What Is The Appeal of Detective Fiction?

Gavin Holman
Gavin Holman’s What Is The Appeal of Detective Fiction? (1981) explores the detective genre,
its structure, psychological and social appeal, historical development, and major contributors.
He differentiates detective fiction from related genres like crime and mystery fiction and
examines why it has captivated readers for generations.
1. Defining Detective Fiction
Detective fiction is a subset of thriller fiction, focusing on the methodical unravelling of a crime,
typically a murder. Unlike mystery fiction, which may leave the resolution open-ended, or crime
fiction, which focuses on the criminal’s perspective, detective fiction is structured around an
intellectual challenge—solving a puzzle through logical reasoning.
Key Elements of Detective Fiction:
1. The Crime or Mystery – Usually a murder, as it evokes strong emotions and provides
a complex puzzle of motives, means, and opportunity. Theft and other crimes also
appear but are less common.
2. The Detective – The central figure, often brilliant, methodical, or eccentric. Some rely
on intuition and inspiration (e.g., Sherlock Holmes), while others depend on procedural
methods (e.g., Inspector French). Many detectives are paired with assistants who
serve as intermediaries for the reader.
3. Clues and Investigation – A set of seemingly random observations that, when
correctly interpreted, lead to the solution. The author must balance misdirection (red
herrings) and fair play, ensuring the detective's deductions are plausible.
2. Psychological and Social Appeal of Detective Fiction
Psychological Theories:
Various psychologists and scholars have attempted to explain why detective fiction is so
compelling.
• Rycroft and Pederson-Krag’s Theory – Detective fiction satisfies unconscious
childhood desires, where the reader identifies with the detective, the criminal, or both.
The mystery represents childhood helplessness, and solving it provides a sense of
control.
• W.H. Auden’s "Quest" Theory – Detective stories function like myths, echoing the
Arthurian quest. The crime disrupts order, and the detective restores balance, mirroring
the search for the Holy Grail.
• Professor Roy Fuller’s Oedipal Comparison – Detective fiction is linked to the
Oedipus myth, with an illustrious victim, riddles, and a dramatic revelation of guilt.
• Murder as a Scapegoat Ritual – Some theorists argue that murder mysteries mimic
ancient rituals where a scapegoat (the criminal) is sacrificed to cleanse society of guilt.
Social Order and Justice:
Detective fiction often aligns with law and order. The criminal disrupts social stability and must
be apprehended to restore balance. Readers find satisfaction in this reinforcement of justice,
even if real-world justice is not as absolute.
Intellectual Challenge:
The core appeal lies in solving the puzzle before the detective does. The author lays out clues,
and the reader engages in a mental battle to interpret them correctly. A well-written detective
novel maintains suspense and curiosity, ensuring every detail sustains the mystery.
• Uncertainty as a Core Element – The identity of the criminal is the central question,
and the author's role is to keep the reader guessing while providing all necessary clues.
 • Jacques Barzun’s View on Clues – The best detective stories scatter clues
inconspicuously throughout, misleading the reader while still allowing for a logical
conclusion.
3. Historical Evolution of Detective Fiction
Victorian Era: Birth of the Detective Story
• Edgar Allan Poe’s Dupin – The first true fictional detective in The Murders in the Rue
Morgue (1841), who relied on pure logic and ratiocination.
