Before I get into the bulk of this story, a celebration – and inevitable critique – of various novels assigned on my English syllabus, I want to distinguish between class and texts. Some of the novels I read for this class, I loved. Some of the novels I read for this class I actively disliked. However, the vacillation in my narrative tastes is not a reflection of uncertainty regarding the class.
Everything about Dr. Nancy West’s English 1100 Course – Mystery Fiction and Literature – was a pleasure. It was a wonderful environment to learn and think in, and Dr. West was incisive in her use of the mystery genre to discuss larger social systems at play. Mysteries are not simply fiction; they are also reflections of social and systemic inequality and reflections of fear and a desire for justice in an uncertain world.
If Dr. West ever changed the syllabus, I would take this course again.
Preface aside, in this course I read a variety of books, short stories and essays. For the sake of comparing apples to apples, I will only be evaluating the novels. In the spirit of conciseness and recommendation, for each book, I will include a brief summary, subgenre of the novel, and overview of my thoughts.
The books are ranked from my least favorite to favorite.
Rank 8: “The Talented Mr. Ripley” by Patricia Highsmith
Subgenre: Psychological thriller
Set in the late 1950s, “The Talented Mr. Ripley,” is about Tom Ripley, a young grifter who stumbles into the good graces of the Greenleaf family. Desperate to find their prodigal son Dickie, Mr. and Mrs. Greenleaf pay for Tom to go abroad with the hopes of bringing Dickie back. What starts as a simple lie and trip to Italy quickly spirals when Tom finds himself entranced by Dickie’s world – and life – and increasingly caught in his own web of lies.
My gripes with “Ripley,” have nothing to do with the dubious morality and violence. If anything, I find Dickie just as morally reprehensible – or, at least frustrating – as the legitimately criminal Tom. The writing is undeniably sharp, and Tom is compellingly written. However, no amount of cleverness and plot twists will distract me from my continual annoyance with every character in this book. I find “Ripley,” impossible to latch on to in any capacity, and I experienced the novel as a disinterested observer rather than an engaged reader.
Rank 7: “The Secret History” by Donna Tart
Subgenre: Psychological drama, dark academia
“The Secret History” is the recounting of the history and ordeals of a tight-knit group of college students studying classics at an isolated Vermont university. Narrated by the newest-comer to the group, Richard, the novel exposes the casual cruelty of young friendships, the dangers of obsession, and the consequence of violence on those who perpetrate it and bear witness to it.
I understand why this book is popular, I just find it lacking in delivering the promises it makes. If described as a melodrama about friendship, I would’ve been left satisfied. However, “The Secret History” promises in-depth explorations of classism within academia, a topic that is briefly introduced and then ignored. The characters are unknowable in a way that is meant to be intriguing but is disengaging. As soon as I put the book down, its story faded into the recesses of my mind, never to emerge.
Rank 6: “Safe and Sound” by Laura McHugh
Subgenre: Psychological thriller
Locally based, “Safe and Sound,” follows the Crow sisters, Amelia and Kylee, as they investigate the disappearance of their cousin Grace from their small Ozark hometown years prior. Desperate for their own chance to get out of town, and acutely aware of the few options available to girls like them, they set out on a quest to reclaim Grace and power over their own narratives.
There is no way to describe the disappointment I felt at the end of this novel. The first 200 pages are a case study in building tension and atmosphere. The novel is atmospheric, and there’s a lurking darkness for the audience to discover chapter by chapter. Impressively, McHugh balances the darkest narrative moments with hope and is careful to not exploit her characters – though the line occasionally blurs. What lets down this wonderful set-up, however, is the abrupt, unfinished ending. This isn’t a matter of getting positive closure, rather, this is a matter of closure versus clarity. The story ends, but many integral questions regarding logistics remain.
Rank 5: “Devil in a Blue Dress” by Walter Mosley
Subgenre: Hard-boiled
The first American novel to feature a Black private investigator, “Devil in a Blue Dress,” is the introductory case of Ezikiel ‘Easy’ Rawlins, a Black WWII veteran. Facing persistent racism, Easy is left between a rock and a hard place when he is fired shortly before his house payment is due. Unable to find work quickly, Easy takes a job for the shady DeWitt Albright, promising to track down the elusive Daphne Monet. The only issue is that finding Daphne creates more problems than it solves.
