Beruflich Dokumente
Kultur Dokumente
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mirth.
explanation . . .1
and the very obviousness of this equation has seemed to mask the extent to which the riddle can provide real clues to the structure of the
whodunit. Many traditional speech genres present distillations of fundamental literary devices.2 In more complex literary constructions,
even in a popular culture form like the mystery, the combination of
such devices often covers up the simplicity of the devices themselves.
Thus, by carefully considering the construction of folkloric forms, it
An earlier version of this paper was read at the 1983 Meeting of the American Folklore Society in Nashville.
1. Agatha Christie, Thirteen at Dinner (New York, 1933). The quote is taken from the Dell
2. For an extensive discussion of speech genre structures as paradigms for literary devices,
see Susan Stewart, Nonsense: Aspects of Intertextuality in Folklore and Literature (Baltimore, 1979).
157
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but concealed in it. This essay suggests that by taking seriously the
notion of the whodunit as riddle, that is by applying those devices
utilized in riddling strategies to this type of mystery, it becomes both
the social interaction itself. The hearer or reader also retains a degree
of power, albeit of a higher logical type. He or she may interupt, walk
away, throw a book into the fire, ruin the author's livelihood by refusing to buy another, or hypothetically, even murder the perpetrator for
a particularly annoying solution. The poser of the enigma is omnipotent at the whim of the posee, and that whim lasts only so long as the
solutions are satisfying. The aesthetics of the mystery is that of rationality rather than of morality or sentiment; as Roger Caillois has
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ing the true character of [the murder] that the investigator and the
reader require to reconstruct [it].''5 The reader and the story detective, then, are expected to follow the same hermeneutic procedure,
sorting through true and false clues and eschewing "red herrings" in
order to discover a coherent pattern.
Riddle scholars often refer to solutions as being "arbitrary," and
goes back to Poe, Agatha Christie's murderers are not "the least
likely. "7 Nor are they taken at random from the list of suspects. Rather,
more often than not, they are the most likely-husbands, wives, lovers,
1941), p. 9.
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Miss Marple, "The greatest thing in these cases is to keep an absolutely open mind."9 What Dame Agatha consciously and insidiously
does is close the reader's mind. The clues themselves, then, become in-
significant, and the solution lies not in untangling their pattern, but
in discovering the mechanism by which the reader's mind is closed.
A riddle is enigmatic because there is an obstruction between the
image it presents and the referent the riddlee is supposed to guess. In
riddling scholarship this obstruction, following Petsch, is usually called
the block element.'0 Roger Abrahams has elaborated upon this concept
by delineating four different, though not always distinct, block elements (or riddling strategies): too little information, too much information,
While most Agatha Christie mysteries utilize a multiplicity of riddling strategies, it is usually possible to single out one block element
as dominant. The 1939 Hercule Poirot novel, Sad Cypress, for instance,
is unsolvable because there is too little information.'2 In this story a
poisoning takes place in the presence of two women, one of whom,
8. Agatha Christie, The Moving Finger (New York, 1942). The quote is taken from the Dell
10. The term "block element" originates with Robert Petsch, Neue Beitrage zur Kenntnis des
Volkstratsels in Palaestra IV (Berlin, 1899). It has become common usage within folkloristics since
Robert A. Georges and Alan Dundes, "Toward a Structural Definition of the Riddle," Jour-
11. Roger Abrahams, "Introductory Remarks to A Rhetorical Theory of Folklore, " Journal of American Folklore 81 (1968): 143-158, and Roger Abrahams and Alan Dundes, "Riddles,"
in Folklore and Folklife: An Introduction, ed. Richard Dorson (Chicago, 1972), pp. 129-144. I prefer
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as the reader learns at the outset, is on trial for murder, and hence
may be presumed innocent (despite Witness for the Prosecution).'3 The
other woman, Nurse Hopkins, not only has the opportunity to com-
mit the murder, but having "misplaced" the precise poison used, has
the means as well. Moreover, she is seen urging the murdered girl to
make a will leaving everything (which turns out to be a considerable
crucial fact, that Nurse Hopkins and the Australian aunt are one and
the same, is revealed only in a Perry Mason style ending.
information, but can only guess at it, this mystery riddling strategy
14. S.S. Van Dine, "Twenty Rules for Writing Detective Stories," in The Art of the Mystery
Story, ed. Howard Haycraft (New York, 1956), pp. 189-193. Originally published in American
Magazine, September, 1928.
