murder mystery, crime, & detective fiction

MURDERWIKI

For when you have just a short amount of time to read … from 5 – 30 min stories!



  • THE MODERN SHORT STORY



    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.
  • THE EARLY NINETEENTH CENTURE



    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.
  • EDGAR ALLEN POE



    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.
  • A THEORY OF THE SHORT STORY



    In this statement Poe has given us the two distinguishing characteristics of all true short stories which set them apart in a class by themselves as a distinct literary type— brevity and the necessary coherence which gives the effect of totality.
  • THE TECHNIQUE OF THE SHORT STORY



    Critical subtlety has so far been chiefly busied with the difference between short story and merely short story and with all which would serve to define what Poe and his successors had given us. Nor have unnecessary complications been wanting in a not very simple matter, for each succeeding writer has tried to make his definition a new one.
  • THE SHORT STORY



    To tell a tale well requires careful arrangement of events, a careful proportioning, careful adjustment of description and of narration, of character and action. Every word must count, and, for the sake of definite outline, everything not essential must be rigorously excluded. The result is a concise, narrative picture of something striking in events or in character, or in the union of the two.
  • THE PHILOSOPHY OF THE SHORT STORY



    In the final ten years of the nineteenth century an increasing attention has been paid to the history of fiction and to the principles of narrative art. In many of the leading American universities the modern novel has been serving as the subject for lectures and as the material for private study, in the course of which the Short-story received a fair share of consideration.
  • THE ART OF FICTION



    Mr. Besant, in his lecture at the Royal Institution on April 25, 1884 entitled “The Art of Fiction: A Lecture”, has set an excellent example in saying what he thinks, for his part, about the way in which fiction should be written, as well as about the way in which it should be published; for his view of the “art,” carried on into an appendix, covers that too.
  • THE AMERICANS FROM BRET HARTE TO THE NINETIES



    The use of Bret Harte to separate two literary periods is more convenient than inevitable. Harte was the great advertiser of the short story, and accomplished with it certain remarkable things, but only in a restricted sense did he begin a new era. The years of which we have now to write, the two score in which the American short story has grown from an infant industry to a national avocation, do not date from The Luck of Roaring Camp.
  • SOME ANOMOLIES OF THE SHORT STORY



    One of the most amusing questions concerning the short story is why a form which is singly so attractive that everyone likes to read a short story when he finds it alone is collectively so repellant as it is said to be. Before now I have imagined the case to be somewhat the same as that of a number of pleasant people who are most acceptable as separate householders, but who lose caste and cease to be desirable acquaintances when gathered into a boarding-house.
  • RUDYARD KIPLING AND THE CONTEMPORARY SHORT STORY



    Kipling is, on the whole, the most vigorous, versatile, and highly endowed among contemporary writers of fiction, … because his colonial life, and his transatlantic connections make him more Anglo-Saxon than British. And, finally, for the reason that, in his time, no English-writing author has shown such consummate mastery of the short story.
  • ROBERT LOUIS STEVENSON



    Regarded as an artist in narrative, [Stevenson] is probably indebted to France, and his admirations there, for the influence which made him cope, and cope successfully, with the artistic problems presented by the short story. This influence is not so gross as to be reckoned in terms of a specific source. It is to be traced through his artistic conscience and still more through his conception of what should be done in the telling of a story.
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