liz

Liz Lanigan = 6/21/09 -**Essay 4** = Detective and mystery fiction has frequently and quite successfully been adapted to the big screen. When classic and hard-boiled fictions are translated onto the big screen, it is brought to being and becomes more of a reality. On the big screen, the audience is persuaded by the visualization of the setting, the personalities of the character and their dialogue, and the mystery of the plot. Detective and mystery fiction on screen provides the viewer with all information that the detectives know, while at the same time condensing the story in a limited amount of time. In print, the readers can use their imagination to be a part of the mystery and to visualize everything from plot to character the way they want. I prefer watching both classic and hard-boiled fiction because it is thrilling to be included in the suspense and stimulating to see if my imagination of the story is similar to the film.

Even though I prefer watching instead of reading, I will admit that reading detective and mystery fiction can have their advantages. For instance, a reader can use their imagination to help them become a part of the story. They can try and figure out clues and take a guess as to whom the murderer/killer is. Nevertheless, it is always the true life visualization of the story that really paints the picture.

__The Maltese Falcon__, by Dashiell Hammett was a good read, but a better film. This hard-boiled film was easy to follow and in a way, funny to see my visualization of the characters closely interpreted on film. When I was watching the film, I noticed that scenes were omitted that appeared in the book. Film can often do a lot that a book can not pull off. A film can cut out scenes that aren’t necessary, add suspense by the different technical techniques, and grab the attention of the viewer by the creation of characters.

In film, it is not necessary to include everything from the books, since film gives the audience more information and visualization to support and hint at what could happen. For example, when Iva Archer sat in her car outside of Sam’s apartment, she watched him walk in with Brigid O’Shaughnessy without a word and in the book; they had a conversation before he went in. I liked how the film cut this scene from the book in the film because it wasn’t necessary. Film also adds more mystery by the intense background music and lighting. As part of the audience, I know that something bad or shocking is going to occur as a result of the tone of the music. Lighting is important in a mystery film because it helps aid the suspense. For instance, in __Double Indemnity__, when Walter Neff walks into Phyllis’ house in complete darkness, a viewer realizes that some intense action is going to take place. The creation of a character is the backbone of film. They essentially make the film. Everyone has a picture or at least an idea of what the character in a book looks like due to the imagination. However, when seeing the character appear on screen, gives the characters in the book more of an authentic feel such as Sam Spade and Easy Rawlins.

Both detective and mystery fiction often are successful to be interpreted from print to the big screen, attracting some more than others to the dynamics and magic of film and the use of the imagination of print. I believe the decision to watch a film version of a book is my personal preference in the way I enjoy all the aspects the film brings to the table that reading the print can’t, while still appreciating the value of the printed version.

Liz Lanigan

6/21/09 -**Essay 3 Revision #1**
“Whodunit” is the phrase that is used to identify classic detective fiction. It is the authors of “whodunit” mysteries, such as Poe that lead classic detection to a genre known as hard-boiled detective fiction. The phrase associated with hard-boiled is “what the hell is going on.” Detectives such as Marlowe in __The Big Sleep__, try to figure this out. Classic and hard-boiled detective fiction has three notable differences. These differences can be seen in the language, the style, and the detective, which also provide strengths and weaknesses.

Language gives the reader a sense of the plot and the characters that might be shown in a story. In classic detective fiction, the language is more upper class dialogue, meaning obscenities are never spoken. The language is also very similar with the everyday speech used in that time. For example in Poe’s “Murder in the Rue Morgue,” he had written in witnesses that were from a variety of different backgrounds and cultures. Unlike the classic detective story, in a hard-boiled detective novel, the language is more straight-forward and descriptive; telling the reader what exactly is going on in that specific moment rather than having the reader guess.

Style is the way in which the author writes or portrays his/her story. In classic detection, the authors write in order to make the reader really focus on every word. The mystery is like a puzzle and the detectives only release specific information briefly and at different points in the story. The style of “puzzle writing” enables readers to be part of the mystery. The classic writing is usually characterized by careful reasoning and the mysterious circumstances surrounding the crime. The style of hard-boiled detection however, is short, clear, concise, and straight-forward. The writer has to make it this way since they were getting paid based on the number of words. In __The Big Sleep__, Chandler’s style tells the reader what exactly is happening and to whom. “His wise-cracking style and capacity to endure punishment from his foes introduced a new kind of "performance" to hard-boiled fiction, in which victory was more often verbal than physical” (detnovel.com).

