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Rules thriller - SS Van Dine

"The detective story is a kind of intellectual game's more, it becomes a sports event. And to write detective stories there are very definite laws, perhaps unwritten, but binding; and any schemer literary mystery that boasts work on this basis. What follows here is a kind of belief, based partly on the practice of all the great writers of detective stories, and partly on the promptings of the honest awareness author. To wit:

1. The reader must have equal opportunity with the detective to solve the mystery. All clues must be shown and described.

2. You should not make the reader fall in any trap or deceptions than those lawfully made by the criminal on the detective himself.

3. There must be no love. The issue is to bring the criminal to justice, not to bring a lovelorn couple to the altar of Hymen.

4. Neither the detective nor any of the official investigators, should never turn out as the culprit. Truculence is a tasteless, like offering someone a bright penny for a gold coin of five dollars. It is a false pretension.

5. The culprit must be determined by logical deductions, not by accident or coincidence or unmotivated confession. Resolve a criminal problem in this fashion is like hunting the reader and, after an arduous march, saying that you had the whole time I was looking on your sleeve. An author is no better than a joker.

6. The detective novel must have a detective and a detective is not a detective unless he detects. Its function is to gather clues that lead to the person who did the dirty work in the first chapter, and if the detective does not reach its conclusion through an analysis of these tracks, no more solved his problem than the schoolboy who gets his answer out of the arithmetic.

7. In a detective story must have a corpse and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred is too high for any other crime other than murder. After all, the reader's time and energy expenditure should be rewarded.

8. The crime problem must be solved by strictly naturalistic means. Methods to know the truth as slate, thought-reading, seances, crystal balls and the like are prohibited. The reader has a chance when matching his wits with a rationalistic detective, but must compete with the world of spirits and go chasing about the fourth dimension metaphysical, is defeated ab initio.

9. There should be no more than a detective, that is, a protagonist of deduction, a deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to solve a problem "is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If more than one detective the reader does not know who your driver. It's like making the reader run a race with a relay team.

10. The culprit must be a person who has played more or less important part of history, that is, a person with whom the reader is familiar and which is interest.

11. A servant must not be chosen by the author as the culprit. It's a too easy solution. The culprit must be definitely a person of importance, someone who would not ordinarily come under suspicion.

12. There should be one culprit, no matter the number of crimes committed. The culprit may, of course, have an accomplice or assistant secondary, but the onus must rest on one pair of shoulders: the indignation of the reader should be concentrated on a single black nature.

13. The secret societies, gangs, etc. have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled for any culpability. In a thriller, the murderer should be treated graciously, but it is going too far to a secret society in which they can shelter. No criminal class that respect would accept such advantages.

14. The method of murder, and means for detecting it, must be rational and scientific. That is, the pseudo-science and purely imaginative and speculative instruments should not be tolerated in the roman policier. At the time a perpetrator is liable to the land of fantasy in the manner of Jules Verne, departs from the ways of the police action, stepping into the vast realms of adventure.

15. The truth You must keep in sight, for the cunning of the reader can detect. By this I mean that if the reader, after learning the explanation of crime, re-read the book, you will see that the solution was, in a sense, before their eyes, that all the clues really pointed to the culprit, and that if it had been as smart as the detective could have solved the mystery by itself without having to reach the last chapter. It goes without saying that the intelligent reader often solves the problem.

16. A detective novel should contain no long descriptive passages, no literary profusion of ornaments, and worked on character analysis, no worries "Weather." These things have no place in a tale of crime and deduction. Hinder the action and introduce issues irrelevant to the main purpose, which is to present a problem, analyze and successfully levarlo a conclusion. To be sure, must have descriptions and drawings of characters just to give the novel verisimilitude.

17. A professional criminal must never be blamed on a detective novel. The crimes committed by robbers and bandits are a matter for police departments, not the authors and brilliant amateur detectives. A really fascinating crime is committed by a priest or a knight famous for their acts of charity.

18. In a thriller, the crime must never be an accident or suicide. End the ordeal of an investigation with such anti-climax is mocking the reader's trust.