15. F.R. Jameson, "On Raymond Chandler," Southern Review 6 (1970): 624-650.
16. Agatha Christie, Death on the Nile (New York, 1938); Murder at the Vicarage (New York,
1930).
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In Funerals Are Fatal, for example, Aunt Cora, who is known for her
tendency to state awkward and embarrassing truths, blurts out at her
brother's funeral, "But he was murdered wasn't he?'""17 When she in
turn is murdered, the police and reader alike assume that her death
Cora is the only person it could be, her companion and legatee, Miss
Gilchrist, who had impersonated the victim in order to produce the
misdirecting clue.
An even more elaborate use of too much information is The A.B. C.
Murders. 18 In this novel there are three murders for which the only
apparent connection is that the victims' first and last initials coincide
with the first letter of the town where the murders take place in
alphabetical order. This coincidence, along with other clues such as
the presence of the British train time table known as the ABC, insists
that an alphabetical pattern be deciphered. The block element is that
there is no pattern, or, rather, that the pattern is the murderer's ar-
tifice. The real victim is the third one, Sir Carmichael Clarke of
Churston (the only wealthy victim), and the murderer is simply his
which the elaborate pattern coinciding with the nursery rhyme is the
how "Dr. Lerdner could murder his wife from the roof without leaving
17. Agatha Christie, Funerals are Fatal (New York, 1953). The quote is from the Pocket Book
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they thought you knew. To be able to do a thing, but not let anyone
know that you could do it.'"22
Christie's classics, And Then There Were None.23 In this book one fact
suicide. The reader, of course, assumes that the dead must remain
dead, so when Justice Hargrave (the notorious "hanging judge" and
the only character not guilty of the death of an innocent, except
perhaps in his official capacity, and therefore the most obvious suspect
pp. 42-43.
23. Agatha Christie, And Then There Were None (New York, 1939).
24. Ibid. The quote is taken from the Washington Square paperback edition (1964), p. 136.
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you are too trusting ... You have too beautiful a nature.'"25 That
which is the product of a character's discourse is not necessarily true,
and so the once and future murdered Justice Hargrave may reasonably
rise from the dead to stalk his final victims.
riddle, " 'It hangs dangling. Everybody grabs for it.' The solution:
'A towel.' "26 This analogy is, however, a little broad, and the notion
of false gestalt is better limited to those texts that allow not only for
alternative solutions, but for general misconceptions. (It should be
noted that, while for the riddle false gestalt involves instantaneous
recognition of a solution, usually an obscene one, which turns out to
be false, for the whodunit this block element is not distinct but is a
result of too much information or of a contradiction that leads the
murder, not just of its details.) One such false gestalt occurs in The
Body in the Library where the reader assumes that the body is who it is
26. Viktor Sklovskij, "The Mystery Novel: Dickens' Little Dorrit", in Readings in Russian
Poetics, eds. Ladislav Matejka and Krystyna Pomorska (Cambridge, Mass., 1971), pp. 220-226.
