CULTURAL SCENE INVESTIGATION
Tension is building up slowly. Gradually, we enter the world in which crime is a part of everyday life and the darkest corners of the human soul cease to be a secret. The atmosphere of uncertainty and expectation continues till the last page. The main character becomes a guide. Whatever mask he/she is wearing – that of an eccentric private detective, an inquisitive girl or an intelligent police officer – we start to live and breathe the protagonist’s life. Apparently, the authors of the latest issue of “Czas Kultury” 3/2007 have also been attracted by the magical charm of a crime story since they have prepared for the readers a truly criminal, spine-chilling feast.
In fact, we are being invited to a real smorgasbord, because various meanings of the word “crime” enable anyone to freely refer to any of its aspects. To continue the “food” metaphors - an excellent interview with the private detective Maciej Szuba (An Interview with the Criminal Detective Maciej Szuba by Jerzy Borowczyk and Michał Larek. The Mystery of Interrogation Has Just Began… / Z detektywem kryminalnym Maciejem Szubą rozmawiają Jerzy Borowczyk i Michał Larek. Rozpoczyna się właśnie misterium przesłuchania...) may be undoubtedly considered the main course. Szuba tells a fascinating story of his long-standing work, first as a police officer, and then as a detective. This interview sketches an image of a man in comparison with whom other literary experts in solving murders simply pale; each story quoted by him could serve as an inspiration for writing a thrilling criminal novel. Szuba shows how often the stereotypes contained in the novels are modified in a real life in completely unexpected ways. He also confirms that the crucial elements allowing such an interpretation of reality which results in successful investigation are: passion, extensive knowledge, long-time experience and intuition. Additionally, he reveals the hidden mechanisms underlying interrogation and the process of finding out the truth itself. He spins an amazing tale about the surprising effects of the power of mind and intuition. Facts analysis and their correct interpretation and maximally strained flair for observation – all those elements will allow us to find the right way in the world of true crime. Paradoxically, the unrevealed secret becomes even more fascinating and, similarly, a detective, by revealing the behind-the-scenes work, covers even more by proving that he has the knowledge accessible only for the chosen ones. In fact, it is not the result of an investigation that should be of importance to crime novels readers but the fascinating process of investigation itself, about which the detective tells Larek and Borowczyk.
Let’s try other dishes, then. Adam Adamczyk analyses the myth of the communist murderer – a vampire ( “Interview with the Vampire” – Communist Pitaval Now And Then / „Wywiad z wampirem” – pitaval peerelowski dziś i wczoraj). On the basis of Stanisław Modzelewski, Zdzisław Marchwicki and – probably the most publicized – Karol Kot cases, he shows how the criminals and crimes committed by them become a part of the cultural world. Legends grow around murderers and their crimes – mysteries, which are altered and processed by the collective memory. The question might be asked about the source of common interest in the murderers as well as the fact that the presence of evil seems to be necessary and wanted, while the systematically created legends seem to have therapeutic and glamorizing properties.
Naturally, articles on classic detective novels have also been provided. Michał Larek discusses the figure of femme fatale in Dashiell Hammett's novels and reflects on the motif of lying, which apparently underlies all crime novels. (Lie, Detective Novel, Woman. About Dashiell Hammett’s Books / Kłamstwo, kryminał, kobieta. O książkach Dashiella Hammetta). Jerzy Borowczyk outlines the world created by Raymond Chandler – he writes about a specific way of creating reality by means of introducing specific descriptions and language used by the characters. He also attempts to explain why Chandler is considered to be an outstanding writer (No More Sentiments. About Raymond Chandler’s Novels / Już żadnych sentymentów. O powieściach Raymonda Chandlera). Philip Marlowe, the main character of Chandler's books, turns out to be a contemporary flâneur, thoroughly commenting on the world he lives in. Ewa Kraskowska, in turn, in her sketch Ladies and Criminals (Damy i zbrodniarze) introduces profiles of such ladies of crime fiction as P. D. James, Ruth Rendell and Patricia Highsmith. Those female authors, who are considered estimable successors of Agatha Christie, wonderfully reveal the gloomy recesses of the human soul, as well as ask about the motives and psychological origins of the crime.
An interesting look at crime novels is presented by Marek Wasilewski who demonstrates how art deco style greatly contributed to creating characters and atmosphere of crime stories about Hercules Poirot and, above all, their film adaptations (Art Déco Murder / Morderstwo art déco). Moreover, Wasilewski tells about one imagination-stimulating titbit. It turns out that anybody can take part in their own private mystery – it is enabled by Art Déco Productions, which organizes special meetings during which murder scenarios and investigations are acted out.
Yet another interesting article entitled The Devil’s in the Detail (Diabeł tkwi w szczegółach) by Justyna Knieć, presents the author's deliberations on the anti-genre nature of some detective films. She analyses Coen brothers' films as well as “Zodiac” by David Fincher and shows how the classic rules underlying the genre are broken in those movies: grotesque reversals and ironic role changes – a creative interpretation has the power of forming new quality.
Finally, as a dessert, we get an excerpt from a new novels by Marek Krajewski and Mariusz Czubaj. Commissioner Pater faces a new criminal mystery and it seems that the book Graveyard Roses (Róże cmentarne) will be more interesting than the latest adventures of the police officer from Gdańsk.
There is always a moment of great suspense in a good crime story – a moment during which we are ready to forget about everything in anticipation of the truth, and answer to the mystery is only a few pages away. Thrill. Then, we become overwhelmed, absorbed by the story. We feel the need to enter the labyrinth intricately crafted by the author.
What makes detective stories so popular among readers? Is it our inborn desire to learn and discover new things? Are these individual and social needs? Maybe it is the willingness to see the mirror image of our darkest desires? Are we intrigued by the unknown; solving the riddles, finding out who killed and, above all, why he/she did it? The secret itself is not as important as the way in which it is solved – the process is crucial since all kinds of social and psychological references surface by means of it. The secret is only an excuse.
Just like Edward Pasewicz in his feature A Bit of a Dead Body (Trochę trupa) I would like the detective novel genre to become valued at last and not to be crammed on some culturally lower shelves. In the new issue of “Czas Kultury” the authors attempt to examine thoroughly associations with the detective novel approaching it from different perspectives – from presenting criminal practices, through literary portrayals of the authors, texts samples, to the relevance of this genre to architecture and painting. It seems to me, however, that in parts too much emphasis have been placed on the literal presentation of the crime while the literary senses of the readers have been left unsatisfied. In spite of this fact, the latest “Czas Kultury” abounds in variety and, thus, is an interesting proposition not only for the lovers of crime mysteries. It is worthwhile choosing a dish, which will best suit our individual tastes.
Jolanta Karaś
Translated by Karolina Zydek
Discussed journals: Czas Kultury