Lisa


 * 3 new essays: Essay 1 draft 5, Essay 2 draft 4, and essay 3 draft 3

essay 1 draft 5 **

 Poe’s story is the first modern detective story, focusing on the “whatwasit?” aspect of detection. I feel detective fiction is meant to be exciting, while challenging the reader. Poe successfully achieves this through his use of deception in the shocking ending. Poe’s use of structure, the art of deception, levels of competition, and lack of concern for women, prove that “Murders in the Rue Morgue,” corresponds to what detective and mystery fiction should be.  The structure of "The Murders in the Rue Morgue,” is appropriate for detective fiction. Dupin’s character is explained in detail, which proves to the audience his logical thinking and how he successfully solves the mysteries. The introduction to Dupin shows his “diseased intelligence.” The references to chess, and other games, show his logical thinking and imagination. The mind reading episode also illustrates the observations and logical thinking of Dupin. The final components to the text are the sailor’s confirmation of Dupin’s conclusion of the case, and the epilogue. These parts are necessary to show Dupin’s superiority over the sailor and the narrator. These components are essential to the text, as the reader needs background knowledge of the characters and their way of thinking, to understand how they attain their goal and solve the mystery. Without these components, the steps to solving the mystery would be unclear. Since it is necessary for the readers to follow the detection process, this structure makes “The Murders in the Rue Morgue,” correspond to what detective fiction should be.  In detective fiction, there are three levels of competition. In "The Murders in the Rue Morgue,” the first two levels are apparent. Firstly, there is competition between the characters, as Dupin yearns to show his superiority over the narrator, the sailor, and the prefect. The second level of competition is Poe challenging us as his readers to find the solution before the end of the text. The readers fail in the competition, because they are close minded. The readers are led to believe the murders were caused by human hands. They think of “who” murdered the women, not “what” murdered the women. Even when Dupin states, “I wish you to bear especially in mind that I have spoken of a //very // unusual degree of activity as requisite to success in so hazardous and so difficult a feat…//very extraordinary //—the almost preternatural character of that agility which could have accomplished it,” the readers do not catch on. They are given clues, but cannot comprehend the level of genius in the text. While the readers enjoy the challenge of this genre, solving the puzzle before the solution is announced would cause the readers to meet their challenge, and thus cause the story to be unsuccessful. “Murders in the Rue Morgue” is a deceiving title, but the deception causes Poe’s story to meet my expectations. Although not present in “Murders in the Rue Morgue,” the last level of competition is Poe competing against himself when he writes another text in the detective fiction genre. Poe must challenge himself to write better in the following two Dupin texts in the trilogy. The first two levels of competition expressed in “Murders in the Rue Morgue,” correspond with the elements of detective fiction.  In the beginning of detective fiction, women were the victims. This becomes evident in “The Murders in the Rue Morgue,” because the women who are killed receive no justice. There is barely any focus on the women in the text. The sailor receives a heavy profit for selling the beast, as the focus is on the mystery itself, not who was killed but by what. Considering the time Poe’s story was written, I expect this prejudice against women. Therefore, the sexism I feel in the story does not cause the text to fall short of my expectations. The lack of concern for women relates to the early texts in this genre, proving another reason how “Murders in the Rue Morgue” corresponds to detective fiction.  "The Murders in the Rue Morgue” possesses the key components of detective fiction. Because the readers are misled, and cannot win the competition against Poe, this text is rightfully seen as the first modern detective story. “Murders in the Rue Morgue,” corresponds to what I believe detection fiction should be. Even though I was shocked by the fact that Poe makes an ape the killer, the text did not exceed my expectations. “Murders in the Rue Morgue,” neither falls short of, nor exceeds my notion of what detective fiction should be. The first modern detective story simply meets my expectations.  essay 2 draft 4

Female sleuths add an emotional level and feminist message to detection. Female sleuths are emotional, sympathetic, and intuitive. They are observant of their communities and knowledgeable of woman’s lives. Male detectives, on the other hand, are men of science and shrewd game players. They are described as thinking machines, consummate analyzers, and stoics who are not swayed by emotions. Ultimately, female sleuths use their intuition, while their male counterparts use reasoning. Female detectives usually solve the mystery by identifying with a participant in the mystery. This is similar to Dupin’s Odd-Even game. However, the female detectives add emotion to the game. In “Missing Page Thirteen,” Violet Strange states, “Forgetting myself, I try to assume the individuality of the person who has worked the mystery. If I can think with his thoughts, I possibly may follow him in his actions” (107). This is an example of how female sleuths use their intuition to solve a case by assuming the role of a person involved. Violet Strange is conflicted over being a detective, as she must hide her job from her father, yet enjoys the challenge. She is fearful, yet understanding of Van Broecklyn. Male detectives ultimately use their reasoning to analyze the situation. They are game players, ready for action, stoics who are not swayed by softer emotion. In __The Maltese Falcon__, the male detective shows a cold detachment, achieving justice for himself. He is loyal to his clients until he is paid and must turn them in, showing how he does not allow his emotions to sway his decisions. Using his logic, working both with and against the police, Sam Spade is able to keep himself out of trouble with the law. Sam Spade’s encounter with Joel Cairo is a prime example of Spade’s intelligence, blunt honesty, and dry humor. Spade poses the sarcastic question, “Why should I sit around here and let people come in and stick me up?” to Cairo as he attempts to search Spade’s office in search of the falcon or clues relating to it. Spade is clearly undisturbed by the fact that Cairo brings a gun, instead, he pretends to follow Cairo’s directions, using his physical strength to take over. He is ready for action, and uses his keen eye for detail to establish a plan when reviewing his surroundings, as he does once he knocks Cairo out and searches his pockets looking for clues to who sent Cairo into his office. While female sleuths and their male counterparts solve the mystery using similar steps, there are major differences between the two. Mainly, the female detectives use their intuition and emotions to place themselves in the footsteps of the characters involved in the mystery, and sympathize with them as well. This agrees with the stereotypical behavior associated with women, that women are emotional and maternal. Comparing the stereotypes of females to the characteristics of female sleuths shows how the female detectives gain power, by seeing things from the criminal’s eyes. They use their emotions, and maternal instincts to understand what the criminal has done or why he has committed the crime. This allows female sleuths to place themselves in the criminals mind, and follow through to solve the mystery. Male detectives, however, leave emotion and intuition out, focusing only on the facts.

