Dorothy L. Sayers: Difference between revisions
imported>Hayford Peirce (→The Nine Taylors and Lord Peter Wimsey: three months later) |
imported>Hayford Peirce (→The Nine Taylors and Lord Peter Wimsey: rewriting) |
||
| Line 15: | Line 15: | ||
<blockquote>Writing in the ''Saturday Review of Literature'' in 1939, John Strachey represented the extreme view when he said, "[Miss Sayers] has now almost ceased to be a first-rate detective writer and has become an exceedingly snobbish popular novelist."<ref>Ibid., page 138</ref></blockquote> | <blockquote>Writing in the ''Saturday Review of Literature'' in 1939, John Strachey represented the extreme view when he said, "[Miss Sayers] has now almost ceased to be a first-rate detective writer and has become an exceedingly snobbish popular novelist."<ref>Ibid., page 138</ref></blockquote> | ||
Strachey's words, however, were mild compared to those of the far more august literary critic and man of letters [[Edmund Wilson]]. Writing in ''[[The New Yorker]]'' in 1944 he excoriated crime fiction in general in an essay called "Why Do People Read Detective Stories?" Three months later, responding to a barrage of criticism from other literary lights such as [[Jacques Barzun]], [[Joseph Wood Krutch]], [[Raymond Chandler]], [[Somerset Maugham]], and [[Bernard De Voto]], Wilson read another selection of mystery novels and | Strachey's words, however, were mild compared to those of the far more august literary critic and man of letters [[Edmund Wilson]]. Writing in ''[[The New Yorker]]'' in 1944 he excoriated crime fiction in general in an essay called "Why Do People Read Detective Stories?" Three months later, responding to a barrage of criticism from other literary lights such as [[Jacques Barzun]], [[Joseph Wood Krutch]], [[Raymond Chandler]], [[Somerset Maugham]], and [[Bernard De Voto]], Wilson had read another selection of mystery novels and updated his views in "Who Cares Who Killed Roger Ackroyd?". In it he takes particular aim at Sayers, ''The Nine Taylors,'' and Lord Peter: | ||
Revision as of 17:14, 23 January 2010
Dorothy Leigh Sayers (June 13, 1893–December 17, 1957) was an English academic, linguist, writer and lay theologian. Well-respected in academic and religious circles during her lifetime, she is best remembered today for her fictional detective Lord Peter Wimsey, though she herself thought that her non-fiction was her best work. Her writing contained social commentary and explored themes of feminism (particularly women’s education and sexuality), business ethics, racism and other social issues before any of these were the well-defined fields of study that they are today.
Sayers approached even her writing of fiction with thoroughness and precision. Though her evident erudition and commitment to accuracy is often praised, some have attested to find it tedious and distracting. For example, Sayers went to extraordinary lengths to learn the elements of campanology for The Nine Tailors; some found her attention to detail compelling; others deemed it boring. The Fascinating Problem of Uncle Meleager's Will contains a complex literary crossword puzzle, the details of which are not integral to the story.
Sayers was a great friend of other Christian writers of the day, including C.S. Lewis and Charles Williams. Like most writers, Sayers’s works often reflect the attitudes and the social mores of her generation, her class, and the prevailing thought of the day. This has led to charges of racism and antisemitism in her work, allegations that have been vigorously argued on both sides by her critics and her defenders.
The Nine Taylors and Lord Peter Wimsey
Most fans of Sayer's mysteries have their personal favorites among the books. The Nine Taylors, however, published in 1934, at the height of her reputation, has frequently been cited as either her best novel or as her most famous one. The noted mystery critic and historian, Howard Haycraft, for instance, writing in 1941, says about Sayers and The Nine Taylors:
...Dorothy Sayers (1893—), who has been called by some critics the greatest of living writers in the form. Whether of not the reader agrees with this verdict, he can not, unless he is both obtuse and ungrateful, dispute her preëminence as one of the most brilliant and prescient artists the genre has yet produced.... The Nine Taylors—in the writer's estimation her finest achievement and one of the truly great detective stories of all time.[1]
As the 1930s passed, Sayers' began to devote less space in her books to formulaic detective fiction and more to the trappings of the mainstream novel. Not everyone was happy with this evolution:
Writing in the Saturday Review of Literature in 1939, John Strachey represented the extreme view when he said, "[Miss Sayers] has now almost ceased to be a first-rate detective writer and has become an exceedingly snobbish popular novelist."[2]
Strachey's words, however, were mild compared to those of the far more august literary critic and man of letters Edmund Wilson. Writing in The New Yorker in 1944 he excoriated crime fiction in general in an essay called "Why Do People Read Detective Stories?" Three months later, responding to a barrage of criticism from other literary lights such as Jacques Barzun, Joseph Wood Krutch, Raymond Chandler, Somerset Maugham, and Bernard De Voto, Wilson had read another selection of mystery novels and updated his views in "Who Cares Who Killed Roger Ackroyd?". In it he takes particular aim at Sayers, The Nine Taylors, and Lord Peter: