Christopher Pittard - Böcker

Arthur Conan Doyle famously killed off Sherlock Holmes in 1893, in the short story 'The Final Problem', but was tempted to bring him back to life ten years later, in the thirteen tales that comprise The Return of Sherlock Holmes. While the outcry that supposedly followed Holmes' death was mostly apocryphal (the claim that readers wore black armbands in mourning has been frequently cited but never actually proved), by 1893 there was a substantial readership for Holmes' two series of adventures published in the Strand Magazine and two earlier novels. Doyle returned to Holmes in 1901-2 with The Hound of the Baskervilles, a novel set before the events of 'The Final Problem'; the commercial success of the serialisation in the Strand led Doyle to consider reviving the Holmes stories on a longer-term basis. Accordingly, in 1903 Doyle was contracted by the American magazine Collier's Weekly to supply six more Holmes stories; the agreement was extended to six more, with a final extension for a thirteenth story ('The Second Stain') that Doyle (mistakenly) believed to be the closing episode of the Holmes adventures. These thirteen tales make up this volume.

Concentrating on works by authors such as Fergus Hume, Arthur Conan Doyle, Grant Allen, L.T. Meade, and Marie Belloc Lowndes, Christopher Pittard explores the complex relation between the emergence of detective fictions in the 1880s and 1890s and the concept of purity. The centrality of material and moral purity as a theme of the genre, Pittard argues, both reflected and satirised a contemporary discourse of degeneration in which criminality was equated with dirt and disease and where national boundaries were guarded against the threat of the criminal foreigner. Situating his discussion within the ideologies underpinning George Newnes's Strand Magazine as well as a wide range of nonfiction texts, Pittard demonstrates that the genre was a response to the seductive and impure delights associated with sensation and gothic novels. Further, Pittard suggests that criticism of detective fiction has in turn become obsessed with the idea of purity, thus illustrating how a genre concerned with policing the impure itself became subject to the same fear of contamination. Contributing to the richness of Pittard's project are his discussions of the convergence of medical discourse and detective fiction in the 1890s, including the way social protest movements like the antivivisectionist campaigns and medical explorations of criminality raised questions related to moral purity.

Sherlock Holmes is the most famous fictional detective in history, with a popularity that has never waned since catching the imagination of his late-Victorian readership. This Companion explores Holmes' popularity and his complex relationship to the late-Victorian and modernist periods; on one hand bearing the imprint of a range of Victorian anxieties and preoccupations, while on the other shaping popular conceptions of criminality, deviance, and the powers of the detective. This collection explores these questions in three parts. 'Contexts' explores late-Victorian culture, from the emergence of detective fiction to ideas of evolution, gender, and Englishness. 'Case Studies' reads selected Holmes adventures in the context of empire, visual culture, and the gothic. Finally, 'Holmesian Afterlives' investigates the relationship between Holmes and literary theory, film and theatre adaptations, new Holmesian novels, and the fandom that now surrounds him.

Concentrating on works by authors such as Fergus Hume, Arthur Conan Doyle, Grant Allen, L.T. Meade, and Marie Belloc Lowndes, Christopher Pittard explores the complex relation between the emergence of detective fictions in the 1880s and 1890s and the concept of purity. The centrality of material and moral purity as a theme of the genre, Pittard argues, both reflected and satirised a contemporary discourse of degeneration in which criminality was equated with dirt and disease and where national boundaries were guarded against the threat of the criminal foreigner. Situating his discussion within the ideologies underpinning George Newnes's Strand Magazine as well as a wide range of nonfiction texts, Pittard demonstrates that the genre was a response to the seductive and impure delights associated with sensation and gothic novels. Further, Pittard suggests that criticism of detective fiction has in turn become obsessed with the idea of purity, thus illustrating how a genre concerned with policing the impure itself became subject to the same fear of contamination. Contributing to the richness of Pittard's project are his discussions of the convergence of medical discourse and detective fiction in the 1890s, including the way social protest movements like the antivivisectionist campaigns and medical explorations of criminality raised questions related to moral purity.

Sherlock Holmes is the most famous fictional detective in history, with a popularity that has never waned since catching the imagination of his late-Victorian readership. This Companion explores Holmes' popularity and his complex relationship to the late-Victorian and modernist periods; on one hand bearing the imprint of a range of Victorian anxieties and preoccupations, while on the other shaping popular conceptions of criminality, deviance, and the powers of the detective. This collection explores these questions in three parts. 'Contexts' explores late-Victorian culture, from the emergence of detective fiction to ideas of evolution, gender, and Englishness. 'Case Studies' reads selected Holmes adventures in the context of empire, visual culture, and the gothic. Finally, 'Holmesian Afterlives' investigates the relationship between Holmes and literary theory, film and theatre adaptations, new Holmesian novels, and the fandom that now surrounds him.

Literary Illusions explores the dialogue between Victorian literature and one of the nineteenth century's most popular modes of performance: conjuring. It explores the ways in which Victorian literature frequently deployed the figure of the magician to explore performance magic as a metaphor for writing itself, and the ways in which conjurors themselves were authors (of highly fictionalised biographies), while authors explored the narrative opportunities offered by magic (most notably Charles Dickens). The book theorises magic as a manifestation of Victorian concerns with authorship and the intellectual property debate, with the magician often deployed as a privileged and occasionally parodied figure in debates on textuality. Literary Illusions offers a reconceptualisation of the relationship between popular culture and literature in the nineteenth century, bringing canonical figures such as Dickens and Elizabeth Gaskell into dialogue with lesser known Victorian bestsellers such as Henry Cockton and Jean-Eugene Robert-Houdin, and innovatively blends performance history with literary criticism.