Short Story Wednesday: The Best American Mystery Stories of the Century

 

The Best American Mystery Stories of the Century is an anthology edited by Tony Hillerman and Otto Penzler and published in 2000. The anthology contains 46 short stories, and is 813 pages long. This is my husband's book, which he purchased in 2025 at the Planned Parenthood book sale which we attend every September.

In addition to the short stories, the book has a Foreward by Penzler, an Introduction by Hillerman, and Biographical Notes for each author at the end.

I haven't read any of the stories in this book, but I have read several of the stories from other sources. All the stories listed below were good reads.

• I read "A Jury of Her Peers" by Susan Glaspell, published in 1917, from an anthology of short stories selected by Elizabeth George, A Moment on the Edge. 
• I read "The Possibility of Evil" by Shirley Jackson online. I think it was the first short story I read by her, except for "The Lottery." It was published posthumously, in 1965.
• Two of the stories I have read were published in 1996. I read "Red Clay" from Red Clay, Blue Cadillac by Michael Malone. 
• The other story from 1996 was "The Dark Snow" by Brendan DuBois. My notes indicate that it was very well done, a great read, but the ending so very dark that it turned me off.

As with most anthologies of short stories, there are mixed reactions to this volume and the stories chosen. For anyone interested in comparing how the styles of the mystery short story changed over the years, this book would probably be very useful.

I am including a list of the stories in the book below. The list is in chronological order. 

• A Retrieved Reformation / O. Henry
• Paul's Case / Willa Cather
• The Problem of Cell 13 / Jacques Futrelle
• Blind man's Buff / Frederick Irving Anderson
• Naboth's Vineyard / Melville Davisson Post
• A Jury of Her Peers / Susan Glaspell
• The Gutting of Couffignal / Dashiell Hammett
• Haircut / Ring Lardner
• Blue Murder / Wilbur Daniel Steele
• The Perfect Crime / Ben Ray Redman
• The Baby in the Icebox / James M. Cain
• The Murder / John Steinbeck
• Sense of Humor / Damon Runyan
• Ransom / Pearl S. Buck
• Red Wind / Raymond Chandler
• The Catbird Seat / James Thurber
• The Rear Window / Cornell Woolrich
• An Error in Chemistry / William Faulkner
• The Nine Mile Walk / Harry Kemelman
• The Adventure of the President's Half Disme / Ellery Queen
• The Homesick Buick / John D. MacDonald
• Gone Girl / Ross Macdonald
• The Moment of Decision / Stanley Ellin
• First Offense / Evan Hunter
• The Couple Next Door / Margaret Millar
• The Day of the Execution / Henry Slesar
• The Terrapin / Patricia Highsmith
• The Possibility of Evil / Shirley Jackson
• The Comforts of Home / Flannery O'Connor
• Good Man, Bad Man / Jerome Weidman
• Goodbye, Pops / Joe Gores
• The Whimper of Whipped Dogs / Harlan Ellison
• The Wager / Robert L. Fish
• Do With Me What You Will / Joyce Carol Oates
• Quitters, Inc. / Stephen King
• The Absence of Emily / Jack Ritchie
• By the Dawn's Early Light / Lawrence Block
• Iris / Stephen Greenleaf
• Three-Dot Po / Sara Paretsky
• The Parker Shotgun / Sue Grafton
• Too Many Crooks / Donald E. Westlake
• Hot Springs / James Crumley
• The Dark Snow / Brendan DuBois
• Red Clay / Michael Malone
• Poachers / Tom Franklin
• Running Out of Dog / Dennis Lehane

Perplexing Plots: David Bordwell

 

The subtitle of this book is "Popular Storytelling and the Poetics of Murder." Bordwell was an influential film scholar; this book, the last one he published, focuses on crime fiction and films in the 1900s up to more recent times. He discusses the development of crime fiction plots and narratives and notes the same developments in plays and film of that time. In the book, he proposes that crime fiction exposed audiences to new forms of storytelling and increased their familiarity and acceptance of more complex plots. 

But I am not knowledgeable about films and film theory, so I will also include this description from Columbia University Press, the publisher of the book:

In Perplexing Plots, David Bordwell reveals how crime fiction, plays, and films made unconventional narrative mainstream. He shows that since the nineteenth century, detective stories and suspense thrillers have allowed ambitious storytellers to experiment with narrative. Tales of crime and mystery became a training ground where audiences learned to appreciate artifice. These genres demand a sophisticated awareness of storytelling conventions: they play games with narrative form and toy with audience expectations.

I was motivated to read this book for Bordwell's in-depth discussion of crime fiction authors. He was a big fan of Rex Stout (as am I). One chapter is devoted to Stout's Nero Wolfe series and Erle Stanley Gardner's mysteries. Two other chapters I particularly enjoyed were "Viewpoints, Narrow and Expansive: Patricia Highsmith and Ed McBain" and "Donald Westlake and the Richard Stark Machine." Raymond Chandler's books were also covered in depth.

This book was very dense, sometimes over my head, but I enjoyed it. The content was academic; not dry but challenging.

My husband read Bordwell's previous book, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling. I will be reading that book, maybe next year.

There is an excellent review at George Kelley's blog; George lists all the chapter titles, which is very useful.

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Publisher:   Columbia University Press, 2023 
Length:       412 pages
Format:      Trade paperback
Genre:        Nonfiction
Source:       I purchased this book in 2023.