Finally, the detectives in classic and hard-boiled fiction differ. The classic detective, such as Dupin, works with an associate who is usually narrating the story for the reader. This detective also relies heavily on reasoning and information picked up here and there from other people. These people are either involved in the crime somehow or witnesses and therefore help the detective, giving him/her pieces to the puzzle he needs to solve. Classic detectives are also “depicted as being something of an elites class, with most uniformed police officers deferring to them” (Wikipedia.com). Hard-boiled detectives are much more “rough around the edges” in terms of their characteristics than that of a classic detective. Raymond Chandler, author of __The Big Sleep__ had a very good idea of what a hard-boiled detective should be:

…down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective of this kind of story must be such a man. He is the hero, he is everything. He must be a complete and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honour, by instinct, by inevitability, without saying it. He must be the best man in his world and a good enough man for any world…He talks as a man of his age talks, that is, with rude wit, a lively sense of grotesque, a disgust for sham, and a contempt for pettiness (handout).

Chandler is expressing his thoughts and chooses his words carefully in order to get the point across that a detective in hard-boiled fiction must be whatever the job requires him/her to be. It’s the variety in the personality that makes the detective; he can not be common without being unusual too.

As readers, we can see the differences between classic and hard-boiled fiction. Their strengths and weaknesses also contribute to each of the three major elements which are: language, style, and the detective.

The language in both classic and hard-boiled detection has the strength of communicating to the reader the point of the story and the mystery that unfolds throughout. The authors also use this language to put together ideas and to provide entertainment. However, weaknesses in language appear as problems within these stories. The classic language can bore the reader easily with its constant questioning and reasoning, causing the reader to guess throughout the whole story. Hard-boiled language can make the reader feel insignificant because the readers know too much information. By giving readers every detail, they can’t experience being part of the story and piecing together the mystery.

Style is strengthened in both detective fictions, in which the authors portray the story to the reader in an effective way. Even though both styles are different, they provide their readers with entertainment and elements they can relate to, such as the characters. Just like its language, the classic style can cause confusion in the reader by hinting at and generalizing ideas and notions that aren’t always true. For example, Poe’s style of plot leads the reader to believe the killer is a human, but in the end is an animal, therefore making the wrong assumption all along. Hard-boiled style doesn’t help the reader be a detective, but a witness to the mystery. The readers in this case are being fed the entire story all at once giving them no time to reflect or come up with a guess on the question, “what the hell is going on.”

Detectives in both types of fiction could be easily described in Chandler’s words “When in doubt [as to what to do in a story] have a man come through the door with a gun in his hands” (handout). It doesn’t matter if they carry a gun or not, this quote simply means to portray detectives as tough and is able to handle anything. These detectives are independent, wise, determined, and solve the crime which was brought upon them. They both use their detective instincts and “tools” (meaning-witnesses, clues, etc.) to their advantage to come up with a solution. However, the classic detective uses reasoning which can blind them from seeing the bigger picture of a mystery. Their simplicity in character can be boring and somewhat annoying to the reader seeing that there is no spark in their character. Well-known hard-boiled detectives such as Sam Spade can become side-tracked from the real crime by their instability and roughness causing them to fail to see any evidence or potential suspects.

In conclusion, both classic and hard-boiled detective fictions are notably different as well and possess many strengths and weaknesses that contradict themselves. Readers will always like one or the other for different reasons no matter the strengths or weaknesses, there will always be something that the reader doesn’t like in each. Nevertheless, both detective fiction genres are enjoyable to read regardless. Works Cited “Detective fiction.” __Wikipedia, the free encyclopedia__. 15 June 2009. []. “The Big Sleep, Raymond Chandler.” __Detnovel.com.__ 21 June 2009. < []>

Liz Lanigan 6/15/09 -Essay 2 Revision #1 The roles of women have changed dramatically over time. In the past, women were seen as inferior to men. This however is not the case in today’s society. Women are looked at as almost equal to men. Women are respected and are entitled to do the same job men do if they wish. For instance, female sleuths came into the picture on September 15, 1890 as the first female detective was created, Miss Marple (google.com). Female detectives have become better received by readers as well as critics. Even though the female detective stories have been created based on male sleuths and share some similarities, they do however diverge from their basic male counterparts in the unique way in which they use their emotions.