essay 3 draft 3

Essay 3 Each story in the genre of detective fiction consists of four major elements**.** This includes a disordered state of affairs, a detective figure who attempts to solve the crime, a detailed description of the steps towards the solution, and justice meted out or order restored. The two major types of detective fiction, classical and hardboiled, respectively answer the questions “Whodunit,” and “What the hell is going on?” Classical detection is simple to understand, but not as thrilling as hardboiled detection, while hardboiled detection is more difficult to understand, but thrilling. Characteristics of classical detection include an intellectual puzzle, and a plot that is emphasized over the character. The text takes place in an urban or rural setting with aristocratic characters. Classical detection is sexless and at the end moral order is restored. In hardboiled detection the detective is actively involved as there is a sense of spontaneity and coincidence. Classical detective fiction follows a simple storyline such as “The Stolen White Elephant,” and the “Biter Bit.” While “The Stolen White Elephant” is outlandish and humorous, the mystery is easy to follow. Chief detective Blunt, is for obvious reasons less competent than the police, adding more humor to the story. In the “Biter Bit,” the solution is obvious. The title suggests what happens, and the seasoned professionals solve the mystery. While both these stories are more humorous than other classical detective stories, they are examples of how classical detection is straightforward, a strength of classical detection. “Murders in the Rue Morgue,” is more complicated than as “The Stolen White Elephant,” and “Biter Bit,” but the structure of the story displays Dupin’s logical thinking, a characteristic of classical detection. The four essential components of Poe’s story portray Dupin’s intelligence. In “Murders in the Rue Morgue,” Dupin is detached, not involved with the happenings, and can see the whole picture. The intellectual puzzle is solved through Dupin’s reasoning. The introduction makes the reading familiar with Dupin’s “diseased intelligence,” showing his logical thinking. According to Frederick Frank and Anthony Magistrale, “sharpest mental weapon is ‘ratiocination,’ a higher form of reasoning that permits Dupin to detect what others have overlooked or dismissed as unimportant.” Dupin’s logical reasoning is a characteristic of classical detection. Hardboiled detection consists of a moral dilemma, and the character takes precedence over the plot, and the text is classless and democratic. The story takes place in an urban setting, placing emphasis on sex and masculinity. The endings of hardboiled detection are full of moral ambiguity. __The Maltese Falcon__, is one of the best known hardboiled novels. It differs from classical detection, because it is fast-paced with a snappy dialogue. There is a focus on money and sex, as Spade is overly heterosexual being involved with every woman, paying close attention to the attractive ones, and Cairo portrays the homosexual aspect of the novel. Cairo is portrayed as weak. He is petite in size, and is not physically strong; once his gun is taken away by Spade, he cannot win the fight. Cairo cries when Spade suggests to Gutman to use him as bait, turning him into the police. Paul Abrahams, states, “In developing the character of Sam Space, Hammett perfected the hardboiled detective type…emphasizing autonomous action and experience rather than reason and principle,” showing how Spade acts as the sheriff of the new Wild West, a theory discussed in our class discussions. There is less analysis but more action. Spade is an active detective; he is involved with his characters, always on the move. He visits with Gutman, fearless and determined to solve the mystery, and make a profit. One weakness of Hammett’s hardboiled narrative is that __The Maltese Falcon__ fails to consist of any noble characters. It makes it difficult to root for a hero in the story if no such character exists. While Spade restores order, he too is not the hero as he is protecting criminals for money. Another weakness of hardboiled detection is that it usually forces readers to reread the chapters or passages, to grasp a hold on the mystery. This makes it more difficult to read, but I feel the challenge is worth the thrill of the storyline. Classical detection is rational and deductive, where hardboiled is inductive and instinctive. While reflecting on the two types of detective fiction, it seems that classical detection would be more satisfying, because of the simplicity. However, hardboiled detective fiction is more fulfilling. It is the modern detection, and what I am used to reading and seeing in films. The storyline is striking, with a violent crime or murder committed by a gang or conspiracy. Classical detection consists of a clean crime or murder committed by an individual criminal. This is not as thrilling as the scenes pictured in hardboiled detection. While all detective fiction follows the same guidelines and structure, the two main types of detection vary greatly. Classical and hardboiled detection have significant differences that make each type exciting to read in its own way, answering the questions answer the questions “Whodunit,” and “What the hell is going on?”

