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Locked room mystery

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In crime fiction, a locked room mystery (or cosy) is a particular kind of mystery story or whodunit, where a murder or crime is apparently committed under impossible circumstances: no one could have entered or left the scene of the crime, and the death involved could not have been a suicide.

Such stories normally follow other conventions of detective fiction, in that the reader is presented with the puzzle and all of the clues, and so encouraged to solve it before finishing the story and being told the solution.

Typically, a "locked room" in this narrow meaning of the word is a room in which a murder is committed. There are a limited number of suspects, some of them possibly even without a watertight alibi. But on closer inspection, it turns out that no one could possibly have perpetrated the murder, because at the time the murder was committed, there was definitely no way of entering or leaving the room unseen or without leaving a trace.

The prima facie impression, almost invariably would be that the perpetrator has vanished into thin air.

History

Even though the mystery or detective genre wasn't established until the 19th and 20th centuries, the apocryphal Biblical story of Bel and the Dragon has some similarities to locked room mysteries.

However, the earliest modern example of this type of story is generally held to be Edgar Allen Poe's "The Murders in the Rue Morgue" (1841). The story contains Poe's statement of the "rules" of the locked-room mystery.

Another notable early example was written by French journalist and author, Gaston Leroux with Le Mystère de la chambre jaune (The Mystery of the Yellow Room ) (1908). Locked room mysteries flourished with the popularity of writers like John Dickson Carr, Clayton Rawson, and Agatha Christie.

Examples

The following are examples of "impossible" or "locked-room" crimes:

These "facts" obtain the interest of the reader, and build up a palpitating curiosity to find a solution to the seemingly impossible crime. This explains the huge popularity of such novels to their fans. In many locked room mysteries, plausibility is neglected in favour of maximum ingenuity, reader involvement, and suspense. Among avid readers, heated discussions can ensue after the publication of a particular novel as to whether it is really possible to commit the perfect murder the way described.

Some example loopholes that a reader may find:

Authors and works

One of the masters of the locked-room subgenre was John Dickson Carr. His novel The Hollow Man is considered by many to be the finest locked room mystery novel of all time—although Carr himself names Gaston Leroux's The Mystery of the Yellow Room as his favourite. The Hollow Man gives an explicatory recipe for crime writers. Chapter 17 of the book consists of a theoretical digression entitled "The Locked-Room Lecture". In it, Dr Gideon Fell (the detective) gives an extensive explanation of how the murderer is able to deceive everyone else (at least until the riddle is finally solved). How, for example, Fell asks, can the perpetrator create the impression of a hermetically sealed chamber when in fact it is not? What means are there of tampering with a door so that it seems to be locked on the inside? This is just one of the answers -- and, as it happens, a most simple one -- given by Fell:

[...] An illusion, simple but effective. The murderer, after committing his crime, has locked the door from the outside and kept the key. It is assumed, however, that the key is still in the lock on the inside. The murderer, who is first to raise a scare and find the body, smashes the upper glass panel of the door, puts his hand through with the key concealed in it, and finds the key in the lock inside, by which he opens the door. This device has also been used with the breaking of a panel out of an ordinary wooden door.
Many authors have tried their hand at new and far-fetched (yet eventually plausible) locked-room scenarios, with one of the underlying principles always being that supernatural powers or any form of magic must be ruled out from the start. American writer Anna Katharine Green (18461935) wrote Initials Only (1911), Margery Allingham (19041966) exploited the same motif in Flowers for the Judge (1936), and many more joined the ranks. Paul Auster's book, The Locked Room, takes its title from locked room mysteries. Douglas G. Greene and Robert C.S. Adey's Death Locked In is an anthology of some of the classics of the genre.

Classic specimens of the genre include:

In Television and Film

External link

 


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