Strangers on a Train: Patricia Highsmith

Patricia Highsmith is known for her dark, suspense-filled novels and Strangers on a Train was my introduction to her writing. (It was also her debut novel.) I had been wanting to read it for years and Peggy at Peggy's Porch very kindly sent me her copy. The basic story is that two men meet on a train, and one of them suggests a murder pact. If they each murder a person that the other wants to get rid of, then they can get away with the perfect crime.

Charles Anthony Bruno is the one who proposes the pact; he is a rich young man, dependent on his father for funds, and indulged by his mother. The other young man is Guy Haines; he is embarrassed by the encounter, determined not to take Bruno seriously. Guy is an architect, just starting out, with a wife he wants to divorce and a girlfriend he wants to marry. Most of the story is told from Guy's point of view, although we get to know Bruno's thoughts very well also.

My assessment:

A very good novel, but a disturbing read. I read the first 100 pages enjoying Highsmith's wonderful way with telling a story. I liked the buildup of tension, the introduction of the characters, and the laying out of the story. But beyond that point I had to slow down and only read a bit of it a day. It was too intense and very unpleasant. The ending was a complete surprise to me and I did not find it convincing.

For readers who have not already experienced this novel, I would only recommend it to those who enjoy highly suspenseful noir novels. This novel proves to be more of a character study than the exploration of a crime, and that is usually an approach I like. This time it did not prove to be enjoyable.

The film:

There is well-known film adaptation of this novel, directed by Alfred Hitchcock. Farley Granger as Guy and Robert Walker as Bruno both handle their roles very well. Robert Walker's acting is especially chilling. I had seen the movie before reading the book, but enough years had passed that I wasn't sure how much was changed in the film. The basic story and the ending of the film are quite different. I liked the film a lot, but it does not have the emotional impact or the depth of the book. In the book it is hard to have sympathy with anyone, in the film the characters are more likable.

Other thoughts on the novel:

• Marie's review at Goodreads
• At Peggy's Porch
• Moira's review at Past Offences
• Rich's  review at Past Offences
• At Col's Criminal Library

I still plan to read at least one other novel by Highsmith, The Talented Mr. Ripley, the first in a series. I will probably try some of her other stand alone novels. Suggestions are welcome.


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Publisher:   W. W. Norton & Company, 2001 (orig. publ. 1950)
Length:       280 pages
Format:      Trade paperback
Setting:      USA
Genre:        Mystery
Source:      A gift.

Reading Summary for October 2017

It felt like I read fewer books in October, but it wasn't that bad, it just took me 18 days to finish two of the books, Emma and Strangers on a Train. Whiteout was also read during that time but it doesn't really count because even at 128 pages, a graphic novel doesn't take that long to read.

My project through December of this year is to read one book a month by Jane Austen, as a part of the Jane Austen Read All A-Long at James Reads Books.  In August I read Pride and Prejudice (a re-read)  and in September I read Mansfield Park. October's Austen book was Emma, and as I said, it took me a while. I did enjoy the book but it was slow going. My thoughts on the book are HERE.

I did not realize until I had listed all the books I read this month that four of my five crime fiction books were written prior to 1960. That surprised me because lately I have been reading a higher percentage of contemporary novels.

And these are the five crime fiction books I read in October:

Whiteout (1991), a graphic novel written by Greg Rucka, illustrated by Steve Lieber

This is a mystery / thriller set in Antarctica featuring Carrie Stetko, U.S. Marshal. The story has been adapted into a movie of the same title, which I have yet to see.

Strangers on a Train (1950) by Patricia Highsmith

This is a fairly well-known novel, and also has a movie adaptation, directed by Alfred Hitchcock. The basic story is that two men meet on a train, and one of them suggests a murder pact. If they each murder a person that the other wants to get rid of, then they can get away with the perfect crime. A very good novel, but a disturbing read. Peggy at Peggy's Porch very kindly sent me this book, which I have been planning to read for years. 

Murder on the Blackboard (1932) by Stuart Palmer

Another book that has been adapted into a film. Oh no, a trend. It was not exactly deliberate, but I have had the Hildegarde Withers Mystery Collection from Warner Archives for quite a while, and wanted to read the book first.

Hildegarde Withers, a third-grade teacher in New York City, finds the dead body of an attractive young music teacher, Anise Halloran, in the cloakroom. Miss Withers calls in her friend Inspector Piper, but by the time he arrives, the body has disappeared. This is a complex mystery with a large cast, which also was a lot of fun to read.

Landed Gently (1957) by Alan Hunter

Another mystery novel with a large cast that confused me, and a lot of red herrings. But that was OK, because I found the hero, Inspector Gently, very charming and I liked that there were multiple investigators. Gently is visiting with the Chief Constable, Sir Daynes Broke, to get a chance at some pike fishing over Christmas, when a visitor at nearby Merely Hall is murdered. Being a guest of the Chief Constable, Gently cannot officially investigate the crime.

Envious Casca (1941) by Georgette Heyer

A country house mystery, with a corpse in a locked room, and a smallish set of residents and guests who are almost all suspects. I read a few of Georgette Heyer's mystery novels decades ago, and liked them well enough, but I was very surprised that I enjoyed this book so much. In a month of very good reading, this was easily my favorite read. Another one set at Christmas.