Allbright 1

Meghan Allbright
Ms. Enoch
ENC 1145
25 February 2015
Detective Fiction and Crime
When looking at detective fiction, scholars everywhere have different views on
what the definition of detective fiction is and what constitutes a piece of work as detective
fiction. While most writers disagree about at least one thing, it is widely agreed that crime is one
aspect that must be present for a piece to be considered a part of the detective fiction genre. Even
though crime is a consistently accepted requirement for detective fiction, there is room for
variance as to what this crime needs to be what needs to have occurred. Although, some agree,
different authors can have different criteria for what the crime should be in detective fiction. This
paper will explore what type of crime is suitable for the genre of detective fiction in the eyes of
Charles Brownson, P.D. James, John Samuel Harpham, Phillip Howell, and Carl D. Malmgren.
In The Figure of the Detective, Brownson makes the claim that detective fiction is a
rationalist enterprise. He says that a detective fiction story must include a crime, a criminal, a
detective, innocent bystanders, and a chronicler. The crime must be intended to be committed,
the criminal must be a single person, he detective must also be single person, and the chronicler
who serves as the readers surrogate. James, in Talking About Detective Fiction, focuses on how
detective fiction began and how it has changed throughout time. She also makes the point that
detective fiction is different from most genres because it follows a specific pattern and although
some people say this pattern is restricting, there is room for creativity. This pattern includes
having a crime, a criminal, and a detective. More specifically, she claims that crime is usually
murder. (9) In his article, Harpham discusses the idea that the development of an aesthetic of
crimeshaped the early history of detective fiction. Harpham states that the description of
aesthetic came before it was applied to different crimes and some crimes go against aesthetic

Allbright 2
judgment. The elements for an aesthetic of crime are the detached judgment of a critical
observer, the suspension of moral considerations, the preoccupation with the criminal rather than
the victim, the replacement of any interest in the effects of a crime by an appreciation of its form,
and the delight in the titanic criminal. Harpham also argues that crimes tend to become
detached from everyday motives. Taking a different approach, Howell talks about crime and how
it relates to a city or place. The author says that a crime always occurs in a place that is
specifically picked based on the tradition the author is using. Crime in detective fiction is
something that is dependent on the idea that detective fiction can be successfully monitored and
mastered. Finally, Malmgren defines three forms of murder fiction, mystery, detective, and crime
and talks about how they are related and what their differences are. These three fictions all have
crime and detection of that crime in common. Malmgren says that the crime is less important
than the investigation and the crime has specific motives that initiate mystery.
According to both Brownson and James, the crime in detective fiction is generally
murder, political intrigue, or something of similar caliber. James says, What we can expect is a
central mysterious crime, usually murder (9) While James doesnt say that the crime must me
murder, she is implying that in most detective fiction the crime is in fact murder. She claims that
murder or a crime similar will give the reader feelings of repugnance, fascination and fear. In
addition, James makes the argument that this type of crime is more likely to keep the readers
interest, as opposed to a crime such as theft. (9) Brownson further elaborates on this idea saying,
Crimes most apt for genre use are murder and political intrigue [because] murder threatens
the social fabric in a local, personal way that gives it a special frisson and adds urgency to the
demand that the detective put matters to right. (13) According to Brownson, the crime should
have an urgency to be solved. Like James, Brownson implies that a crime such as theft or