The deception, structure, levels of competition played out and notion of a lack of concern for women in this text, prove that “Murders in the Rue Morgue,” corresponds to what detective and mystery fiction should be. The readers are led to believe the murders were caused by human hands. The audience is misled, and thus it is impossible to identify the culprit before the ending of the story. While the readers enjoy the challenge of this genre, solving the puzzle before the solution is announced would cause the readers to meet their challenge, and thus cause the story to be unsuccessful. “Murders in the Rue Morgue” is a deceiving title, but the deception causes Poe’s story to meet my expectations.
 * essay 1 draft 4 6/14/10 **

The structure of "The Murders in the Rue Morgue,” is appropriate for detective fiction. Dupin’s character is explained in detail, which proves to the audience his logical thinking and how he will successfully solve the mystery. The introduction to Dupin shows his “diseased intelligence.” The references to chess, and other games, show his logical thinking and imagination. The mind reading episode also illustrates the observations and logical thinking of Dupin. The final components to the text are the sailor’s confirmation and epilogue. These parts are necessary to show Dupin’s superiority over the sailor and the narrator. These components are essential to the text, as the reader needs background knowledge of the characters and their way of thinking, to understand how they attain their goal and solve the mystery. Without these components, the steps to solving the mystery would be unclear. Since it is necessary for the readers to follow the detection process, this structure makes “The Murders in the Rue Morgue,” correspond to what detective fiction should be.

In detective fiction, there are three levels of competition. In "The Murders in the Rue Morgue,” the first two levels are apparent. There is competition between the characters, as Dupin yearns to show his superiority over the narrator, the sailor, and the prefect. The second level of competition is Poe challenging us as his readers to find the solution before the end of the text. The readers fail in the competition, because they are close minded. They think of “who” murdered the women, not “what” murdered the women. Even when Dupin states, “"I wish you to bear especially in mind that I have spoken of a //very// unusual degree of activity as requisite to success in so hazardous and so difficult a feat…//very extraordinary//—the almost preternatural character of that agility which could have accomplished it,” the readers do not catch on. They are given clues, but cannot comprehend the level of genius in the text. Although not present in “Murders in the Rue Morgue,” the last level of competition is Poe competing against himself when he writes another text in the detective fiction genre. Poe must challenge himself to write better in the following two Dupin texts in the trilogy. The first two levels of competition expressed in “Murders in the Rue Morgue,” correspond with the elements of detective fiction.

In the beginning of detective fiction, women were the victims. This becomes evident in “The Murders in the Rue Morgue,” because the women who are killed receive no justice. There is barely any focus on the women in the text. The sailor receives a heavy profit for selling the beast. The focus is on the mystery itself, not who was killed but by what. This fact relates to the early texts in this genre, proving another reason how “Murders in the Rue Morgue” corresponds to detective fiction.

"The Murders in the Rue Morgue” possesses the key components of detective fiction. Because the readers are misled, and cannot win the competition against Poe, this text is rightfully seen as the first modern detective story. “Murders in the Rue Morgue,” corresponds to what I believe detection fiction should be. Even though I was shocked by the fact that Poe makes an ape the killer, the text did not exceed my expectations. “Murders in the Rue Morgue,” neither falls short of, nor exceeds my notion of what detective fiction should be. The first modern detective story simply meets my expectations. Female sleuths add an emotional level and feminist message to detection. Female sleuths are emotional, sympathetic, and intuitive. They are observant of their communities and knowledgeable of woman’s lives. Male detectives, on the other hand, are men of science and shrewd game players. They are described as thinking machines, consummate analyzers, and stoics who are not swayed by emotions. Ultimately, female sleuths use their intuition, while their male counterparts use strictly reasoning. Female detectives usually solve the mystery by identifying with a participant involved in the mystery. This is similar to Dupin’s Odd-Even game. However, the female detectives add emotion to the game. In “Missing Page Thirteen,” Violet Strange states “Forgetting myself, I try to assume the individuality of the person who has worked the mystery. If I can think with his thoughts, I possibly may follow him in his actions” (107). This is an example of how female sleuths use their intuition to solve a case by assuming the role of a person involved. Violet Strange is conflicted over being a detective, as she must hide her job, yet enjoys the challenge. She is fearful, yet understanding, as she places herself in the footsteps of another. Male detectives ultimately use their reasoning to analyze the situation. They are game players, ready for action, stoics who are not swayed by softer emotion. In __The Maltese Falcon__, the male detective shows a cold detachment, achieving justice for himself. He is loyal to his customers until he is paid and must turn them in, showing how he does not allow his emotions to sway his decisions. Using his logic, working both with and against the police, Sam Spade is able to keep himself out of trouble with the law. Sam Spade’s encounter with Joel Cairo is a prime example of Spade’s intelligence, blunt honesty, and dry humor. Spade poses the sarcastic questions, “Why should I sit around here and let people come in and stick me up?” and, “What do you want me to do, learn to stutter?” to Cairo as he attempts to search Spade’s office in search of the falcon or clues towards it. Spade is clearly undisturbed by the fact that Cairo brings a gun, instead, he pretends to follow Cairo’s directions, using his physical strength to take over. He is ready for action, and uses his keen eye for detail to establish a plan when reviewing his surroundings, as he does once he knocks Cairo out and searches his pockets looking for clues to who sent Cairo into his office. While female sleuths and their male counterparts solve the mystery using similar steps, there are major differences between the two. Mainly, the female detectives use their intuition and emotions to place themselves in the footsteps of the characters involved in the mystery, and sympathize with the as well. This agrees with the stereotypical behavior associated with women, that women are emotional and maternal. Comparing this stereotype to the characteristics of female sleuths is a positive observation, because it shows women can take power back, by seeing things from the criminal’s eyes. Male detectives, however, leave emotion and intuition out, focusing only on the facts. **essay 3 draft 2** (if you haven't corrected it yet, it was posted Thursday) Essay 3 Detective fiction follows the four major elements. This includes a disordered state of affairs, a detective figure who attempts to solve the crime, a detailed description of the steps towards the solution, and justice meted out or order restored. The two major types of detective fiction, classical and hardboiled, respectively answer the questions “Whodunit,” and “What the hell is going on?” Classical detection is simple to understand, but not as thrilling as hardboiled detection, while hardboiled detection is more difficult to understand, but thrilling.
 * essay 2 draft 3 **

