Scoop Binney thought it was the cats when Abigail's pet tabby was kidnaped and her woman cook faced the hot squat for the gardener's murder. But Scoop changed his mind when Snooty Piper got them both shanghaied, trying to prove the cook innocent because he said that — "volts" were not for women.
When the cops couldn’t figure out how Big Ben Landis was passing his counterfeit cash to his gang, the DA’s younger brother decided to see if he could solve the mystery and catch Landis with the dirty money.
Newspaper readers will recall the series of brutal and seemingly senseless murders that occurred in England and were attributed to a criminal whom some clever writer dubbed Peg-Leg ... a mysterious one-legged man or a clever killer?
Good-hearted Benny Kerr only wanted to hand that mislaid meat parcel back to its loser. But when it turned out that the package contained an axe-maniac's tidbit, it was the murder-mad chopper that wanted to make Benny the red-handed receiver.
The point at which any true appreciation of the short story begins is the clear perception that it is a distinct form of art; and the reason why the older novelists so rarely succeeded in the short story is that they did not apprehend this. If we bear in mind the three principles, that the short story must be complete in itself, that it is short because it cannot be long, and that it consists of a single incident, we can readily apply a critical test, which, while not infallible, nevertheless affords a valuable means of discrimination.
In the last decades of the eighteenth century, England had been purged, mentally and socially, by strong draughts of French ideas, and literature was turbulent with romanticism. Thus, at the beginning of the new era, there was more to think of than manners and morals. Novel writers were experimenting in every direction. There was the political, social, or educational novel of Godwin and his group, the Gothic romance, the historical novel, the novel of sensibility.
With all Poe’s tremendous versatility, his obscure phases of a complex genius, and his manifold debts to universal literature, it is not to be forgotten that, at the beginning of his career, in 1833, he belonged distinctly to the school of romantic emotionalism where the Landons and the Shelleys had been experimenting. Nevertheless, though born of this school, he had already overtopped its most strenuous efforts.