... the career of any writer in the last half century; from every walk of life and from all over the world, his readers forced him back to the construction of stories based on sheer plot. For the creator of Sherlock Holmes, there could be no escape from this. As Doyle observed, “[Holmes...

... intersect. A Study in Scarlet , the novella that introduced Sherlock Holmes, offers the first meditation on distant reading. A split double plot that anticipates generic fissures within crime fiction broadly conceived, A Study in Scarlet creates a data-centric detective intelligence in dialogue with late...

... brought to my graduate seminar about twenty detective stories of Conan Doyle’s times; we combed them for clues, and the results are 7 On the significance of clues see Victor Shklovsky, “Sherlock Holmes and the Mystery Story,” in Theory of Prose, trans...

... Wilde and Sherlock Holmes on the one hand, of Henley and Bulldog Drum- mond on the other, and of the mingling of both in Kipling. For Kip- ling at school was an aesthete just as naturally as he was later an apostle of energy. One observes the same phenomenon in Tennyson, who wavers always...

... to psychological gamesmanship. An even colder form of deductive reasoning can be seen in Arthur Conan Doyle’s Sherlock Holmes, Levay’s second practitioner of “modernist detection” (26). More detached than Dupin, Holmes indulges in sensory distractions merely to fortify his machine-like processes of analysis...

....) The Sherlock Holmes fantasy that a near-omniscient detective can uncover people’s inner thoughts through endless study of their appearances remains impossible; at the other extreme from Arthur Conan Doyle is Walt Whitman’s determination in his poetry to keep people at a distance, blessing them only from afar...

.... Buckley’s analysis of his materials has been too superficial to discover the basic unity between the attitudes of Oscar Wilde and Sherlock Holmes on the one hand, of Henley and Bulldog Drum- mond on the other, and of the mingling of both in Kipling. For Kip- ling at school was an aesthete just...

... of wider comparisons for The Lord of the Rings that includes Aldous Huxley’s Brave New World and George Orwell’s 1984 in terms of their critiques of industrialization and Umberto Eco’s Name of the Rose and Arthur Conan Doyle’s Sherlock Holmes novels in terms of their “intensive discussions...

... “The Slaughterhouse of Literature” appeared (2000), he had arrived at a question that might be empirically tested: why did Arthur Conan Doyle’s Sherlock Holmes stories survive their many competitors in the Strand magazine in the 1880s? Moretti proposes that it was because Doyle developed the clue in its canonical...

...” rooms also destabilize the relationship of figure to interior, man to possession. The Sherlock Holmes stories by Conan Doyle, in comparison with Collins, meditate on the interior in relatively calm, rational terms. Pri- vate interiors are repeatedly...

... aesthetics and classical academic discourse. And so, far from fixed objects—a barometer in a drawing room, as Barthes would have it, or a footprint at a Sherlock Holmes crime scene—details turn out to be the products of reading practices and modes of attention, which have shifted over the twentieth...

..., achievements of his life: his creation of Sherlock Holmes and his research into spiritualism—a fetching starting place to consider the desire both to be perplexed by mystery and to comprehend or solve it scientifically (Fox 1927 ). Doyle’s 1902 novel The Hound of the Baskervilles , G. K. Chesterton’s 1911–35...

... to be fully satiified by being asked to murmur “Shylock” when they come to the lines about the “man that hath no music in himself” (V.i.83), and are not going to accord more than lip service to the notion that the absence of Shylock (rather like the silence of the dog in the Sherlock Holmes story...

... or Shakespeare’s Malcolm we know all vices in ourselves or that like Sherlock Holmes we catch the criminal because we have only to look in the mirror to know what he would do, but even in the face of the pieties about other minds that all of us do try to honor as a matter of civility, we still navigate...

... mentally estimated by the following simple calculation: 5×30=150 quarters=500£ 3×40=120 quarters= 250£          Total 750£ This calculation immediately recalls a scene in which Oak deciphers, like a cryptographer or Sherlock Holmes, a set of tracks left by a horse and carriage; the manuscript...

... of influence are a writer’s most “literary” texts—novels, poetry, plays, and so on—and that such texts as diaries, correspondence, and reflections on practice merely reinforce the qualities manifest in the former category. In the year that Tess appeared, Sherlock Holmes, attempting to downplay...

...”; Paul Virilio comes in second, by a hair. Marc Augé’s idea of “non-­place” comes in third, and even after pages of summary one may remain unconvinced that the non-­place of “supermodernity” (71; this term also is Augé’s) is a useful way into Sherlock Holmes’s suspicion of what goes on inside...

...”; Paul Virilio comes in second, by a hair. Marc Augé’s idea of “non-­place” comes in third, and even after pages of summary one may remain unconvinced that the non-­place of “supermodernity” (71; this term also is Augé’s) is a useful way into Sherlock Holmes’s suspicion of what goes on inside...

...”; Paul Virilio comes in second, by a hair. Marc Augé’s idea of “non-­place” comes in third, and even after pages of summary one may remain unconvinced that the non-­place of “supermodernity” (71; this term also is Augé’s) is a useful way into Sherlock Holmes’s suspicion of what goes on inside...

...; this term also is Augé’s) is a useful way into Sherlock Holmes’s suspicion of what goes on inside the private home (75). Duffy’s point is that the home is “emplaced” in nineteenth-­ and twentieth-­century literature (74) and yet came to be regarded with suspicion, as Anthony Vidler argues...