19. The motives for all crimes in detective stories should be personal. International conspiracies and war policies belong to a different category of fiction, the stories of espionage, for example. But a criminal history should be kept in the field of everyday life, should reflect the common experiences of the reader, and give him a certain outlet for his own repressed desires and emotions.

20. And (to give final remarks about my belief) lists some tricks in which no writer of detective stories that boasts it will fall. Have been employed and are familiar to all true lovers of literature criminal. Using them is a confession of ineptitude and lack of originality by the author:

• a) Determining the identity of the culprit by comparing the butt left at the scene of the crime with the brand smoked by a suspect.
• b) False séance to frighten the culprit and force his confession.
• c) Forged fingerprints.
• d) The simulated figure alibi.
• e) The dog that did not bark and thereby reveals the fact that the murderer's family.
• f) The final charge against a sister or relative who looks exactly like the suspected, but innocent.
• g) The hypodermic syringe with sleep-inducing drug.
• h) The crime in a locked room inside.
• i) The word association test to find the culprit.
• j) The key letter is unraveled by the detective.

SS Van Dyne - September 1928

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The Bone Collector - Jeffery Deaver

"Lincoln Rhyme, a leading forensic criminologists in the world, is paralyzed from the neck down, so that lives attached to his bed. When planning suicide receives a call from an old friend: buried in a road train West Side New York found the hand of a man who took a taxi that would never ... its driver was 'Bone Collector'. Only Rhyme can decipher the clues that leaves the intelligent psychopath. The police officer Amelia Sachs will be your arms and legs in a frantic and exciting race to stop the horror. "

Go ahead comment Jeffery Deaver is always an entertaining writer but rarely touches the brilliance, but rather for lack of resources due to lack of literary talent. It can be said with justice that his best find is the creation of an unusual character such as the criminologist Lincoln Rhyme, whose first novel is the one in question. Rhyme is a leading scientist, gifted intellect, self-centered and cold as a fish but also a troubled man, who lives in hell of complete paralysis except for his head and one finger. In "The Bone Collector", the beginning of a journey that now has several novels, Rhyme contact an association pro-euthanasia to end his frustrating existence. However, a strange series of murders thanks to which the police ask advice to postpone a voluntary cause death sentence.

Because you can not perform by itself, Rhyme uses the help of an attractive police officer Amelia Sachs, also beset by his own personal demons, which is responsible for collecting evidence from crime scenes, these scenes being the most interesting novel.

From there, Deaver develops a fast-paced story that leaves no respite until the exciting final and once again demonstrates the skill with which the author develops the action and chase scenes, 100% film, without neglecting other more introspective sequences in which Rhyme is torn between the desire to die, caused by their living situation and, stimulated by the research itself is carried out. Towards the latter part of the novel, this contrast is of particular importance to be intimately connected with the case.

A History of Jeffery Deaver always guarantee a great time entertaining and "The Bone Collector" does not disappoint in that regard. Perhaps where most weakens the author is in the repetition of situations, not only along several of his works but also within the same novels. Also sometimes the character grates Amelia Sachs, a "stunning redhead", former underwear model, an expert on guns and fast cars, in short, looks like a stereotype of FHM magazine. On other sections of the novel also reveals a more complex woman than meets the eye, but I suspect that resources such as arthritis or endorse a self-destructive manias are nothing more than an attempt by the writer to correct the image almost comic heroine who at the start.

Deaver also weakens the dialogues, which are not bad, but irregular and although "The Bone Collector holds a commendable job of documentation, sometimes the desire for Deaver to explain everything that has studied Lastra a topic action is unnecessary or even irritating.

Finally, I would point out the significant presence of secondary accompany Rhyme and Sachs throughout the series to "Letter No. 12", last published novel: on the whole suffered Thom, a nurse at the criminal, the detective Lon Sellitto and Fred Dellray and some characters related to a particular novel that reappear later as a cameo.

DATA BOOK TITLE: "THE BONE COLLECTOR"

Author: Jeffery Deaver

EDITORIAL: SUM OF ARTS

YEAR: 1997

SCORE OF "THE WEB OF ICE "*** (three shots)

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Place of Execution - Val McDermid

PLACE OF PERFORMANCE

" Winter 1963, two teenagers away in Manchester. Soon after, in a remote village of Derbyshire, Alison Carter vanishes, another young girl of thirteen. For the Inspector George Bennett is the beginning of a terribly distressing case: a crime without a corpse, a mystery impenetrable indescibrable between characters whose closely guarded secrets do not come to light until many years later. "

Past and present are de manera magistral en una novela sorprendente. La desaparición de una adolescente en un pueblo aislado y endogámico desenterrará pecados tan aberrantes que sólo una particular clase de justicia será capaz de redimirlos.

La investigación del inspector Bennet resulta improductiva hasta muchos años después, cuando una joven escritora muestra interés por el caso; el regreso al lugar de los hechos traerá consecuencias insospechadas. El conocimiento de nuevos datos sobre el caso provocará un radical cambio de perspectiva en la novela y en los lectores; la brillante resolución final, tan evidente y al mismo tiempo tan inesperada, atará todos los cabos sueltos que la antigua investigación no fue capaz connecting.

Val McDermid is a writer of thrillers that have been awarded several top awards from the detective genre (the Gold Dagger, the Book of the Year the New York Times , etc. .. .) for several of his novels. In this work, his first novel published in English, has been one of the rarest feats which an author can black genre: surprise.
DATA BOOK:
TITLE: "PLACE OF EXECUTION"
AUTHOR: Val McDermid
EDITORIAL: RBA EDITORS
YEAR: 2006
SCORE OF "THE WEB OF ICE": ***** (five shots)

Blueprints For Achest

dark theater - Christopher Fowler

"A London bombing kills octogenarian detective Arthur Bryant. For his partner, John May, his loss means the end of a friendship of more than siglo.Buscando half tracks, May investigates his friend's notes on his first case and soon realizes that the past has returned ... with murderous intent. The representation of Orpheus in hell, decades ago, was the trigger a series of crimes that young detectives dragged into a gruesome mystery. London, then under the yoke of the Great War, trembled before a murderer lurked in its theaters by creating their own macabre drama. Now the incident has become a murderer to kill one of them ... and is ready to kill his partner. "

" The dark theater, belonging to a detective series starring two octogenarian detectives Arthur Bryant and John May, is to provide a new gem in this great sub-genre novels that are murder mystery set in the World War 2. In this case, much of the plot unfolds in the context of a Britain bombed, surrounded by a violence that is both physical and moral. At that time, detectives focusing on two youngsters from very different mood heading for a mysterious police department, the Peculiar Crimes Unit, where he will be confronted with a series of bloody murders in the Palace Theatre during rehearsals of "Orfeo" by Offenbach. The story echoes reverberate in the present, when an old Bryant dies suddenly in a bomb blast.

What makes this work on a recommendation of quality is its composition very wise, subtle blend of disparate elements that eventually fit together to form a unique style. Fowler's prose, between dark humor and even poetry becomes an incentive, by itself, to read the novel. But you can not dismiss the unforgettable portrait of two players, the aforementioned Bryant and May, as charismatic as any lover could dream detective genre. The sections concerning the relationship and the personality of both detectives are wonderful.

As for the story, a sinister farce where nothing is as it seems, is achieved at all times an uneasy atmosphere in which it is almost impossible to guess what happens next. The play of shadows and lighting, interior and exterior, reality and fiction is accompanied by a vivid portrait of the times of war, with the parts set in the past without doubt the best.

The outcome of this splendid novel, it remains to match, as flawless as the rest of the novel and a moment without deviating from the central idea.

Ultimately, Christopher Fowler, an author still little known in these parts, has entered through the front door quality. Published in Spain hopefully the rest of his series on Bryant and May, which reported new cases are resolved in the past by the Peculiar Crimes Unit.

DATA BOOK TITLE: "THE DARK THEATER"

AUTHOR: CHRISTOPHER FOWLER

EDITORIAL: THE IDEAS FACTORY

YEAR: 2006

SCORE "THE WEB OF ICE": *** * (four shots)