The Third R. Austin Freeman Megapack. R. Austin Freeman
James Megapack
The Macabre Megapack
The Second Macabre Megapack
The Third Macabre Megapack
The Arthur Machen Megapack**
The Mummy Megapack
The Occult Detective Megapack
The Darrell Schweitzer Megapack
The Vampire Megapack
The Weird Fiction Megapack
The Werewolf Megapack
The William Hope Hodgson Megapack
WESTERNS
The B.M. Bower Megapack
The Max Brand Megapack
The Buffalo Bill Megapack
The Cowboy Megapack
The Zane Grey Megapack
The Lon Williams Weird Western Megapack
The Western Megapack
The Second Western Megapack
YOUNG ADULT
The Boys’ Adventure Megapack
The Dan Carter, Cub Scout Megapack
The Dare Boys Megapack
The Doll Story Megapack
The G.A. Henty Megapack
The Girl Detectives Megapack
The E. Nesbit Megapack
The Penny Parker Megapack
The Pinocchio Megapack
The Rover Boys Megapack
The Tom Corbett, Space Cadet Megapack
The Tom Swift Megapack
The Wizard of Oz Megapack
AUTHOR MEGAPACKS
The Achmed Abdullah Megapack
The H. Bedford-Jones Pulp Fiction Megapack
The Edward Bellamy Megapack
The B.M. Bower Megapack
The E.F. Benson Megapack
The Second E.F. Benson Megapack
The Bjørnstjerne Bjørnson Megapack
The Algernon Blackwood Megapack
The Second Algernon Blackwood Megapack
The Max Brand Megapack
The First Reginald Bretnor Megapack
The Fredric Brown Megapack
The Second Fredric Brown Megapack
The Wilkie Collins Megapack
The Ray Cummings Megapack
The Guy de Maupassant Megapack
The Philip K. Dick Megapack
The Erckmann-Chatrian Megapack
The F. Scott Fitzgerald Megapack
The First R. Austin Freeman Megapack
The Second R. Austin Freeman Megapack*
The Third R. Austin Freeman Megapack*
The Jacques Futrelle Megapack
The Randall Garrett Megapack
The Second Randall Garrett Megapack
The Anna Katharine Green Megapack
The Zane Grey Megapack
The Edmond Hamilton Megapack
The Dashiell Hammett Megapack
The C.J. Henderson Megapack
The M.R. James Megapack
The Selma Lagerlof Megapack
The Murray Leinster Megapack***
The Second Murray Leinster Megapack***
The Jonas Lie Megapack
The Arthur Machen Megapack**
The George Barr McCutcheon Megapack
The Talbot Mundy Megapack
The E. Nesbit Megapack
The Andre Norton Megapack
The H. Beam Piper Megapack
The Mack Reynolds Megapack
The Rafael Sabatini Megapack
The Saki Megapack
The Darrell Schweitzer Megapack
The Robert Sheckley Megapack
The Bram Stoker Megapack
The Lon Williams Weird Western Megapack
The Virginia Woolf Megapack
The William Hope Hodgson Megapack
* Not available in the United States
** Not available in the European Union
***Out of print.
OTHER COLLECTIONS YOU MAY ENJOY
The Great Book of Wonder, by Lord Dunsany (it should have been called “The Lord Dunsany Megapack”)
The Wildside Book of Fantasy
The Wildside Book of Science Fiction
Yondering: The First Borgo Press Book of Science Fiction Stories
To the Stars—And Beyond! The Second Borgo Press Book of Science Fiction Stories
Once Upon a Future: The Third Borgo Press Book of Science Fiction Stories
Whodunit?—The First Borgo Press Book of Crime and Mystery Stories
More Whodunits—The Second Borgo Press Book of Crime and Mystery Stories
X is for Xmas: Christmas Mysteries
THE ART OF THE DETECTIVE STORY, by R. Austin Freeman
(Originally published in 1941.)
* * * *
The status in the world of letters of that type of fiction which finds its principal motive in the unravelment of crimes or similar intricate mysteries presents certain anomalies. By the critic and the professedly literary person the detective story—to adopt the unprepossessing name by which this class of fiction is now universally known—is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste.
That such works are produced by such writers for such readers is an undeniable truth; but in mere badness of quality the detective story holds no monopoly. By similar writers and for similar readers there are produced love stories, romances, and even historical tales of no better quality. But there is this difference: that, whereas the place in literature of the love story or the romance has been determined by the consideration of the masterpieces of each type, the detective story appears to have been judged by its failures. The status of the whole class has been fixed by an estimate formed from inferior samples.
What is the explanation of this discrepancy? Why is it that, whereas a bad love story or romance is condemned merely on its merits as a defective specimen of a respectable class, a detective story is apt to be condemned without trial in virtue of some sort of assumed original sin? The assumption as to the class of reader is manifestly untrue. There is no type of fiction that is more universally popular than the detective story. It is a familiar fact that many famous men have found in this kind of reading their favourite recreation, and that it is consumed with pleasure, and even with enthusiasm, by many learned and intellectual men, not infrequently