• Arthur Conan Doyle’s Sherlock Holmes – The quintessential detective, using keen
observation and deduction, often focusing on material clues like footprints or cigar ash.
The Golden Age (1920s-1930s): The Rise of the Fair-Play Mystery
This period saw detective fiction become highly popular, with intricate plots and formalized
rules.
• Agatha Christie – Introduced Hercule Poirot and Miss Marple, focusing on
psychological motives and unexpected twists (The Murder of Roger Ackroyd shocked
readers with its trick ending).
• Dorothy L. Sayers – Created Lord Peter Wimsey, blending mystery with literary depth
and romance (The Nine Tailors mixed campanology with detective work).
• Freeman Wills Crofts – Focused on methodical detection and breaking alibis (The
Cask and Inspector French novels).
American Hardboiled Fiction (1930s-1950s): A Grittier Approach
A reaction to the aristocratic detective, American writers introduced rougher, more cynical
investigators.
• Dashiell Hammett (Sam Spade) – The Maltese Falcon (1930) featured a tough,
unsentimental detective battling corruption.
• Raymond Chandler (Philip Marlowe) – The Big Sleep (1939) depicted a morally
complex world where the detective operates in a corrupt system.
Post-WWII Developments: Police Procedurals and Psychological Depth
The genre expanded beyond the brilliant individual detective to include realistic police work
and deeper character studies.
• Michael Innes (John Appleby) – A literary detective using academic knowledge to
solve crimes.
• Georges Simenon (Inspector Maigret) – Focused on routine police work and the
human consequences of crime.
• Ed McBain (87th Precinct) – Introduced ensemble police detectives dealing with
crime realistically.
4. Common Devices and Techniques in Detective Fiction
Stock Elements of the Genre:
• Classic Clues – Footprints in the snow, cigarette ash, secret panels, and coded
messages.
• Red Herrings – False leads designed to mislead the reader.
• Locked-Room Mysteries – A classic puzzle where a crime is committed in an
apparently impossible situation (mastered by John Dickson Carr).
• Narrative Tricks – Some authors play with unreliable narrators or hidden identities
(The Murder of Roger Ackroyd uses the narrator as the criminal).
Detective Fiction and Realism:
• The Role of Forensics – Early detectives relied on intuition, but modern fiction
incorporates forensic science.
 • Shifting from Eccentric Geniuses to Professionals – Over time, detectives became
more grounded, moving from Holmesian intellects to realistic police detectives.
5. The Enduring Popularity of Detective Fiction
Why Readers Keep Coming Back:
• A Clear Structure – Beginning (crime), middle (investigation), and end (resolution)
provide a satisfying arc.
• Intellectual Engagement – Readers enjoy testing their deduction skills.
• Suspense and Catharsis – The tension of the unknown and the resolution provide
emotional fulfilment.
• Evolution with Time – The genre adapts, incorporating social issues, technology, and
new investigative methods.
Holman suggests that detective fiction’s appeal lies in proving the improbable. Readers relish
the balance between suspense and logic, and as John Dickson Carr’s detective Gideon Fell
remarks, “A great part of our liking for detective fiction is based on a liking for improbability.”
Detective fiction has evolved from Victorian-era puzzles to modern crime thrillers, but its core
remains the same: a compelling mystery, a determined investigator, and the satisfaction of
justice. Whether it’s a classic whodunit, a hardboiled noir, or a forensic procedural, the genre
continues to captivate readers with its mix of intellect, suspense, and order restored
WHAT IS THE APPEAL OF
DETECTIVE FICTION?
BY GAVIN HOLMAN

