This is a book about the relationship between the development of forensic science in the nineteenth century and the invention of the new literary genre of detective fiction in Britain and America. Ronald R. Thomas examines the criminal body as a site of interpretation and enforcement in a wide range of fictional examples, from Poe, Dickens and Hawthorne through Twain and Conan Doyle to Hammett, Chandler and Christie. He is especially concerned with the authority the literary detective manages to secure through the 'devices' - fingerprinting, photography, lie detectors - with which he discovers the truth and establishes his expertise, and the way in which those devices relate to broader questions of cultural authority at decisive moments in the history of the genre. This is an interdisciplinary project, framing readings of literary texts with an analysis of contemporaneous developments in criminology, the rules of evidence, and modern scientific accounts of identity.
'Detective Fiction' is a clear and compelling look at some of the best known, yet least-understood characters and texts of the modern day. Undergraduate students of Detective and Crime Fiction and of genre fiction in general, will find this book essential reading.
The rise of scientific thinking in finding, catching, and convicting criminals—and, just as important, freeing the innocent—has transformed society's assault on crime. Before scientific detective work, early attempts to maintain public safety relied on the severity of punishment rather than any probability of apprehension. But with the rapid development of the sciences in the nineteenth century, some techniques began to spill over into more effective police work. Michael Kurland's engrossing history of forensic science recounts this remarkable progress, which continues to the present. He traces the history of the major techniques of criminal detection and many of the minor ones. Here are Bertillon's physical measurements used to recognize habitual criminals; the study of fingerprints identifying criminals long after they have left the scene of the crime; Gravelle's comparison microscope comparing bullets to determine if they have been fired from the same gun; the development of bloodstain identification and, ultimately, the blood type involved. Mr. Kurland explains how once–accepted techniques have fallen by the wayside—handwriting analysis, for example—and how methods such as lie detectors, voice spectrum analysis, bite mark evidence, and other methods have proven unworthy. Finally Irrefutable Evidence explores the rise of modern DNA typing techniques, which have proven the innocence of many persons convicted of major crimes and resulted in the exoneration of more than two hundred on death row. With 12 black–and–white illustrations.
Praise for The Science of Sherlock Holmes "Holmes is, first, a great detective, but he has also proven to be a great scientist, whether dabbling with poisons, tobacco ash, or tire marks. Wagner explores this fascinating aspect of his career by showing how his investigations were grounded in the cutting-edge science of his day, especially the emerging field of forensics.... Utterly compelling." —Otto Penzler, member of the Baker Street Irregulars and proprietor of The Mysterious Bookshop "E. J. Wagner demonstrates that without the work of Sherlock Holmes and his contemporaries, the CSI teams would be twiddling their collective thumbs. Her accounts of Victorian crimes make Watson's tales pale! Highly recommended for students of the Master Detective." —Leslie S. Klinger, Editor, The New Annotated Sherlock Holmes "In this thrilling book, E. J. Wagner has combined her considerable strengths in three disciplines to produce a work as compelling and blood-curdling as the best commercial fiction. This is CSI in foggy old London Town. Chilling, grim fun." —John Westermann, author of Exit Wounds and Sweet Deal "I am recommending this delightful work to all of my fellow forensic scientists.... Bravo, Ms. Wagner!" —John Houde, author of Crime Lab: A Guide for Nonscientists "A fabulously interesting read. The book traces the birth of the forensic sciences to the ingenuity of Sherlock Holmes. A wonderful blend of history, mystery, and whodunit." —Andre Moenssens, Douglas Stripp Professor of Law Emeritus, University of Missouri at Kansas City, and coauthor of Scientific Evidence in Civil and Criminal Cases
Edgar Allan Poe essentially invented the detective story in 1841 with Murders in the Rue Morgue. In the years that followed, however, detective fiction in America saw no significant progress as a literary genre. Much to the dismay of moral crusaders like Anthony Comstock, dime novels and other sensationalist publications satisfied the public's hunger for a yarn. Things changed as the century waned, and eventually the detective was reborn as a figure of American literature. In part these changes were due to a combination of social conditions, including the rise and decline of the police as an institution; the parallel development of private detectives; the birth of the crusading newspaper reporter; and the beginnings of forensic science. Influential, too, was the new role model offered by a wildly popular British import named Sherlock Holmes. Focusing on the late 19th century and early 20th, this volume covers the formative years of American detective fiction. Instructors considering this book for use in a course may request an examination copy here.