27. Agatha Christie, The Body in the Library (New York, 1942).
28. Agatha Christie, Peril at End House (New York, 1931).
29. Agatha Christie, The Mirror Cracked (New York, 1963).
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mistake, that the intended victim is the jaded actress, herself, for whose
death there would be many possible suspects. In both cases the reader,
like Poirot, fails to consider "K," "a person who should have been
included in the original list, but who was overlooked."30 One need
only remember that corpses are usually not those of mistaken victims
are directly applicable to the whodunit, this is not the case for generic
blockers. One can certainly conceive of mysteries that use the riddle
parody device of having no enigma to confuse the reader, in which,
as in the riddle in the epigraph, misleading information is given not
by a character (in such cases the strategy is simply too much information or false gestalt) but by the author, or in which, as in many "neckriddles," the solution is wholly idiosyncratic (carrying "too little information" to the extreme).33 Such mysteries would, however, involve
radical transformations in form, changes in the generic dominant of
the sort I have elsewhere termed "breaking genre.""34 Certain post30. Christie, Peril at End House. The quote is taken from the Pocket Book Edition (1942),
p. 167.
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modern novelists (e.g., Sorrentino, Berger, Feiffer, Brautigan), playing with the mystery form, have indeed broken genre, transforming
the dominant from "Who done it?" to more existential mysteries such
as "Who am I?" or "What is fiction?" But the whodunit as a more
complex form also has a multitude of less fundamental norms and expectations not present in the riddle, and these may be used to create
generic blockers without calling into question the very nature of the
form.
Various attempts have been made to codify the mystery. Van Dine's
famous set of twenty rules proclaims, among other things, "The detective himself, or one of the official investigators, should never turn out
That your detectives shall well and truly detect the crimes presented
to them, using the wits it may please you to bestow upon them and not
placing reliance on nor making use of Divine Revelation, Feminine Intuition, Mumbo-Jumbo, Jiggery-Pokery, Coincidence or the Act of
God . . . To observe a seemly moderation in the use of Gangs, Conspiracies, Death-Rays, Ghosts, Hypnotism, Trap-Doors, Chinamen,
Super-Criminals, and Lunatics, and utterly and for ever to foreswear
(usually a murder), that someone seek to solve that crime, and that
the reader not learn of the solution until the final epiphany. All other
conventions, while presenting a certain aesthetic and insisting upon
fairness to the reader, are merely expectations.
Agatha Christie's genius lies most of all in her ability to prey upon
the reader's tendency to confuse expectations with norms to invent
generic blockers for her mysteries. For this skill, she was reviled by some
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dollar gold piece,""37 and Chandler said that another was "guaranteed
to knock the keenest mind for a loop. Only a half wit could guess it.38
the murderer, again the most obvious, is Dr. Sheppard, who, unfortunately for the reader, is also the narrator. Christie is eminently fair,
here, in that she makes it clear that the role of narrator is of Dr. Shep-
Story, p. 230. The essay originally was published in The Atlantic Monthly, December, 1944.
39. Dorothy Sayers, "The Omnibus of Crime," in Haycraft, ed., The Art of the Mystery Story,
p. 98, originally published as her introduction to Omnibus of Crime (New York, 1929).
40. I.I. Revzin, "Notes on the Semiotic Analysis of Detective Novels: With Examples from
the Novels of Agatha Christie," New Literary History 9 (1978): 385-388.
41. Christie is certainly not the only mystery writer, nor necessarily the first, to make generically proscribed characters the murderer. Among others, Israel Zangwell, in The Big Bow Mystery
(London, 1892) makes his detective the murderer, Nicholas Blake (C. Day Lewis) effectively
has "Watson" do it in The Beast Must Die (London, 1938), and Raymond Chandler, in The Lady
in the Lake (New York, 1946), uses a hard-boiled cop.
42. Agatha Christie, The Murder of Roger Ackroyd (New York, 1926).
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murder.43 Again the narrative discourse provides ample clues-Sugden is introduced before the murder takes place, coincidentally arrives
on the scene as the body is being discovered, and is around altogether
too much for someone in the Lestrade role-but the generic block
prevents him from being suspected. In Curtain even Poirot becomes
a murderer." As he insists in a letter to Hastings, the solution should
be obvious, given the execution style of the killing ("the mark of Cain"
made by a bullet in the center of the the forehead), the presence of
lesser details such as that only Poirot was shorter than the victim, and
especially the fact that Poirot had already demonstrated that the victim was an unconvictable murderer. And Curtain is, after all, a posthumous book. But who could be more above suspicion than the hero
of most of Dame Agatha's greatest works.