Kukku Xavier
Associate Professor
P.G. and Research Department of English
All Saints’ College, Thiruvananthapuram
DIFFERENCE BETWEEN DETECTIVE FICTION, CRIME STORIES,
MYSTERY STORIES, AND THRILLERS
1.DETECTIVE STORY
• Focus
The primary appeal of the detective story is its intellectual nature. This genre is
characterized by the detective solving a problem through logic, deduction, and
reasoning.
• Reader Engagement
The reader is actively involved in attempting to deduce the solution before the detective
does. The pleasure comes from solving the puzzle and unraveling the mystery through
the detective's investigative process.
• Resolution:
The mystery is resolved, and the detective lays out the facts, giving the reader a
satisfying sense of closure. The reader's failure to solve it adds to the enjoyment.
DIFFERENCE BETWEEN DETECTIVE FICTION, CRIME STORIES,
MYSTERY STORIES, AND THRILLERS
2.CRIME STORIES

• Focus
Crime stories are more about the criminals, the crimes they commit, and the events
surrounding those crimes. While detective work may be involved, the emphasis is on
the criminals themselves and the causes and consequences of their actions.
• Escape or Insight
These stories offer either an escape into the world of criminals and their exploits or
insight into the mundane lives of real criminals. They may also delve into the dynamics
between criminals and law enforcement.
• Plot
The narrative focuses more on the crime and its consequences, rather than the
intellectual challenge of solving a mystery.
DIFFERENCE BETWEEN DETECTIVE FICTION, CRIME STORIES,
MYSTERY STORIES, AND THRILLERS
3. MYSTERY STORIES
• Focus
Mystery stories center around an unknown or unexplained event, but they don't
necessarily provide a resolution. The mystery is either left unresolved, or the solution is
revealed in a way that doesn’t involve traditional investigation by a detective.
• Escapism
These stories often focus on the unknown or the unimaginable, providing escapism
through their enigmatic nature. The thrill of mystery lies in exploring what is hidden,
even if the mystery itself is never fully solved or explained.
• Resolution
The outcome may be more abstract, and the reader may be left with questions rather
than answers.
DIFFERENCE BETWEEN DETECTIVE FICTION, CRIME STORIES,
MYSTERY STORIES, AND THRILLERS
4. THRILLER STORIES
• Focus
Thrillers are typically fast-paced, adventurous stories, often involving a suspenseful
situation that is eventually resolved. While crime or detection can be part of the story, it
usually takes a backseat to the overall action and tension.
• Subgenre
One popular subgenre is the spy or political thriller, where the protagonist is often
caught in a larger struggle between powerful forces (such as governments or
organizations), with espionage, political intrigue, and high-stakes scenarios driving the
plot.
• Resolution
The primary appeal of thrillers is the thrill of the adventure or suspense, not necessarily
the intellectual puzzle of solving a crime or mystery.
THREE BASIC ELEMENTS OF DETECTIVE FICTION

• The Crime or Event: The mystery, often a crime like murder or theft, with a
hidden perpetrator.
• The Detective: The central figure who uses intellect, knowledge, and
perseverance (or methodical work) to solve the mystery, often aided by an
assistant.
• The Series of Observations and Events: A collection of clues—initially trivial
or unrelated—that the detective connects to uncover the solution.
 PSYCHOLOGICAL THEORIES ON THE APPEAL OF DETECTIVE
FICTION:
1. Childhood Regression Theory (Rycroft and Pederson-Krag):
• Theory: Psychologists Rycroft and Pederson-Krag proposed that people are
subconsciously drawn to detective stories because they regress to childhood
feelings. The victim in the story represents the parent, while the detective and
criminal represent the reader. Reading detective stories supposedly helps readers
"redress" feelings of helpless inadequacy and guilt that might have been
unconsciously formed during childhood.
• Critique: The author compares this idea to the psychological explanation of
smoking as a "retrogressive mother/nipple substitute," which they find amusing
but not easily accepted. They argue that while it may be an interesting
psychological hypothesis, it doesn't fully explain why people enjoy detective
fiction.
 PSYCHOLOGICAL THEORIES ON THE APPEAL OF DETECTIVE
FICTION:

2. Identification with Criminal and Detective (Rycroft and Pederson-Krag):

1. Theory: Rycroft expanded on the earlier idea by suggesting that the
reader might identify with both the criminal and the detective. Ideally,
the detective may even be the criminal. This identification could be
related to inferiority and superiority complexes or even schizophrenia.
2. Critique: Again, the author is skeptical of this explanation, particularly
citing Agatha Christie's use of such themes in The Murder of Roger
Ackroyd. While these types of "trick endings" might be intriguing, they
often lose their impact once over used.
 PSYCHOLOGICAL THEORIES ON THE APPEAL OF DETECTIVE
FICTION:

3. The Magical Function (W.H. Auden):

1. Theory: W.H. Auden suggested that detective stories function like a
modern version of the Arthurian Quest for the Holy Grail, with the crime
disrupting an idyllic setting. The detective story offers personal catharsis,
easing the reader's own sense of guilt by transferring it to the characters
involved in the story. The story’s resolution restores order, which offers
psychological relief.
2. Appeal: The reader finds satisfaction in the return of balance and peace,
particularly in stories where the detective restores order after the crime
disrupts a peaceful or ideal environment.
 PSYCHOLOGICAL THEORIES ON THE APPEAL OF DETECTIVE
FICTION:

4. The Oedipus Complex (Professor Roy Fuller):

1. Theory: Professor Roy Fuller compared detective stories to the Oedipus
myth, highlighting similarities such as the victim, riddles, and the
uncovering of past secrets. He proposed that detective stories help purge
the reader of the Oedipus complex, the subconscious guilt or trauma
connected to familial relationships.
2. Appeal: This psychological theory suggests that detective fiction allows
readers to resolve unresolved subconscious conflicts and purify
themselves through the detective’s triumph over the villain.
 PSYCHOLOGICAL THEORIES ON THE APPEAL OF DETECTIVE
FICTION:

5. Primitive Societies and Sacrifice:

1. Theory: In some interpretations of murder and crime, early societies
viewed the criminal as a scapegoat. The crime (especially murder) needed
to be resolved by a sacrifice to cleanse the community of guilt and restore
balance between good and evil.
2. Appeal: The detective story, particularly those involving murder, can be
seen as reflecting this ancient need for ritualistic resolution, where
bringing the criminal to justice is necessary to restore moral balance.
 SOCIAL ASPECTS OF DETECTIVE FICTION:

1. Reflection of Society:
• Detective fiction reflects the social values and concerns of its time. While early
detective stories might have glorified criminals or admired their cleverness, most
modern detective tales support law and order. The criminal is portrayed as
someone who disrupts the social order.
• The detective, on the other hand, represents the forces of law and justice. Order
is restored when the criminal is caught and brought to justice.
2. Moral Resolution:
• The appeal of detective fiction lies in its resolution of moral conflicts. The criminal
is usually caught, and justice is served, either through legal punishment or moral
restitution.
 GAVIN HOLMAN’S OPINION
1. Intellectual Challenge:
• Key Appeal: The core attraction of detective fiction lies in its intellectual challenge. The reader is
invited to solve a puzzle, much like the detective, using reasoning and deductive skills.
• Curiosity: The detective story thrives on curiosity—every detail in the plot must heighten the
reader’s desire to uncover the solution.
2. The Role of Uncertainty:
• Crucial Doubt: Uncertainty is vital to the structure of a detective story. The primary source of
uncertainty for the reader is the identity of the criminal.
• Author's Task: The author’s job is to maintain this uncertainty, ensuring that
the facts and clues are available to the reader, but subtly hidden or scattered across the narrative.
3. The Clues and Red Herrings:
• Presentation of Clues: Throughout the detective story, clues are sprinkled across the narrative.
They may be buried in the text, or they might be misleading.
• Reader’s Challenge: While the detective (and ideally the reader) works through the mystery,
the red herrings(misleading details or distractions) add complexity to the story. This balance
between misleading details and genuine clues keeps the reader engaged, forcing them to sift
through the narrative for truth.
 THE GOLDEN AGE OF DETECTIVE FICTION (1920S-1930S)
• During the period between the World Wars, detective fiction flourished, focusing on intricate plots, logical
deduction, and the art of mystery-solving. Golden Age detective fiction leaned into an almost fairy-tale-
like world, where murders were committed in elegant country houses and solved with a sense of detached
intelligence.
1. Characteristics of Golden Age Detective Fiction
• Crime in Elite Society: Most stories were set in upper-class rural environments, like country
estates or small English villages.
• Brilliant but Eccentric Detectives: Many protagonists, following the tradition of Sherlock
Holmes and Poe’s Dupin, were highly intelligent, often amateur detectives with exceptional
reasoning skills.
• Complex Puzzles: The emphasis was on manipulating events and characterization to create a
challenge for both the detective and the reader.
• Escapism from Real-World Problems: The genre ignored contemporary social and economic
hardships (e.g., effects of World War I and the Great Depression) in favour of intellectual
storytelling.
• Timetable Mysteries: Advances in transport and communication allowed authors to craft
intricate alibi puzzles using railway schedules and precise timelines.
 NOTABLE AUTHORS AND WORKS OF THE GOLDEN AGE
• Freeman Wills Crofts (The Cask, 1920)
Known for his meticulous attention to methodical police work and logical step-by-step investigations.
Created Inspector French, a diligent and realistic police detective who was ordinary yet effective, contrasting with
the eccentric amateur sleuths of the time.
• Dorothy L. Sayers (Lord Peter Wimsey Series)
Developed a detective with aristocratic charm, assisted by his intelligent valet, Bunter.
The Nine Tailors (1934): A murder mystery intertwined with the art of bell-ringing (campanology).
Gaudy Night: A detective novel with no murder, focusing on psychological tension and suspense rather than crime.
• Agatha Christie (The Queen of Crime)
Revolutionized detective fiction with clever misdirection and unexpected twists.
The Mysterious Affair at Styles (1920): Introduced Hercule Poirot, the methodical Belgian detective.
The Murder of Roger Ackroyd (1926): A ground-breaking novel where the narrator is the murderer, sparking
debates on fair play in mystery writing.
The Murder on the Orient Express: Featured an unprecedented solution—all suspects were guilty.
And Then There Were None (previously published under a different title): A classic isolated-island murder mystery
where the killer is hiding among the presumed victims.
 TECHNIQUES AND TROPES