Characteristics of classical detection include an intellectual puzzle, and a plot that is emphasized over the character. The text takes place in an urban or rural setting with aristocratic characters. Classical detection is sexless and at the end moral order is restored. In classical detection the detective is actively involved as there is a sense of spontaneity and coincidence. Classical detective fiction follows a simple storyline such as “The Stolen White Elephant,” and the “Biter Bit.” While “The Stolen White Elephant” is outlandish and humorous, the mystery is easy to follow. Chief detective Blunt, is for obviously less competent than the police, adding more humor to the story. In the “Biter Bit,” the solution is obvious. The title suggests what happens, and the seasoned professionals solve the mystery. While both these stories are more humorous than other classical detective stories, they are examples of how classical detection is straightforward, a strength of classical detection. “Murders in the Rue Morgue,” is more complicated than as “The Stolen White Elephant,” and “Biter Bit,” but the structure of the story displays Dupin’s logical thinking, a characteristic of classical detection. The four essential components of Poe’s story portray Dupin’s intelligence. In “Murders in the Rue Morgue,” Dupin is detached, not involved with the happenings, and can see the whole picture. The intellectual puzzle is solved through Dupin’s reasoning. The introduction makes the reading familiar with Dupin’s “diseased intelligence,” showing his logical thinking. According to Frederick Frank and Anthony Magistrale, the following lines state Dupin’s strength, his intelligence; “His sharpest mental weapon is ‘ratiocination,’ a higher form of reasoning that permits Dupin to detect what others have overlooked or dismissed as unimportant.” Dupin’s logical reasoning is a characteristic of classical detection.

Hardboiled detection consists of a moral dilemma, and the character takes precedence over the plot, and the text is classless and democratic. The story takes place in an urban setting, placing emphasis on sex and masculinity. The endings of hardboiled detection are full of moral ambiguity. “The Maltese Falcon,” is one of the best known hardboiled novels. It differs from classical detection, because it is fast-paced with a snappy dialogue. There is a focus on money and sex, as Spade is overly heterosexual being involved with every woman, paying close attention to the attractive ones, and Cairo portrays the homosexual aspect of the novel. Paul Abrahams, states, “In developing the character of Sam Space, Hammett perfected the hardboiled detective type…emphasizing autonomous action and experience rather than reason and principle,” showing how Spade acts as the sheriff of the new Wild West. There is less analysis but more action. Spade is an active detective; he is involved with his characters, always on the move. He visits with Gutman, fearless and determined to solve the mystery, and make a profit. One weakness of Hammett’s hardboiled narrative is that __The Maltese Falcon__ fails to consist of any noble characters. It makes it difficult to route for a hero in the story if no such character exists. While Spade restores order, he too is not the hero as he was protecting criminals for money. Another weakness of hardboiled detection usually forces readers to reread the chapters or passages, to grasp a hold on the mystery. This makes it more difficult to read, but I feel the challenge is worth the thrill of the storyline.

Classical is rational and deductive, where hardboiled is inductive and instinctive. While reflecting on the two types of detective fiction, it seems that classical detection would be a better pick, because of the simplicity. However, hardboiled detective fiction is more fulfilling. It is the modern detection, and what I am used to reading and seeing in films. The storyline is striking, with a violent crime or murder committed by a gang or conspiracy. Classical detection consists of a clean crime or murder committed by an individual criminal. This is not as thrilling as the scenes pictured in hardboiled detection. While detective fiction follows the same guidelines and structure, the two main types of detection vary greatly. Classical and hardboiled detection have significant differences that make each type exciting to read in its own way, answering the questions answer the questions “Whodunit,” and “What the hell is going on?”