Male and female detectives are similar in the way in which they both use the “whodunit” and “howdunit” idea in order to solve crimes. In order to accomplish this, they both search for reason and truth. They will also do almost anything to figure out the truth; from going against their own values in Susan Glaspell’s “A Jury of Her Peers” or risking their own life like Miles Archer in __The Maltese Falcon__. In the end, both female and male detectives solve the crime or crimes. Although females share some similarities with their male counterparts, both however contribute their unique characteristics to make their stories different.

In order to solve mysteries and get to the truth, female sleuths use their intuition. This might be seen as weak, but when “amateur” detectives such as Mrs. Hale and Mrs. Peters in “A Jury of Her Peers” try to figure out the mystery behind what happened in the home of Minnie Foster. Mrs. Hale, the neighbor of Minnie Foster, uses her emotional and sympathetic intuition to describe the way she feels about the situation. “No, Wright wouldn’t like the bird,” she said after that –“a thing that sang. She used to sing. He killed that too” (172). The use of her (Mrs. Hale) emotion eventually leads them to save the poor women. Just like Mrs. Hale and Mrs. Peters, female sleuths also use their knowledge about other women’s lives in order to justify their reasoning to save or solve a crime.

Male detectives, on the other hand, are thinking machines and consummate analyzers just as the narrarator explains in “Murders of the Rue Morgue”: “The analytical power should not be confounded with simple ingenuity; for while the analyst is necessarily ingenious, the ingenious man is often remarkably incapable of analysis” (4). Male detectives are also men of science who try and figure out how to solve a mystery by close calculation and specific reasoning. Unlike the female sleuths, they consider solving a crime like a game and they also are not swayed by the softer emotions.

In conclusion, female detectives are very similar to their counterparts, but what stands out the most to readers is their difference to express emotion while solving a crime. Expressing emotion to solve a crime is now accepted. Society has now changed in which the female detectives are free of the superior male detectives. They use their individual intuition to figure out and solve a crime. They have no problem putting aside what males have to say to be “loyal to your sex” (163 “A Jury…). Appreciating the past and present female sleuths, their individuality, and their unique intuition will make the experience of reading male detective stories something of the past. Works Cited “History of Female Sleuths.” __Google.com__. 15 June 2009. < []>.

Liz Lanigan 6/15/09 -Essay 3 “Whodunit” is the phrase that is used to identify classic detective fiction. It is the author of “whodunit” mysteries, such as Poe that lead classic detection to a genre known as hard-boiled detective fiction. The phrase associated with hard-boiled is “what the hell is going on,” where detectives such as Marlowe in __The Big Sleep__, tries to do just that. Classic and hard-boiled detective fiction has three notable differences. These differences can be seen in the language, the style, and the detective, which also provide strengths and weaknesses.

“The language in fiction is often full of ‘literary devices’ such as figurative language and might use irony or sarcasm” (enotes.com). Language also gives the reader a sense of the plot and the characters that might be shown in the story. In classic fiction, the language is more upper class dialogue, meaning the uses of obscenities were never spoken. Their language also paralleled with everyday speech used in that time. For example in Poe’s “Murder in the Rue Morgue,” he had written in witnesses that were from a variety of different backgrounds and cultures. Unlike the classic, in a hard-boiled detective novel, the language is more straight forward and descriptive; telling the reader what exactly is going on in that specific moment rather than having the reader guess. Style is the way in which the author writes or portrays his/her story. In the classic, the authors write in order to make the reader really focus with every turn of the page. The mystery is like a puzzle and only releases specific information briefly and at different points in the story. The style of “puzzle writing” is a way in which readers are a part of that mystery. The classic writing is usually portrayed by careful reasoning and the mysterious circumstances surrounding the crime. The style of hard-boiled however, is short, clear, concise, and straight forward. The writers had to make it this way since they were getting paid based on the number of words. In __The Big Sleep__, Chandler’s style tells the reader what exactly is happening and to whom.