Golden Age fiction relied heavily on specific mystery-solving devices, many of which
later became clichés:
• Footprints in the snow or mud to determine movement.
• Foggy settings for added atmosphere.
• Secret panels and hidden passageways in old mansions.
• Red herrings (false clues) to mislead the reader.
• Bodies found in libraries (a common trope in English country house mysteries).
• Timetable evidence (alibis based on railway or ferry schedules).
• Authors frequently played with these conventions, creating new variations on
classic setups while maintaining the detective’s fair-play challenge.
 REALISTIC CRIME FICTION

By the 1930s and 1940s, detective fiction began shifting toward greater realism.
1. S.S. Van Dine (Philo Vance Mysteries)
Created Philo Vance, an American aristocratic detective with an encyclopaedic
knowledge, solving crimes in a methodical, almost mathematical manner.
His rule-based approach gained massive popularity, particularly in the U.S.
2. John Dickson Carr (Master of the Locked-Room Mystery)
Specialized in "impossible crime" stories, where murders occurred in locked rooms
with no apparent escape route.
The Hollow Man (1935) remains one of the most famous examples of this
subgenre.
 REALISTIC CRIME FICTION
3. Nicholas Blake
• The pen name of poet Cecil Day-Lewis, his work blended crime fiction with
psychological realism.
• The Beast Must Die: A psychological thriller where a man plots to murder an
unknown killer.
• Minute for Murder, The Worm of Death: Combined intricate plotting with
deep character observation and suspense.
4. Ellery Queen
• Created a detective character who was also a crime writer, blending humour
with rigorous logical deduction.
• Famous for meticulously structured puzzles, demanding close attention to
every clue.
HARDBOILED CRIME FICTION (1930S-1950S): THE AMERICAN
REVOLUTION
Golden Age detective fiction, while popular in Britain, was soon challenged by a grittier, more
realistic American style.
1. Dashiell Hammett (Creator of the Hardboiled Detective)
• The Maltese Falcon (1930) introduced Sam Spade, a tough, morally ambiguous detective.
• Unlike the aristocratic sleuths of Britain, Spade was a working-class detective, navigating
a corrupt and violent world.
2. Raymond Chandler (Philip Marlowe and the Noir Aesthetic)
• The Big Sleep (1939): Featured Philip Marlowe, a hard-drinking, street-smart detective
who frequently got caught up in danger.
• Chandler emphasized gritty realism, portraying the wealthy as corrupt and crime as a
systemic issue rather than an intellectual puzzle.
• Marlowe was flawed, exhausted by the moral decay around him, marking a dramatic
shift from the almost-superhuman detectives of the Golden Age.
 THE INCREASING ROLE OF VIOLENCE IN POST-WAR
DETECTIVE FICTION