Detective fiction is meant to excite the reader. This genre features murders, missing people, or missing things. Detection answers the questions “whodunit,” “whereisit,” and whatwasit?” I feel detection should be a challenge to its readers. If the reader is able to find out the solution before it’s revealed the text would be simple, easy, and boring, failing to provide a satisfying challenge.
 * Essay 1 draft 3 revision 6/10/10**

“Murder in the Rue Morgue” is a deceiving title, but the deception causes Poe’s story to correspond with what detective and mystery fiction should be. The readers are led to believe these murders were caused by human hands. The audience is misled, and thus it is impossible to identify the culprit before the ending of the story. The readers fail their challenge, because they are deceived. While the readers enjoy the challenge of this genre, solving the puzzle before the solution is announced would cause the readers to meet their challenge, and thus cause the story to be unsuccessful, falling short of what detective fiction should be. The text has all the components of detective fiction, and the mystery is impossible to solve before Dupin states the solution, causing it to correspond to what detective fiction should be, as the text provides a challenge for its readers.

The structure of "The Murders in the Rue Morgue,” is appropriate for detective fiction. In detail, the analysis shows Dupin’s character, which proves to the audience his logical thinking and how he will successfully solve the mystery. The introduction to Dupin shows his “diseased intelligence.” The references to chess show his logical thinking, and the abstract thinking is portrayed through imagination. The mind reading episode depicts the observations and logical thinking of Dupin. The final components to the text are the sailor’s confirmation and epilogue. These parts are necessary to show Dupin’s superiority over the sailor and the narrator. These components are essential to the text, as the reader needs background knowledge on the characters and their way of thinking, to understand how they attain their goal and solve the mystery. Without these components, the steps to solving the mystery would be unclear. Since it is necessary for the readers to follow the detection process, this structure makes “Murder in the Rue Morgue,” correspond to what detective fiction should be.

In detective fiction, there are three levels of competition. In "The Murders in the Rue Morgue,” the first two levels are apparent. There is competition between the characters, as Dupin yearns to show his superiority over the narrator, the sailor, and the prefect. The second level of competition is Poe challenging us as his readers to find the solution before the end of the text. However, Poe makes this impossible for his readers to achieve. The readers fail in the competition, because they are close minded. They think of “who” murdered the women, not “what” murdered the women. Even when Dupin states, “"I wish you to bear especially in mind that I have spoken of a //very// unusual degree of activity as requisite to success in so hazardous and so difficult a feat…//very extraordinary//—the almost preternatural character of that agility which could have accomplished it,” the readers do not catch on. They are given clues, but cannot comprehend the level of genius in the text. Poe misleads his audience, and he wins this level of competition. Although not present in “Murders in the Rue Morgue,” the last level of competition is Poe competing against himself when he writes another text in the detective fiction genre. Poe must challenge himself to write better in the following two Dupin texts in the trilogy. The first two levels of competition expressed in “Murders in the Rue Morgue,” prove to help the story correspond with the elements of detective fiction.

In the beginning of detective fiction, women were the victims. This becomes evident in “The Murders in the Rue Morgue,” because the women who are killed receive no justice. There is barely any focus on the women in the text. Instead, the focus is on the mystery itself, not who was killed but by what. The sailor receives a heavy profit for selling the beast. This shows the lack of concern for the women who were killed, a component of early detective fiction. This fact relates to the early texts in this genre, proving another reason how “Murders in the Rue Morgue” corresponds to detective fiction.

"The Murders in the Rue Morgue” possesses the key components of detective fiction. While the readers are misled, and cannot win the competition over Poe, this text is rightfully seen as the first modern detective story. “Murders in the Rue Morgue,” corresponds to what I believe detection fiction should be. Even though I was shocked by the fact that Poe makes an ape the killer, the text did not exceed my expectations. “Murders in the Rue Morgue,” neither falls short of, nor exceeds my notion of what detective fiction should be. The first modern detective story simply meets my expectations. The deception, structure, levels of competition played out in the text, and notion of a lack of concern for women in this text, prove that “Murders in the Rue Morgue,” corresponds to what I believe detective and mystery fiction should be.

