So my modules this semester are shaping up to be the best I’ve taken yet. I’m sitting watching BBC’s Sherlock, one of my favourite shows (and my AO3 bookmarks and history will attest to that!), and best of all, I am legitimately doing it for homework.
I’m also halfway through Raymond Chandler’s Farewell, My Lovely and I’m really enjoying it. It’s a bit gams and garters for my taste, and Marlowe seems to get knocked unconscious, like, a lot, but it’s really good. I’ll probably post a review when I’m finished, if for no other reason than to give myself a leg up when it comes time to writing exams.
I do always forget how big of a dick this Sherlock is, though. I prefer the versions in both Elementary and Conan Doyle’s original works, but the BBC adaption is still amazing, and it has the extremely attractive Martin Freeman, and the also extremely attractive Rupert Graves. I visited the museum in London this past January, and it was amazing!
One of my favourite parts from the museum.
I’m so excited about the module this is for, too: comparative literature, with a focus on crime literature across cultures. I was surprised that there wasn’t a single Agatha Christie novel on the course though, seeing as she’s essentially synonymous with crime fiction. Actually, while I was in London, I went to see The Mousetrap with my fiancé. It was fantastic, and of course, that’s all I will say about it! I’m probably going to drag Christie into my presentation in two weeks, though I’m undecided as to whether I’ll look at Sleeping Murder or The Secret Adversary.
I also had a Modernism lecture today (another yay!), and I’m undecided about whether to drag that into my presentation as well. I’m very interested in examining whether there is a connection between the rise in the production of detective fiction and the advance of modern technology. The pacing of detective fiction sped up greatly as well: something I noticed for the first time in The Secret Adversary. If you look at Wilkie Collins’ work, or even some of Conan Doyle’s stories, you’ll notice that every now and then there’s a gap in the action–sometimes even of months. I mean, The Moonstone is a great book, but it’s not exactly fast-paced. And then you get to Sherlock Holmes, with the cabs, the network of street urchins, and the trains everywhere; and then you get to Christie and telegraphs, and the entire action taking place within a few days, instead of the months or years of previous detective novels. I can’t help but feel like the faster pace (and therefore, sometimes, shorter text) of the detective story increased its popularity. And then we work our way back round to the postmodernism of stories like those in A New York Trilogy, which take ages for nothing to happen.
Obviously, that entire paragraph is nothing but rampant speculation, but I still feel like it could go somewhere.