Introduction:
SHORT BIOGRAPHY
Richard Austin Freeman (11 April 1862 – 28 September 1943) was a British writer of detective stories, mostly featuring the medico-legal forensic investigator Dr. Thorndyke. He claimed to have invented the inverted detective story (a crime fiction in which the commission of the crime is described at the beginning, usually including the identity of the perpetrator, with the story then describing the detective's attempt to solve the mystery). 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.
Early life
Austin Freeman was the youngest of the five children of tailor Richard Freeman and Ann Maria Dunn. He first trained as an apothecary and then studied medicine at Middlesex Hospital, qualifying in 1887. The same year he married Annie Elizabeth, with whom he had two sons. He entered the Colonial Service and was sent to Accra on the Gold Coast.
Career
In 1891 he returned to London after suffering from blackwater fever but was unable to find a permanent medical position, and so decided to settle down in Gravesend and earn money from writing fiction, while continuing to practice medicine. His first stories were written in collaboration with John James Pitcairn (1860–1936), medical officer at Holloway Prison, and published under the nom de plume "Clifford Ashdown". His first Thorndyke story, The Red Thumb Mark, was published in 1907, and shortly afterwards he pioneered the inverted detective story, in which the identity of the criminal is shown from the beginning. Some short stories with this feature were collected in The Singing Bone in 1912. During the First World War he served as a captain in the Royal Army Medical Corps and afterwards produced a Thorndyke novel almost every year until his death in 1943.
Freeman claimed to have invented the inverted detective story in his 1912 collection of short stories The Singing Bone. "Some years ago I devised, as an experiment, an inverted detective story in two parts. The first part was a minute and detailed description of a crime, setting forth the antecedents, motives, and all attendant circumstances. The reader had seen the crime committed, knew all about the criminal, and was in possession of all the facts. It would have seemed that there was nothing left to tell, but I calculated that the reader would be so occupied with the crime that he would overlook the evidence. And so it turned out. The second part, which described the investigation of the crime, had to most readers the effect of new matter."
Political Views
Freeman held conservative political views. In his 1921 book Social Decay and Regeneration Freeman put forth the view that mechanization had flooded Britain with poor-quality goods and created a "homogenized, restless, unionized working class". Freeman also supported some progressive ideas, such as the eugenics movement and argued with Margaret Sanger that people with "undesirable" biological traits should be prevented from breeding through "segregation, marriage restriction, and sterilization". The book also attacked the British Labour movement and criticized the British government for permitting immigrants (whom Freeman referred to as "Sub-Man") to settle in Britain. Sections of Social Decay and Regeneration were reprinted in Eugenics Review, the journal of the British Eugenics Society.
Critical Reception
"Indicative of his power is the fact that Mr. Polton Explains, in some ways his best novel, was written in part in a bomb shelter in 1939, when Freeman was 77 years old. ... For the first twenty-five years of his career, at least, he dominated the world of British detective fiction. ... Freeman was always in the forefront of the form. Today, with Chesterton, who is remembered for other reasons, he is one of the very few Edwardian detective story writers who are still read."
"Raymond Chandler, whose essay 'The Simple Art of Murder' did much toward demolishing the classical detective story, had this to say in a letter to Hamish Hamilton, the British publisher: 'This man Austin Freeman is a wonderful performer. He has no equal in his genre, and he is also a much better writer than you might think, if you were superficially inclined, because in spite of the immense leisure of his writing, he accomplishes an even suspense which is quite unexpected ... There is even a gaslight charm about his Victorian love affairs, and those wonderful walks across London ...' Most of us agree with Chandler."
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THE ART OF THE DETECTIVE STORY
The status in the world of letters of that type of fiction which finds its principal motive in the unravelment of crimes or similar intricate mysteries presents certain anomalies. By the critic and the professedly literary person the detective story—to adopt the unprepossessing name by which this class of fiction is now universally known—is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste.
That such works are produced by such writers for such readers is an undeniable truth; but in mere badness of quality the detective story holds no monopoly. By similar writers and for similar readers there are produced love stories, romances, and even historical tales of no better quality. But there is this difference: that, whereas the place in literature of the love story or the romance has been determined by the consideration of the masterpieces of each type, the detective story appears to have been judged by its failures. The status of the whole class has been fixed by an estimate formed from inferior samples.
What is the explanation of this discrepancy? Why is it that, whereas a bad love story or romance is condemned merely on its merits as a defective specimen of a respectable class, a detective story is apt to be condemned without trial in virtue of some sort of assumed original sin? The assumption as to the class of reader is manifestly untrue. There is no type of fiction that is more universally popular than the detective story. It is a familiar fact that many famous men have found in this kind of reading their favourite recreation, and that it is consumed with pleasure, and even with enthusiasm, by many learned and intellectual men, not infrequently in preference to any other form of fiction.
This being the case, I again ask for an explanation of the contempt in which the whole genus of detective fiction is held by the professedly literary. Clearly, a form of literature which arouses the enthusiasm of men of intellect and culture can be affected by no inherently base quality. It cannot be foolish, and is unlikely to be immoral. As a matter of fact, it is neither. The explanation is probably to be found in the great proportion of failures; in the tendency of the tyro and the amateur perversely to adopt this difficult and intricate form for their 'prentice efforts; in the crude literary technique often associated with otherwise satisfactory productions; and perhaps in the falling off in quality of the work of regular novelists when they experiment