Female sleuths add an emotional level and feminist message to their stories. Female sleuths are emotional, sympathetic, and intuitive. They are observant of their communities and knowledgeable of woman’s lives. Male detectives, on the other hand, are men of science and shrewd game players. They are described as thinking machines, consummate analyzers, and stoics who are not swayed by emotions. Ultimately, female sleuths use their intuition, while their male counterparts use strictly reasoning. Female detectives usually solve the mystery by identifying with a participant involved in the mystery. This is similar to Dupin’s Odd-Even game. However, the female detectives add emotion to the game. In “Missing Page Thirteen,” Violet Strange states “Forgetting myself, I try to assume the individuality of the person who has worked the mystery… I may follow him in his actions” (107). This is an example of how female sleuths use their intuition to solve a case by assuming the role of a person involved. Violet Strange is conflicted over being a detective, as she must hide her job, yet enjoys the challenge. She is fearful, yet understanding. In __The Maltese Falcon__, the male detective shows a cold detachment, achieving justice for himself. He is loyal to his customers until he is paid and must turn them in. Working both with and against the police, Sam Spade is able to keep himself out of trouble with the law. Sam Spade’s encounter with Joel Cairo is a prime example of Spade’s intelligence, blunt honesty, and dry humor. Spade poses the sarcastic question, “Why should I sit around here and let people come in and stick me up….What do you want me to do, learn to stutter?” to Cairo as he attempts to search Spade’s office in search of the falcon or clues towards it. Spade is clearly undisturbed by the fact that Cairo brings a gun, instead, he pretends to follow Cairo’s directions, using his physical strength to take over. He is ready for action, and uses his keen eye for detail to establish a plan when reviewing his surroundings, as he does once he knocks Cairo out and searches his pockets looking for clues to who sent Cairo into his office. While both female sleuths and their male counterparts solve the mystery using the similar steps and detail, there are major differences between the two. Mainly, the female detectives use their intuition and emotions to place themselves in the footsteps of the criminals, and sympathize with the characters involved. This agrees with the stereotypical behavior associated with women, that women are emotional and maternal. Comparing this stereotype to the characteristics of female sleuths is a positive observation, because it shows women can take power back, by seeing things from the criminal’s eyes. Male detectives, however, leave emotion and intuition out, focusing only on the facts. Essay 3 Detective fiction follows the four major elements. This includes a disordered state of affairs, a detective figure who attempts to solve the crime, a detailed description of the steps towards the solution, and justice meted out or order restored. The two major types of detective fiction, classical and hardboiled, respectively answer the questions “Whodunit,” and “What the hell is going on?” Classical detection is simple to understand, but not as thrilling as hardboiled detection, while hardboiled detection is more difficult to understand, but thrilling. Characteristics of classical detection include an intellectual puzzle, and a plot that is emphasized over the character. The text takes place in an urban or rural setting with aristocratic characters. Classical detection is sexless and at the end moral order is restored. In classical detection the detective is actively involved as there is a sense of spontaneity and coincidence. Classical detective fiction follows a simple storyline such as “The Stolen White Elephant,” and the “Biter Bit.” While “The Stolen White Elephant” is outlandish and humorous, the mystery is easy to follow. Chief detective Blunt, is for obviously less competent than the police, adding more humor to the story. In the “Biter Bit,” the solution is obvious. The title suggests what happens, and the seasoned professionals solve the mystery. While both these stories are more humorous than other classical detective stories, they are examples of how classical detection is straightforward, a strength of classical detection. “Murders in the Rue Morgue,” is more complicated than as “The Stolen White Elephant,” and “Biter Bit,” but the structure of the story displays Dupin’s logical thinking, a characteristic of classical detection. The four essential components of Poe’s story portray Dupin’s intelligence. In “Murders in the Rue Morgue,” Dupin is detached, not involved with the happenings, and can see the whole picture. The intellectual puzzle is solved through Dupin’s reasoning. The introduction makes the reading familiar with Dupin’s “diseased intelligence,” showing his logical thinking. According to Frederick Frank and Anthony Magistrale, the following lines state Dupin’s strength, his intelligence; “His sharpest mental weapon is ‘ratiocination,’ a higher form of reasoning that permits Dupin to detect what others have overlooked or dismissed as unimportant.” Dupin’s logical reasoning is a characteristic of classical detection. Hardboiled detection consists of a moral dilemma, and the character takes precedence over the plot, and the text is classless and democratic. The story takes place in an urban setting, placing emphasis on sex and masculinity. The endings of hardboiled detection are full of moral ambiguity. “The Maltese Falcon,” is one of the best known hardboiled novels. It differs from classical detection, because it is fast-paced with a snappy dialogue. There is a focus on money and sex, as Spade is overly heterosexual being involved with every woman, paying close attention to the attractive ones, and Cairo portrays the homosexual aspect of the novel. Paul Abrahams, states, “In developing the character of Sam Space, Hammett perfected the hardboiled detective type…emphasizing autonomous action and experience rather than reason and principle,” showing how Spade acts as the sheriff of the new Wild West. There is less analysis but more action. Spade is an active detective; he is involved with his characters, always on the move. He visits with Gutman, fearless and determined to solve the mystery, and make a profit. One weakness of Hammett’s hardboiled narrative is that __The Maltese Falcon__ fails to consist of any noble characters. It makes it difficult to route for a hero in the story if no such character exists. While Spade restores order, he too is not the hero as he was protecting criminals for money. Another weakness of hardboiled detection usually forces readers to reread the chapters or passages, to grasp a hold on the mystery. This makes it more difficult to read, but I feel the challenge is worth the thrill of the storyline. Classical is rational and deductive, where hardboiled is inductive and instinctive. While reflecting on the two types of detective fiction, it seems that classical detection would be a better pick, because of the simplicity. However, hardboiled detective fiction is more fulfilling. It is the modern detection, and what I am used to reading and seeing in films. The storyline is striking, with a violent crime or murder committed by a gang or conspiracy. Classical detection consists of a clean crime or murder committed by an individual criminal. This is not as thrilling as the scenes pictured in hardboiled detection. While detective fiction follows the same guidelines and structure, the two main types of detection vary greatly. Classical and hardboiled detection have significant differences that make each type exciting to read in its own way, answering the questions answer the questions “Whodunit,” and “What the hell is going on?”
 * essay 2 draft 2 6/10/10**
 * essay 3 draft 2 6/6/10**