Finally, the detectives in both classic and hard-boiled differ in characteristics of the detective. The classic detective, such as Dupin, works with an associate and is usually narrating the story for the reader. This detective also relies heavily on reasoning and information picked up here and there from other people. These people are either involved in the crime somehow or witnesses and therefore helps the detective giving him/her pieces to the puzzle he needs to solve. Classic detectives are also “depicted as being something of an elites class, with most uniformed police officers deferring to them” (Wikipedia.com). Hard-boiled detectives are much more “rough around the edges” in terms of their characteristics than that of a classic detective. Raymond Chandler, author of __The Big Sleep__ had a very good idea of what a hard-boiled detective should be.

//“…down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective of this kind of story must be such a man. He is the hero, he is everything. He must be a complete and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honour, by instinct, by inevitability, without saying it. He must be the best man in his world and a good enough man for any world…He talks as a man of his age talks, that is, with rude wit, a lively sense of grotesque, a disgust for sham, and a contempt for pettiness”// (handout).

Chandler is expressing his thoughts and chooses his words carefully in order to get the point that as a detective in hard-boiled fiction, that person must be whatever the job wants him/her to be. It’s the variety in the personality that makes the detective; they can not be common without being unusual too.

As readers, we can see the differences between classic and hard-boiled fiction. Their strengths and weaknesses also contribute to each of the three major elements stated above.

Both classic and hard-boiled language has the strength of communicating with their reader the point of the story and the mystery that will unfold throughout. They also use this language to put together ideas and to provide entertainment. However, their weaknesses present a problem with their stories. The classic language can bore the reader easily with its constant questioning and reasoning, causing the reader to guess throughout the whole novel. Hard-boiled language can make the reader fell insignificant because they know too much information. By giving the reader every detail, they can’t experience being part of the story and piecing together the mystery. Style is strengthened by both, in which they portray the story to the reader in an effective way. Even though their styles are different, they provide their readers with entertainment and elements they can relate to; such as the characters. Just like its language, the classic style can portray confusion to the reader by hinting at and generalizing ideas and notions that aren’t always true. For example, Poe leads the reader to believe the killer is a human, but in the end is an animal, therefore making the wrong assumption all along. Hard-boiled style doesn’t help the reader be a detective, but a witness to the mystery. The reader in this case is being fed the entire story all at once giving them not time to reflect or come up with a guess on the question, “what the hell is going on.”

Detectives in both type of fiction could be easily described in Chandler’s words “When in doubt [as to what to do in a story] have a man come through the door with a gun in his hands” (handout). These detectives are independent, wise, determined, and solve the crime which was brought upon them. They both use their detective instincts and “tools” (meaning-witnesses, clues, etc.) to their advantage to come up with a solution. However, the classic detective uses reasoning which can blind them from seeing the bigger picture of a mystery. Their simplicity in character can be boring and somewhat annoying to the reader seeing that there is no spark in their character. Well-known hard-boiled detectives such as Sam Spade can become side-tracked from the real crime by their instability and roughness being their down fall to see any evidence or potential suspects.

In conclusion, both classic and hard-boiled detective fictions are notably different as well as possessing many strengths and weaknesses that as I see it contradicts themselves. Readers will always like one or the other for different reasons no matter the strengths or weaknesses, there will always be something that the reader doesn’t like in each. Nevertheless, both detective fiction genres are enjoyable to read regardless. Works Cited “Detective fiction.” __Wikipedia, the free encyclopedia__. 15 June 2009. []. “How is the language of literature different from the language of science?” __Enotes.com.__ 15 June 2009. [].