An exploration of poison's transformation into chemical crime during the nineteenth century and the impact on crime fiction and Victorian perceptions of science.
Forensic science is in crisis and at a cross-roads. Movies and television dramas depict forensic heroes with high-tech tools and dazzling intellects who—inside an hour, notwithstanding commercials—piece together past-event puzzles from crime scenes and autopsies. Likewise, Sherlock Holmes—the iconic fictional detective, and the invention of forensic doctor Sir Arthur Conan Doyle—is held up as a paragon of forensic and scientific inspiration—does not "reason forward" as most people do, but "reasons backwards." Put more plainly, rather than learning the train of events and seeing whether the resultant clues match those events, Holmes determines what happened in the past by looking at the clues. Impressive and infallible as this technique appears to be—it must be recognized that infallibility lies only in works of fiction. Reasoning backward does not work in real life: reality is far less tidy. In courtrooms everywhere, innocent people pay the price of life imitating art, of science following detective fiction. In particular, this book looks at the long and disastrous shadow cast by that icon of deductive reasoning, Sherlock Holmes. In The Sherlock Effect, author Dr. Thomas W. Young shows why this Sherlock-Holmes-style reasoning does not work and, furthermore, how it can—and has led—to wrongful convictions. Dr. Alan Moritz, one of the early pioneers of forensic pathology in the United States, warned his colleagues in the 1950’s about making the Sherlock Holmes error. Little did Moritz realize how widespread the problem would eventually become, involving physicians in all other specialties of medicine and not just forensic pathologists. Dr. Young traces back how this situation evolved, looking back over the history of forensic medicine, revealing the chilling degree to which forensic experts fail us every day. While Dr. Young did not want to be the one to write this book, he has felt compelled in the interest of science and truth. This book is measured, well-reasoned, accessible, insightful, and—above all—compelling. As such, it is a must-read treatise for forensic doctors, forensic practitioners and students, judges, lawyers adjudicating cases in court, and anyone with an interest in forensic science.
Dr. John Thorndyke is a fictional detective in a series of novels. He is a medical jurispractitioner - originally a medical doctor, he turned to the bar and became one of the first, in modern parlance, forensic scientists. His solutions were based on his method of collecting all possible data (including dust and pond weed) and making inferences from them before looking at any of the protagonists and motives in the crimes. It is this method which gave rise to one of Freeman's most ingenious inventions, the inverted detective story, where the criminal act is described first and the interest lies in Thorndyke's subsequent unraveling of it. Table of Contents: The Red Thumb Mark The Eye of Osiris (The Vanishing Man) The Mystery of 31 New Inn Richard Austin Freeman (1862-1943) was a British writer of detective stories, mostly featuring the medico-legal forensic investigator Dr. Thorndyke. Freeman used some of his early experiences as a colonial surgeon in his novels. Many of the Dr. Thorndyke stories involve genuine, but often quite arcane, points of scientific knowledge, from areas such as tropical medicine, metallurgy and toxicology.
"Superb... Flanders's convincing and smart synthesis of the evolution of an official police force, fictional detectives, and real-life cause célèbres will appeal to devotees of true crime and detective fiction alike." -Publishers Weekly, starred review In this fascinating exploration of murder in nineteenth century England, Judith Flanders examines some of the most gripping cases that captivated the Victorians and gave rise to the first detective fiction Murder in the nineteenth century was rare. But murder as sensation and entertainment became ubiquitous, with cold-blooded killings transformed into novels, broadsides, ballads, opera, and melodrama-even into puppet shows and performing dog-acts. Detective fiction and the new police force developed in parallel, each imitating the other-the founders of Scotland Yard gave rise to Dickens's Inspector Bucket, the first fictional police detective, who in turn influenced Sherlock Holmes and, ultimately, even P.D. James and Patricia Cornwell. In this meticulously researched and engrossing book, Judith Flanders retells the gruesome stories of many different types of murder in Great Britain, both famous and obscure: from Greenacre, who transported his dismembered fiancée around town by omnibus, to Burke and Hare's bodysnatching business in Edinburgh; from the crimes (and myths) of Sweeney Todd and Jack the Ripper, to the tragedy of the murdered Marr family in London's East End. Through these stories of murder-from the brutal to the pathetic-Flanders builds a rich and multi-faceted portrait of Victorian society in Great Britain. With an irresistible cast of swindlers, forgers, and poisoners, the mad, the bad and the utterly dangerous, The Invention of Murder is both a mesmerizing tale of crime and punishment, and history at its most readable.