Christie also systematically breaks other generic expectations. In
several books she uses Van Dine's only one culprit rule as a generic
blocker. In Death on the Nile, for instance, three murders are committed,
and everyone has an inviolate alibi for at least one of them.45 The solu-
known as Murder on the Orient Express) takes this generic blocker even
thorp is under the heavy suspicion of the police until Poirot, with great
show and effort, uncovers an alibi, which because of its scandalous
nature, the suspect is apparently unwilling to use.47 Since, conventionally, the detective and not the police must be correct, the reader
43. Agatha Christie, Murder For Christmas (New York, 1938).
44. Christie, Curtain.
45. Christie, Death on the Nile.
46. Agatha Christie, Murder on the Calais Coach (New York, 1934).
47. Agatha Christie, The Mysterious Affair at Styes (New York, 1920).
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is induced to check the husband off the list of real suspects. But by us-
ing a readily discoverable alibi to clear the husband earlier rather than
later in the text, Poirot is then free to demonstrate an alternative solu-
Probably the most basic whodunit expectation is that the murder must
be committed by the murderer. But in Curtain, as is appropriate for Christie's
Dame Agatha gives the reader no less a clue than Othello, but the
whodunit genre is not Shakespearean drama, so recognition of this
Iago's culpability is firmly blocked.
Most texts withhold key bits of information necessary to their interpretation. In TomJones, for instance, the revelation of the crucial
identity of Tom's mother is saved for the end (and there are similar
lesser revelations throughout.) Finnegan 's Wake is so hermetic that the
words themselves must be deciphered. But it is in the whodunit that
what Barthes calls the "hermeneutic code" becomes dominant; the
pleasure of the text lies principally in its enigma, and in "the expectation and desire for its solution." 50
eutic code, not all entail the same hermeneutic process. "Classic detective stories rely on a simple pattern of interpretation, treating sensory
data (clues) as signs for hidden facts about events in the past and hid-
the whodunit reader, like the detective, starts with a blank slate, and
48. Christie, Murder at the Vicarage.
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playing of the board game Clue, is progressive; presumably, the further along the narrative and the more clues available, the more complete the pattern.
Such a progressive hermeneutic structure most resembles a puzzle,
and the author an encoding cryptographer. But, as Symons argues,
"The deception in . . . Christie stories is much more like the conjurer's sleight of hand. She shows us the ace of spades face up. Then
she turns it over, but we still know where it is, so how has it been
transformed into the five of diamonds?"53 Or more accurately, we
assume that the card will no longer be the ace of spades, and yet it is.
it, just before the epiphany than at the beginning of the book; the only
characters who have really been eliminated as suspects are the dead,
and even these not absolutely. (My own experience has been that I
have been most successful in guessing the murderer before the first
murder occurs, or by choosing from a list of the "cast of characters"
before even starting to read.) When it comes, the revelation is sudden and surprising. And it is not built up to by a series of clues; it is
systematically obstructed.
When most critics use the terms "puzzle" and "riddle" interchangeably as synonyms for the whodunit, they are missing a crucial
structural difference. Puzzles are really solved through the accumula-
tion of clues. Riddles can almost never be solved deductively; the key
to their hermeneutic structure is the block element. It is the block ele-
ent in her books), she certainly has made the most systematic and best
use of it. One text or another of hers has incorporated all of the
available kinds of blockers, and even when she has repeated herself,
53. Julian Symons, Mortal Consequences: A History fom the Detective Story to the Crime Novel (New
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as is inevitable given the paucity of riddling strategies and her prolific output, there is a sufficient freshness to minimize the sense of
dejd-vu. And by fooling the reader into overlooking the most obvious
suspects, rather than by selecting some clues and ignoring others in
choosing an arbitrary murderer, Agatha Christie, almost uniquely,
has consistently been able to produce whodunits whose final solutions
are the most reasonable and, therefore, the most satisfying.
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