Liz Lanigan 6/10/09-Essay 1 Revision #2 Most critics regard Edgar Allan Poe’s “Murders in the Rue Morgue” as the first modern detective story. To know what these critics are talking about, I need to know what a modern detective story is. Without having comprehensive knowledge what this means, I feel that readers can’t fully appreciate Poe’s writing. Modern detective fiction “is a branch of crime fiction in which a detective (or detectives) either professional or amateur, investigate a crime, usually murder” (Wikipedia). Edgar Allan Poe refers to his stories as “tales of ratiocination,” which is based on reasoning. In Poe’s detective stories, his “primary concern of the plot is ascertaining truth. The usual means of obtaining the truth is through a complex and mysterious process combining intuitive logic, astute observation, and perspicacious inference” (Wikipedia). Since “Murders in the Rue Morgue” follows the proper structure of what modern detective stories should be, I would have to agree with the critics. Poe’s “Murders in the Rue Morgue” exceeded my notion of what detective and mystery fiction should be. I enjoyed this type of detective fiction since it didn’t follow the “normal” style. To me, a detective/mystery story should have a well-written plot, characters, clues, and a murder. Poe did just that while adding a few curves that I wasn’t prepared for, but valued anyway. For instance, most of the mystery fiction that I have been exposed to dives right into the murder and then retraces steps in order to discover “whodunit.” Here, Poe starts off with an analytical way of solving something and then gets into the crime. While reading “Murders…” I figured the killer must have been a person because usually they are. Poe made me feel like a detective, trying to figure out who the murderer could be. When I found out it was an animal that was the killer, I was surprised and impressed by Poe’s creative writing skills. Poe uses his clever writing style to paint a picture and express his modern ideas of detective fiction. He doesn’t jump right into the murder mystery as most detective stories do, but explains to the reader that solving a mystery is like a game. He says that “The necessary knowledge is that of //what// to observe” (4), and what he wants his readers to observe is not just the clues themselves, but the truth behind the crime. By breaking down the analytical mind, Poe forces the readers to look at solving the mystery from a whole new perspective. This new perspective is one of truth and observance. Poe’s main character, Dupin is one of the most influential characters that have led the way for all modern detective stories. Dupin’s characteristics epitomizes what a modern detective should be. According to Wikipedia, “the investigator (in this case Dupin) has some source of income other than detective work and some undesirable eccentricities or striking characteristic.” What makes Dupin such a striking character would be his brilliance. He is creative, but also analytical and highly observant. Dupin also has “a less able assistant who acts as an audience surrogate,” who provides explanation for the audience (Wikipedia). This audience surrogate would be the narrator, whom Dupin seems to enjoy explaining his intellectual ideas and conclusions to. They complement each other, giving the readers a better appreciation for the main character as well as the story. In conclusion, thanks to Poe’s intellect and the shocking events that take place in his writing, detective stories wouldn’t be what they are today. “Murders in the Rue Morgue,” deciphers from most of the stories of today is different (no human murderer) nevertheless, that’s what makes Poe’s story so great and appealing to his readers. Edgar Allan Poe set the foundation for all detective fiction and deserves the right to be called an influential writer who wrote the first modern detective story. Work Cited "Detective fiction." __Wikipedia, the free encyclopedia__. 2 June 2009. < []>. Poe, Edgar A. “Murders in the Rue Morgue.” __Classic Mystery Stories __. Greene, Douglas G. Mineola, N.Y: Dover Publications, 1999.

Liz Lanigan 6/8/09 -Essay 2 The roles of women have changed dramatically over time. In the past, women were seen as inferior to men. This however is not the case in today’s society. Women are looked at as almost equal to men. Women are respected and are entitled to do the same job men do if they wish. For instance, female sleuths came into the picture in 1897 as the first female detective was created, Amelia Butterworth. Female detectives have become better received by readers as well as critics. Even though the female detective stories have been created based on male sleuths and share some similarities, they do however diverge from their basic male counterparts in a unique way. Male and female detectives are similar in the way in which they both use the “whodunit” and “howdunit” idea in order to solve crimes. In order to accomplish this, they both search for reason and truth. They will also do almost anything to figure out the truth; from going against their own values in Susan Glaspell’s “A Jury of Her Peers” or risking their own life like Miles Archer in __The Maltese Falcon__. In the end, both female and male detectives solve the crime or crimes seeing that the mystery is put to rest. Although females share some similarities with their male counterparts, both however contribute their unique characteristics to make their stories different. In order to solve mysteries and get to the truth, female sleuths use their intuition. This might be seen as weak, but when “amateur” detectives such as Mrs. Hale and Mrs. Peters in “A Jury of Her Peers” try to figure out the mystery behind what happened in the home of Minnie Foster, they use their emotional and sympathetic intuition. “No, Wright wouldn’t like the bird,” she said after that –“a thing that sang. She used to sing. He killed that too” (172). Female sleuths also use their knowledge about other women’s lives and are observant of their communities in order to justify and put their thoughts into reason. Male detectives on the other hand are thinking machines and consummate analyzers just as the narrarator explains in “Murders of the Rue Morgue.” “The analytical power should not be confounded with simple ingenuity; for while the analyst is necessarily ingenious, the ingenious man is often remarkably incapable of analysis” (4). They are also men of science in which they try and figure out how to solve a mystery by close calculation and specific reasoning. Unlike the female sleuths, they consider solving a crime like a game and they also are not swayed by the soft emotion. In conclusion, female detectives are very similar to their counterparts, but what stands out the most to readers are their differences, which attributes to their unique characteristics. Society has now changed. Female detectives are free of the superior male detectives in whom they use their individual intuition to figure out and solve a crime. They have no problem putting aside what males have to say to be “loyal to your sex” (163 “A Jury…). Appreciating the past and present female sleuths, their individuality, and their unique intuition will make the experience of reading male detective stories something of the past.

