHN DICKSON CARR (1906-1977)......Page 278 The Footprint in the Sky......Page 279 “Harry—“......Page 291 CORNELL WOOLRICH (1903-1968)......Page 292 Rear Window......Page 293 “Look, Boyne? This is Hal Jeffries—“......Page 302 MARY ROBERTS RINEHART (1876-1958)......Page 317 The Lipstick......Page 318 “But if he really loved her—“......Page 333 ROBERT LESLIE BELLEM (1902-1968)......Page 335 Homicide Highball......Page 336 “But, Dan, listen—“......Page 337 CHAPTER II - Under Arrest......Page 340 CHAPTER Three - One for Dave......Page 344 IOc......Page 345 CHAPTER IV - The Night of the Raid......Page 350 “I tell you I—“......Page 352 CHAPTER V - A Foul Ball......Page 355 CHAPTER VI - The Gambler......Page 361 “But—but I th—thought you—“......Page 367 CHAPTER VII - The Force of Gravity......Page 368 He tabbed my voice; blew his top. “You! Well, I’m a son—“......Page 369 “No—please—don’t point that g - gun at me—“......Page 371 WILLIAM FAULKNER (1897-1962)......Page 373 An Error in Chemistry......Page 374 From Another World......Page 387 “Look, dammit!” the inspector exploded, “how did you—“......Page 390 “Yes, I think so. But what—“......Page 391 “Merlini!” I objected frantically; “if you hang up without—“......Page 396 T. S. STRIBLING (1881-1965)......Page 409 A Daylight Adventure......Page 410 “But I was simply describing a type—“......Page 421 See No Evil......Page 423 “That’s one of them,” he told his buddies. “If I had my way—“......Page 427 “You, in a race car?” I said. “Manny, baby, you’re just a—“......Page 430 ANTHONY BOUCHER (1911-1968)......Page 431 Crime Must Have a Stop......Page 432 “So it all started while Harriet was—“......Page 438 STEVE......Page 444 Small Homicide......Page 449 City of New York......Page 453 Guilt-Edged Blonde......Page 464 I......Page 478 II......Page 482 “Mr. Hatch? Do you verify—“......Page 489 IV......Page 492 V......Page 499 VI......Page 503 VII......Page 506 VIII......Page 509 IX......Page 514 A Matter of Public Notice......Page 516 ELLERY QUEEN......Page 531 The Adventure of Abraham Lincoln’s Clue......Page 532 BIANCA DICAMPO......Page 535 P0£......Page 541 Words Do Not a Book Make......Page 546 “I’m Chief of Police Wiggins,” the head said, “and I—“......Page 549 Christmas Is for Cops......Page 551 “If you’re kidding me, Gibson, or stalling—“......Page 554 Lucky Penny......Page 564 “No,” Mooney said. “Now, Miss—“......Page 577 The Parker Shotgun......Page 580 Chee’s Witch......Page 596 “How—“......Page 600 Benny’s Space......Page 604 Now she looked nervously around the restaurant. “I shouldn’t—“......Page 611 “That’s not—“......Page 616 “No, she—“......Page 617 “I had no reason to—“......Page 619 CREDITS......Page 620 Copyright © 1996 by Tony Hillerman and Rosemary Herbert 2 CONTENTS 3 Introduction 3 INTRODUCTION 4 EDGAR ALLAN POE (1809-1849) 9 SIR THOMAS BROWNE 10 Perdidit antiquum litera prima sonum 14 The Stolen Cigar Case 32 The Problem of Cell 13 39 IV 52 V 57 VI 61 MELVILLE DAVISSON POST (1869-1930) 68 The Doomdorf Mystery 69 ANNA KATHARINE GREEN (1846-1935) 79 Missing: Page Thirteen 80 WILLIAM 89 RHODA 89 IV 92 V 94 VI 96 VII 98 ARTHUR B. REEVE (1880-1936) 104 The Beauty Mask 105 GIRL IN COMA SIX DAYS—SHOWS NO SIGN OF REVIVAL 105 “Yes,” replied Doctor Haynes, “rather refractory, too. I—“ 110 SUSAN GLASPELL (1882-1948) 120 A Jury of Her Peers 121 CARROLL JOHN DALY (1889-1958) 139 The False Burton Combs 140 CLINTON H. STAGG (1890-1916) 158 II 167 III 180 “We didn’t come to hear—“ 183 IV 184 RICHARD SALE (1911-1993) 187 TWO 191 THREE 195 FOUR 198 FIVE 203 SIX 205 Spider 210 “But you said you had never seen her—“ 210 “Jim Byrne,” fluttered Caroline. “His father and my father—“ 222 ERLE STANLEY GARDNER (1889-1970) 230 Leg Man 231 “You mean the affair with that redhead? It started—“ 244 “Yes,” she said, “I—“ 262 RAYMOND CHANDLER (1888-1959) 263 I’ll Be Waiting 264 JOHN DICKSON CARR (1906-1977) 278 The Footprint in the Sky 279 “Harry—“ 291 CORNELL WOOLRICH (1903-1968) 292 Rear Window 293 “Look, Boyne? This is Hal Jeffries—“ 302 MARY ROBERTS RINEHART (1876-1958) 317 The Lipstick 318 “But if he really loved her—“ 333 ROBERT LESLIE BELLEM (1902-1968) 335 Homicide Highball 336 “But, Dan, listen—“ 337 CHAPTER II - Under Arrest 340 CHAPTER Three - One for Dave 344 VIEW THE SHORE-LINE 345 FROM THE HIGHEST SPOT IN VENICE 345 IOc 345 “Aha. And maybe Maizie Murdock—“ 350 CHAPTER IV - The Night of the Raid 350 “I tell you I—“ 352 CHAPTER V - A Foul Ball 355 CHAPTER VI - The Gambler 361 “But—but I th—thought you—“ 367 CHAPTER VII - The Force of Gravity 368 He tabbed my voice; blew his top. “You! Well, I’m a son—“ 369 “No—please—don’t point that g - gun at me—“ 371 WILLIAM FAULKNER (1897-1962) 373 An Error in Chemistry 374 CLAYTON RAWSON (1906-1971) 387 From Another World 387 “Look, dammit!” the inspector exploded, “how did you—“ 390 “Yes, I think so. But what—“ 391 “Merlini!” I objected frantically; “if you hang up without—“ 396 T. S. STRIBLING (1881-1965) 409 A Daylight Adventure 410 “But I was simply describing a type—“ 421 See No Evil 423 “That’s one of them,” he told his buddies. “If I had my way—“ 427 “You, in a race car?” I said. “Manny, baby, you’re just a—“ 430 ANTHONY BOUCHER (1911-1968) 431 Crime Must Have a Stop 432 “So it all started while Harriet was—“ 438 Sincerely, 444 STEVE 444 Small Homicide 449 POLICE DEPARTMENT 453 City of New York 453 Guilt-Edged Blonde 464 REX STOUT (1886-1975) 478 I 478 II 482 “Mr. Hatch? Do you verify—“ 489 IV 492 V 499 VI 503 VII 506 VIII 509 IX 514 A Matter of Public Notice 516 ELLERY QUEEN 531 The Adventure of Abraham Lincoln’s Clue 532 BIANCA DiCAMPO 535 WHY HAVE I NOT HEARD FROM YOU STOP AM IN DESPERATE NEED YOUR SERVICES 535 BIANCA DICAMPO 535 P0£ 541 Words Do Not a Book Make 546 “I’m Chief of Police Wiggins,” the head said, “and I—“ 549 Christmas Is for Cops 551 “If you’re kidding me, Gibson, or stalling—“ 554 Lucky Penny 564 “No,” Mooney said. “Now, Miss—“ 577 The Parker Shotgun 580 Chee’s Witch 596 “How—“ 600 Benny’s Space 604 Now she looked nervously around the restaurant. “I shouldn’t—“ 611 “That’s not—“ 616 “Why would—“ 617 “A mother worries—“ 617 “No, she—“ 617 “I had no reason to—“ 619 CREDITS 620 1 Containing 34 stories, this anthology explores the historical development of American detective fiction over a span of 150 years - from Edgar Allan Poe in the 1840s to Marcia Muller in the 1990s. The selections represent variety in chronological period, narrative voice, geography, and milieu Description: 686 p. ; 23 cm. Contents: Murders in the Rue Morgue / Edgar Allan Poe -- Stolen cigar case / Bret Harte -- Problem of cell 13 / Jacques Futrelle -- Doomdorf mystery / Melville Davisson Post -- Missing: page thirteen / Anna Katharine Green -- Beauty mask / Arthur B. Reeve -- A jury of her peers / Susan Glaspell -- False Burton Combs / Carroll John Daly -- Keyboard of silence / Clinton H. Stagg -- A nose for news / Richard Sale -- Spider / Mignon G. Eberhart -- Leg man / Erle Stanley Gardner -- I'll be waiting / Raymond Chandler -- Footprint in the sky / John Dickson Carr -- Rear window / Cornell Woolrich -- Lipstick / Mary Roberts Rinehart -- Homicide highball / Robert Leslie Bellem -- An error in chemistry / William Faulkner -- From another world / Clayton Rawson -- A daylight adventure / T. S. Stribling -- See no evil / William Campbell Gault -- Crime must have a stop / Anthony Boucher -- Small homicide / Ed McBain -- Guilt-edged blonde / Ross Macdonald -- Christmas party / Rex Stout -- A matter of public notice / Dorothy Salisbury Davis -- Adventure of Abraham Lincoln's clue / Ellery Queen -- Words do not a book make / Bill Pronzini -- Christmas is for cops / Edward D. Hoch -- Lucky penny / Linda Barnes -- Parker shotgun / Sue Grafton -- Chee's witch / Tony Hillerman -- Benny's space / Marcia Muller. Other Titles: American detective stories Responsibility: edited by Tony Hillerman, Rosemary Herbert. An anthology of thirty-four short stories exemplifying the best in American crime fiction traces the evolution of the genre in works by Erle Stanley Gardner, Raymond Chandler, Rex Stout, Ellery Queen, Ed McBain, Sue Grafton, Sara Paretsky, Bret Harte, William Faulker, and Tony Hillerman. UP. This volume brings together 33 tales which illuminate the evolution of crime fiction in the USA and America's contribution to the popular genre. A range of styles are represented, from "locked room" mysteries to hard-boiled realism, with writers including Raymond Chandler and Ellery Queen. Collection of thirty-three tales that illustrate the evolution of the American detective short story, presenting examples of different sleuth types, demonstrating the use of regionalism, and encompassing the move into the use of ethnic detectives. Each entry includes its own introduction A collection of 34 detective stories, tracing the development of the genre from Edgar Allan Poe's The Murder in the Rue Morgue, through William Faulkner's An Error in Chemistry, up to the present