• As detective fiction evolved, violence became more prominent

• Pre-WWII Fiction: Murders were often off-screen, focusing on the puzzle.
• Post-WWII Fiction: Crimes became more graphic and psychologically intense.
• This shift mirrored the changing social realities of war, crime, and shifting moral
values.
 POLICE PROCEDURALS AND MODERN DETECTIVE FICTION

With advances in forensic science and real-world police techniques, detective

fiction increasingly moved toward professional police work rather than eccentric
geniuses solving crimes.
• Michael Innes (John Appleby Series): Combined literary references with complex
mysteries.
• Georges Simenon (Inspector Maigret): Focused on police procedure and
character psychology rather than thrilling puzzles.
• Ed McBain (87th Precinct Series): Created one of the first true police
procedurals, depicting the daily lives of a detective squad
HUMOUR IN DETECTIVE FICTION

• While detective stories often deal with serious crimes, some authors infused them
with wit and humour, making them lighter yet still engaging.
• Edmund Crispin (Mystery with Comedy and Charm)
• Created Dr. Gervase Fen, an eccentric detective solving unusual and often
comedic mysteries.
• The Moving Toyshop: A mystery involving a toyshop that mysteriously
changes location, blending intellectual puzzles with humor.
• Love Lies Bleeding: Centres around the discovery of a lost Shakespearean
play, showing Crispin’s academic influence.
 REALISTIC POLICE DETECTIVES AND SOCIAL REFLECTION
• While many Golden Age mysteries featured aristocratic sleuths, some authors explored realistic
police work and the social dimensions of crime.
• Ngaio Marsh (The Gentleman Detective)
• Created Roderick Alleyn, a refined yet methodical Scotland Yard inspector.
• Her stories balanced police procedure, crime-solving, and character-driven narratives.
• Often depicted Alleyn’s personal life, making him more relatable than earlier detective
archetypes.
• Georges Simenon (Inspector Maigret and Everyday Crime)
• Developed Inspector Maigret, a quiet and patient detective who relies on diligent police
work rather than dazzling intellect.
• Unlike British and American crime fiction, Simenon’s stories often centred on ordinary people,
depicting crime as a natural part of society rather than an extraordinary event.
• Maigret’s investigations were psychological rather than forensic, focusing on human
motivations rather than just physical clues.
THE MANY FORMS OF DETECTIVE FICTION

• Detective fiction evolved into various subgenres, each with its own appeal:
• Financial Crime – Emma Lathen’s novels explored corporate mysteries and fraud.
• Humorous Crime Fiction – Colin Watson’s Flaxborough Chronicles and H.R.F.
Keating’s Inspector Ghote series infused humour into detective stories.
• Police Procedurals – Ed McBain (87th Precinct series) and John Wainwright depicted
realistic police work.
• Dutch Crime Fiction – Nicholas Freeling’s Inspector Van Der Valk introduced
European crime-solving.
• Cultural and Religious Detectives – Harry Kemelman’s Rabbi David Small novels
featured a Jewish detective navigating both crime and community issues.
 CONCLUSION: THE EVERLASTING APPEAL OF DETECTIVE
FICTION
• Golden Age detective fiction was an intellectual challenge, emphasizing logic, fair
play, and intricate storytelling. However, as society evolved, so did the genre
• The puzzle-oriented detective novel remained popular but adapted to more
realism and moral complexity.
• The hardboiled and noir movements challenged the traditional structure,
bringing violence, corruption, and psychological depth.
• The rise of police procedurals and forensic science changed the role of the
detective from an eccentric genius to a professional investigator.
• Despite these changes, the core of detective fiction—the search for truth, justice,
and logical deduction—remains timeless, ensuring the genre’s continued
popularity.