Detective fiction follows the four major elements of this genre. This includes a disordered state of affairs, a detective figure who attempts to solve the crime, a detailed description of the steps towards the solution, and justice met or order restored. The two major types of detective fiction, classical and hardboiled, respectively answer the questions “Whodunit,” and “What the hell is going on?” Characteristics of classical detection include an intellectual puzzle, and a plot that is the focus over the character. The text takes place in an urban or rural setting with aristocratic characters and a critique from society from above. Hardboiled detection consists of a moral dilemma, and the character takes precedence over the plot. The society in a hardboiled detective fiction critiques from below, as the text is classless and democratic. The story takes place in an urban setting. Classical is rational and deductive, where hardboiled is inductive and instinctive. In classical detection the detective is actively involved as there is a sense of spontaneity and coincidence.
 * Essay 3** draft 1

The difference in murder is significant. Clean crime and murder with an individual criminal is part of classical detection, while bloody and violent crime and murder that is completed by a gang or conspiracy is associated with hard boiled detection. Classical detection is sexless and at the end moral order is restored. On the other hand, hard boiled detection places emphasis on sex and masculinity, and the ending is full of moral ambiguity. “The Maltese Falcon,” is one of the best known hardboiled novels. It differs from classical detection, because it is fast-paced with a snappy dialogue. There is a focus on money and sex, as Spade is overly heterosexual being involved with every woman, paying close attention to the attractive ones, and Cyro portrays the homosexual aspect of the novel. Paul Abrahams, states, “In developing the character of Sam Space, Hammett perfected the hardboiled detective type…emphasizing autonomous action and experience rather than reason and principle,” showing how Space acts as the sheriff of the “New Wild West.” Hammett’s narrative fails to consist of any noble characters. There is less analysis but more action. The structure of “Murders in the Rue Morgue,” is broken down into the narrator’s introduction, a presentation of the facts, Dupin’s investigation, and his explanation of how he solved the mystery. These four essential parts portray Dupin’s intelligence. In “Murders in the Rue Morgue,” Dupin is detached, not involved with the happenings, and can see the whole picture. The intellectual puzzle is solved through Dupin’s reasoning. The introduction makes the reading familiar with Dupin’s “diseased intelligence,” showing his logical thinking. According to Frederick Frank and Anthony Magistrale, the following lines state Dupin’s strength, his intelligence; “His sharpest mental weapon is ‘ratiocination,’ a higher form of reasoning that permits Dupin to detect what others have overlooked or dismissed as unimportant.” Dupin’s logical reasoning is a characteristic of classical detection. While detective fiction follows the same guidelines and structure, the two main types of detection vary greatly. Classical and hardboiled detection have significant differences that make each type exciting to read in its own way, answering the questions answer the questions “Whodunit,” and “What the hell is going on?”

Female sleuths add an emotional level and feminist message to their story. Female sleuths are emotional, sympathetic, and intuitive. They are observant of their communities an knowledgeable of woman’s lives. Male detectives, on the other hand, are men of science and shrews game players. They are described as thinking machines, complete analyzers, and stoics who are not swayed by emotions. Ultimately, female sleuths use their intuition, while their male counterparts use strictly reasoning. Female detectives usually solve the mystery by identifying with a participant involved in the mystery. This is similar to Dupin’s Odd-Even game. However, the female detectives add emotion to the game. In “Missing Page Thirteen,” Violet Strange states “Forgetting myself, I try to assume the individuality of the person who has worked the mystery… I may follow him in his actions” (107). This is an example of how female sleuths use their emotions to be observant. Violet Strange is conflicted over being a detective, as she must hide her job, yet enjoys the challenge. She is fearful, yet understanding. “A Jury of Her Peers,” resembles detective stories with male detectives, in the sense that both male and female detectives take the same steps to find the solution, and add details. However, there are many significant differences between female sleuths and their male counterparts. “A Jury of Her Peers,” is similar to “The Blue Geranium,” because the women are victims. In “A Jury of Her Peers,” the female detective is underestimated, the main difference between the two texts of detection. While both female sleuths and their male counterparts solve the mystery in their own way, there are major differences between the two. Mainly, the female detectives use their intuition and emotions to place themselves in the footsteps of the criminals, and sympathize with involved characters. This agrees with the stereotypical behavior associated with women, that women are emotional and maternal. Comparing this stereotype to the characteristics of female sleuths is a positive observation, because it shows women can take power back, by seeing things from the criminal’s eyes. Male detectives, however, leave emotion and intuition out, focusing only on the facts.
 * Essay 2 draft 1**

Detective fiction is meant to excite the reader. This genre features mystery stories about murders, missing people, or missing things. Detection answers the questions “whodunit,” “whereisit,” and whatwasit?” I feel detection should be a challenge to its readers. If the reader is able to find out the solution before its revealed the text would be simple, easy, and boring, defying the purpose of the challenge.
 * Essay 1 draft 2**

“Murder in the Rue Morgue” is a deceiving title. As the reader, I was led to believe these murders were the caused by human hands. The audience is misled, and thus it is impossible to find the culprit before the ending of the story. We fail our challenge, because we are deceived. “Murders in the Rue Morgue,” however, especially because of the deception, corresponds to what detective and mystery fiction should be. The text has all the components of detective fiction, and the mystery is impossible to solve before Dupin states the solution.