Allbright 3
running a red light, for example, will not meet the purpose (13) and would not be sufficient
because there is no urgency for it to be solved. Both authors agree on the importance of the crime
being murder in order for the novel in which the crime is discussed to be considered detective
fiction.
Another aspect of detective fiction that Brownson and James agree needs to be present in
that the crime be rationally explainable (Brownson 13) Brownsons reasoning for this being
a requirement is to reassure the reader that, despite the existence of crimes and criminals, the
world is in fact rational, intelligible, and controllable. (13) This is an important characteristic of
detective fiction because if the crime did not do this the reader could have a warped view of the
world. While Brownson only mentions this concept slightly, James goes into more detail and
specifics saying the crime should by the end of the book, [have] a solution which the reader
should be able to arrive at by logical deduction from clues inserted in the novel with deceptive
cunning but essential fairness. (9) Furthering this claim, James goes as far as to say that if the
crime does not include this aspect, than the novel cannot be considered detective fiction because
all the crimes in detective fiction novels need to be able to be solved logically based upon the
details given. (10) Both Brownson make it a point to mention the need for a logical solution to
the crime in order for the work to be classified as detective fiction. Howell also discusses the
need for a logical aspect of crime, however he focuses more on the crime itself being logical
rather than the solution to the crime. Howell states that Crime remain[s] peculiarly dependent
upon continuing in their very structure to insist that their created fictional worlds can be
apprehended through signs, science, and detection. (359) In saying this, he is portraying the idea
that the crime needs to be able to be solved by using the signs and science, which is similar to
Brownson and James claims. All three authors agree that there needs to be some sort of logical

Allbright 4
and rational aspect to the crime in order for the novel to fit into the detective fiction genre.
The argument that a crime needs to have motive is one that is one that four of the five
authors make it a point to discuss. In her article James says, What we can expect is a closed
circle of suspects, each with motive (9) If the criminal does not have a motive when
committing the crime, the crime would not be a valid one to discuss in detective fiction.
Malmgren elaborates on this idea by saying [t]he worlds of mystery are fully motivated. By this,
we of course mean that the crimes that initiate mystery stories are transparently motivated, the
product of a limited number of self-evident motives. (119) Not only does he make it clear that
the crime having motive behind it is important but Malmgren also specifies that the motive must
be self- evident, meaning that the motive needs to be obvious. Harpham, in his article, also
narrows down what the motive should include. He states that crimes more detached than ever
from mundane motives. (Harpham 131) Harpham is claiming that the motive needs to be
different than normal, everyday motives; there has to be something that stands out. Brownson
also talked about the need for motive in saying that the criminal must have common human
motivations (13) Although motive is mentioned, Brownson claims that while motive is
important, intent to commit the crime is more important. While motive and intent can be seen as
almost the same thing, Brownson does not consider them the same, and discusses the necessity
of intent, which is something the other authors do not take into account. James, Malmgren,
Harpham, and Brownson all agree with the idea that there must be motive for the crime if the
novel is to be classified as detective fiction.
These authors all discuss at least one aspect of crime that another author agrees with, yet
some claims about the required aspects of crime are not discussed by more than one of these
authors. James, in her article, makes the claim that crime in detective fiction needs to include

Allbright 5
mystery. She explicitly states for a book to be described as detective fiction there must be a
central mystery. (10) According to James, mystery is essential because without mystery in the
crime, there is no need for a detective and no clues. (7) Without a detective, the novel can no
longer be classified as detective fiction. Malmgren disagrees with James on this idea saying that
more preoccupied with the character of its hero, the society he investigates, and the adventures
he encounters, than with the central mystery (126). Malmgren is making the claim that mystery
is not important at all in detective fiction.
Another aspect of crime that is not discussed by multiple authors is the importance of
location. Howell says Geographical description plays a central role in most detective novels.
(359) Due to the fact that location plays a central role, the location of the crime is usually chosen
with precision and for a specific reason (Howell 359) The importance of the location of a crime
is an important aspect to consider because it can allow further insight to the crime. While Howell
makes it a point to discuss location, Brownson, James, Harpham, and Malmgren do not give the
idea of physical location much thought. The extent of their discussion of location is to say there
has to be a society that is affected, rather than an actual location, much less the importance and
significance of it.
Finally, the idea that crime is less important than the actual investigation. Malmgren
claims Detective fiction thus retains vestiges of the story of the crime, but subordinates them to
the story of the investigation. (126) This claim means that the adventures that come about
during the investigation are more important than the crime which is something that the other
authors I have discussed did not talk about. Neither James, Brownson, Harpham, Malmgren, nor
Howell talk about this idea and in turn, focus more on the crime itself. In not giving this idea any
thought, they are implying that the crime is the more important aspect, which is the exact

Allbright 6
opposite of the claim Malmgren makes.

Allbright 7