Hard-boiled fiction is a divisive subgenre. For many, it represents a more accurate take on the classic detective story. For others, myself included, hard-boiled is an attempt to validate and legitimize male-centric, sex and violence-focused stories. Unavoidably, “Devil,” relies on some of these elements, but Mosley’s use of the genre to create a social commentary about racism provides much-needed depth. Easy is an engaging narrator full of charm and astute observations. Seeing the world through his viewpoint is equally repulsive and impossible to look away from. I would strongly consider reading another mystery just to see where Easy goes next.
Rank 4: “A Rage in Harlem” by Chester Himes
Subgenre: Hard-boiled
Set in Harlem in the 1950s, “A Rage in Harlem,” is the intertwining of two narratives. The first follows Jackson, a young man bent on saving his love Imabelle from prison and her past. The second is the investigation of the violence surrounding Imabelle by Black police officers Gravedigger Jones and Coffin Ed, who face opposition on every side. Fast-paced, intense, and occasionally convoluted, “A Rage in Harlem,” is a perfect blend of mystery, action, and absurdist humor.
Admittedly, my enjoyment of this book shocked me. Something about the no-nonsense style and voice of Himes’ writing gives his book a sharp, devourable edge. I lived for the bluntness of his descriptions mixed with the melodramatic dialogue and descriptions. Gravedigger and Coffin particularly were fascinating, representing what it means to be moral rather than just. They do not follow the law by the book, but they treat each situation and encounter with a discerning eye. For those wanting to branch out into hard-boiled writing, this is a standout introduction.
Rank 3: “In the Woods” by Tana French
Subgenre: Police procedural
Another blending of narratives – this one across time – “In the Woods,” follows two distinct investigations in Detective Rob Ryan’s life. The first is the current inquiry into the murder of a 12-year-old girl. The second is the mystery of the disappearance of Ryan’s childhood friends when he himself was young. Both crimes are committed in the same Irish village, leading Ryan to put aside his emotions – and conflict of interest – to investigate the present and the past alongside his partner Cassie Maddox.
I’m wary of police procedurals. The hyperfixation on the little things appeases my detail-oriented mind, but the simple fact of the main protagonists being police officers opens the door for blind adoration and idolization of a corrupt system. French attempts to address this in her admittance of the failures of the police department, as well as the artfully crafted and flawed characters she presents on the page. What comes from this is a nuanced character study in trauma set alongside a mystery. The writing is poetic – if wordy – in a vivid, evocative way. The characters develop heartbreakingly, and each person is given their own perfectly crafted arc. My only complaint with French’s debut is that, interesting as the past timeline is, it offers little in way of narrative importance and its emotional importance could have been ascribed to other events.
Rank 2: “The Hound of the Baskervilles” by Sir Arthur Conan Doyle
Subgenre: Gothic mystery
The oldest book on this list, and one of the most recognizable – by character if not by name – “The Hound of the Baskervilles,” is one of the later Sherlock Holmes stories and one of the few novels to feature him. Set on the moors of England in an old manor home, “The Hound,” follows Holmes and Watson’s investigation into the mysterious death of Sir Charles Baskervilles and the life-endangering threats surrounding the new heir Sir Henry Baskerville. Haunted by folklore, envy, and an escaped criminal, Holmes and Watson must find the man – or beast – responsible for the crime.
This is not an unbiased review. I have memories of my dad reading me this novel when I was a kid – with character voices, nonetheless. Still, I was pleasantly surprised with how well the novel held up to time and my own rereading of the text. “The Hound,” is a delightful read that combines the haunting, vaguely mystical atmosphere of gothic novels with the sharp deductive reasoning characteristic of Holmes. It’s a well-developed discourse between fantasy and science that pushes the reader to consider what beasts exist and what men are capable of.
Rank 1: “Murder on the Orient Express” by Agatha Christie
Subgenre: Golden age detective mystery
Likely the most iconic title assigned this semester, “Murder on the Orient Express” is one of renowned detective Hercule Poirot’s mysteries. Set in the snowbound Orient Express train, a vacation-bound Poirot must solve the murder of fellow passenger Ratchett. With a plethora of suspects and the realization that Ratchett is linked to an evil crime from the past, Poirot must unravel the clues to seek justice – and reestablish morality.
This is another story I have a strong personal attachment to. I read this several years ago ahead of the release of Kenneth Branagh’s film adaptation, and loved the BBC’s adaptation of the mystery starring David Suchet as Poirot. “Murder,” fundamentally altered the way I viewed the justice system and the lens through which I saw justice, morality, and peace. Poirot is an iconic detective and one whom I always attach to because of his blend of wit, judgment, and compassion. “Murder,” is entirely character-driven, a study of grief and the lengths we go to heal ourselves and those we love.