The structure of "The Murders in the Rue Morgue,” is appropriate for detective fiction. While the discourse of analysis could have been briefer, it showed the amusement and competition of the text. The introduction to Dupin showed his “diseased intelligence.” The references to chess showed his logical thinking, and the abstract thinking was portrayed through imagination. The mind reading episode depicted the observations and logical thinking of Dupin. The final components to the text were the sailor’s confirmation and epilogue. These parts were necessary to show Dupin’s superiority over the sailor and the narrator. These components are essential to the text, as the reader needs background knowledge on the characters and their way of thinking, to understand how they concluded to their solution.

In detective fiction, there are three levels of competition. In "The Murders in the Rue Morgue,” the first two levels are apparent. There is competition between the characters; Dupin yearns to show his superiority over the narrator and the sailor. The second level of competition is Poe challenging us as his readers to find the solution before the end of the text. However, Poe makes this impossible for us to achieve. We, as readers, fail in the competition, because we are close minded. We think of “who” murdered the women, not “what” murdered the women. Even when Dupin states, “"I wish you to bear especially in mind that I have spoken of a //very// unusual degree of activity as requisite to success in so hazardous and so difficult a feat…//very extraordinary//—the almost præternatural character of that agility which could have accomplished it,” as readers, we do not catch on. We are given clues, but cannot comprehend the level of genius in the text. Poe misleads his audience, and he wins this level of competeition. Although not prevalent in “Murders in the Rue Morgue,” the last level of competition is Poe competing against himself when he writes another text in the detective fiction genre. Poe must challenge himself to write better in the following two Dupin texts in the trilogy

In the beginning of detective fiction, women were the victims. This becomes evident in “The Murders in the Rue Morgue,” because the women who are killed receive no justice. There is barely any focus on the women in the text. Instead, the focus is on the mystery itself, not who was killed but by what. The sailor receives a heavy profit for selling the beast. This shows the lack of concern for the women who were killed, a component of early detective fiction.

"The Murders in the Rue Morgue" proves to correspond with the components of detective fiction. While the readers are misled, and cannot complete their level of competition, this text is rightfully seen as the first modern detective story. Poe usually exceeds my expectations, and he did by having the ape as the killer. However, my expectations of the detective fiction aspect of the text were not exceeded. This was most likely because Poe rambled on during his discourse of analysis. I do feel that “Murders in the Rue Morgue,” corresponds to what detective and mystery fiction should be.

“The Murders in the Rue Morgue” is a deceiving title. As the reader, I was led to believe these murders were the cause of human hands. The audience is misled, and thus it is impossible to find the culprit before the ending of the story. We fail our challenge, because we are deceived. “Murders in the Rue Morgue,” however, especially because of the deception, corresponds to what detective and mystery fiction should be. The text has all the components of detective fiction, and the mystery is impossible to solve before Dupin states the solution.
 * essay 1 draft 1**

The structure of "The Murders in the Rue Morgue,” is fit for detective fiction. While the discourse of analysis could have been briefed, it showed the amusement and competition of the text. The introduction to Dupin showed his “diseased intelligence.” The chess showed his logical thinking, and the abstract thinking was portrayed through imagination. The mind reading episode depicted the observations and logical thinking of Dupin. The final components to the text were the sailor’s confirmation and epilogue. These parts were necessary to show Dupin’s superiority over the sailor and the narrator. These components are essential to the text, as the reader needs background knowledge on the characters and their way of thinking, to understand how they concluded to their solution.

In detective fiction, there are three levels of competition. In "The Murders in the Rue Morgue,” each level is played out. There was competition between the characters; Dupin yearned to show his superiority over the narrator and the sailor. The second level of competition is Poe challenging us as his readers to find the solution before the end of the text. The last level of competition is Poe competing against himself when he writes another text in the detective fiction genre. Poe must challenge himself to write better in the following two Dupin texts in the trilogy

In the beginning of detective fiction, women were the victims. This becomes evident in “The Murders in the Rue Morgue,” because the women who are killed receive no justice. There is barely any focus on the women in the text. Instead, the focus is on the mystery itself, not who was killed but by what. The sailor receives a heavy profit for selling the beast. This shows the nonexistent concern for the women who were killed, a component of early detective fiction.

"The Murders in the Rue Morgue" proves to correspond with the components of detective fiction. While the readers are misguided, and cannot complete their level of competition, this text is rightfully seen as the first modern detective story. Poe usually exceeds my expectations, and he did by having the ape as the killer. However, my expectations of the detective fiction aspect of the text were not exceeded. This was most likely because Poe rambled on during his discourse of analysis. I do feel that “Murders in the Rue Morgue,” corresponds to what detective and mystery fiction should be.