Liz Lanigan 6/3/09 -Revision Most critics regard Edgar Allan Poe’s “Murders in the Rue Morgue” as the first modern detective story. To know what these critics are talking about, I need to know what a modern detective story is. Without having comprehensive knowledge what this means, I feel that readers can’t fully appreciate Poe’s writing. Modern detective stories/fiction, “is a branch of crime fiction in which a detective (or detectives) either professional or amateur, investigate a crime, usually murder (Wikipedia). Edgar Allan Poe refers to his stories as “tales of ratiocination,” which is based on reasoning. In Poe’s detective stories, his “primary concern of the plot is ascertaining truth. The usual means of obtaining the truth is through a complex and mysterious process combining intuitive logic, astute observation, and perspicacious inference” (Wikipedia). Since “Murders in the Rue Morgue” follows the proper structure of what modern detective stories should be, I would have to agree with the critics. Poe uses his clever writing style to paint a picture and express his modern ideas of detective fiction. He doesn’t jump right into the murder mystery like most detective stories do, but explains to the reader that solving one is like a game. He says that “The necessary knowledge is that of //what// to observe” (pg 4), and what he wants his readers to observe is not just the clues themselves, but the truth behind the crime. By breaking down the analytical mind, Poe forces the readers to look at solving the mystery in a whole new perspective -being one of truth and observance. Poe’s main character, Dupin is one of the most influential characters that have led the way for all modern detective stories. Dupin’s characteristics are parallel to what a modern detective should be. According to Wikipedia and what detective fiction is, “the investigator (in this case Dupin) has some source of income other than detective work and some undesirable eccentricities or striking characteristic.” What makes Dupin such a striking character would be his brilliance. He is creative, but also analytical and highly observant. Dupin also has “a less able assistant who acts as an audience surrogate,” who provides explanation for the audience (Wikipedia). This audience surrogate would be the narrator, whom Dupin seems to enjoy providing his intellectual ideas and conclusions to. They compliment each other giving the readers a better appreciation for the main character as well as the story. Poe’s “Murders in the Rue Morgue” exceeded my notion of what detective and mystery fiction should be. I enjoyed this type of detective fiction since it didn’t follow the “normal” style. To me, a detective/mystery story should have a well-written plot, characters, clues, and a murder. Poe did just that while adding a few curves that I wasn’t prepared for, but valued them anyway. For instance, most of the mystery fiction that I have been exposed to, dives right into the murder and then retraces steps in order to discover “whodunit.” Here, Poe starts off with an analytical way of solving something and then gets into the crime. While reading “Murders…” I figured the murderer must have been a person because usually they are. Poe made me feel like a detective, trying to figure out who the murderer could be. When I found out it was an animal who was the killer, I was surprised and impressed by Poe’s creative writing skills. In conclusion, because of Poe’s intellect and shocking events that take place in his writing, detective stories wouldn’t be what they are today. “Murders in the Rue Morgue,” compared to most of the stories of today is different (no human murderer), nevertheless that’s what makes Poe’s story so great and appealing to his readers. Edgar Allan Poe set the foundation for all detective fiction and has deserved the right to be called an influential writer who wrote the first modern detective story. Work Cited "Detective fiction." __Wikipedia, the free encyclopedia__. 2 June 2009. <[]>. Poe, Edgar A. “Murders in the Rue Morgue.” __Classic Mystery Stories __. Greene, Douglas G. Mineola, N.Y: Dover Publications, 1999.