The Conjure-Man Dies

The Conjure-Man Dies is an interesting example of detective fiction because not only is it first known mystery novel published by an African-American, but because of the presence of at least three detectives established from the very beginning, we get the typical archetypal detective attributes contrasted side by side in one story.

            First of all, the first character that we see established as a detective is the physician John Archer. From the very first introduction, Rudolph Fisher presents Dr. Archer as a brilliant man, not only by the detailing of his medical knowledge, but also by the stark contrast between the physician’s speech to that of Bubber Brown and Jinx. He is not only well educated, but we see a degree of natural and intuitive genius. In this way Fisher has captured one of the earliest detective archetypes: The Holmesian Detective. Like Sherlock Holmes, Dr. Archer has an innate and unexplainable ability to decipher. He deduces and comes to a conclusion, and then finds the proof to back that up. Archer deduces that Frimbo had been choked, and then finds the proof with the handkerchief.

            Our second detective, Perry Dart epitomizes the archetype of the hardboiled police thriller detective. Unlike Archer, Dart is in fact, by trade, employed as a detective. He is a man of the streets and a criminal profiler. He encompasses the transition from the Holmesian detective to the Noir detective because his methods completely contrast that of Dr. Archer. It is interesting how clear this contrast is made by Fisher by including both of these type of detectives in one story. Unlike Dr. Archer who finds evidence to prove his ideas are correct, Detective Dart collects a certain amount of clues before he begins to sort out the puzzle. He brings a certain degree of excitement and thrill to The Conjure-Man Dies. 

            The third detective is somewhat of a surprise. Under interrogation, we discover that Bubber Brown is indeed a private investigator who is in the business to find cheaters. Although this character at first glance, seems to mostly act as comic relief, when you look closer, Bubber has the characteristics outlined by Raymond Chandler in “The Simple Art of Murder” to be classified as a Noir Private Eye. He is first of all, a man who belongs in a hard, shady city. As a man of Harlem, his number one method of detection is to hit the streets. He does this when attempting to catch cheaters and when he is recruited by Dart to bring in witnesses. Although not the typical romantic and dashing figure of Noir (relatable more to Dashiell Hammett's "Zigzags of Treachery" detective than Raymond Chandler's Philip Marlowe), in a way, Bubber can be described as mysterious. I did not see it coming that he was in fact, a detective by hire, and not only is he a man of the streets of Harlem, but he has an innate sense of honor. It is very clear that he is not only innocent, but genuinely interested in catching the bad guy and finding out whodunit. Lastly, Bubber can be undeniably classified as the Noir Private Eye because of his lack of funds. Although just starting out, he is in the business purely for the dough. He thought a detective gig catching cheaters would make him some money after losing his last job.

            There is apparently a fourth possibly detective… Frimbo?... hmmmm...

The Simple Art of Murder

When thinking of Noir, the first thing that comes to mind is a black and white Hollywood scene: a dimly lit, hazy, smoke-filled office with “Private-Eye” across the door, the hardboiled detective wearing a trench coat and hat, sitting back with cigarette at hand, a seductive woman caught up with unsavory characters, a mystery to be solved, dough to be made. Sometimes, the best part about certain genres of fiction is how incredibly romanticized they have become.

I find it interesting and slightly amusing that the rules that Raymond Chandler laid down for authors of detective fiction have basically become the most familiar of clichés. Although Chandler’s intention was that the genre become more realistic, serious, and significant, I’m afraid that these clichés are part of the reason that detective fictions are lovingly synonymous with “trashy beach novels.”

Raymond Chandler’s Rules include:

1.      A Hard, Shady, Disreputable City

Chandler argues that this must be the setting for the mystery because, naturally, this is where crime and murder live. The true realist author is tough minded and writes in a world where “no man can walk down a dark street in safety because law and order are things we talk about but refrain from practicing.” It’s true - the city is a place of anonymity, secrecy, and hostility, absolutely perfect for a good mystery. But it does lead to one of my absolute favorite clichés. What would a detective be without lots of misty streets, alley ways, and dim flickering light posts?

2.      A Mysterious Hero

The detective archetype is an interesting one. The detective is a man as mysterious as the mysteries he works on, it seems. As Raymond says, “he must be a complete man and a common man and yet an unusual man.” (but most of all, he must be a MAN. Women are definitely excluded.) Although his dealings are with criminals and crooked men, he is a man of honor, instinctively. He does not “care much about his private life” and approaches things above all with cool detachment. Of course, the cliché of the enigmatic detective makes all the dames swoon.

3.      A Poor Hero

A huge change in detective fiction is that the Noir detective “is a relatively poor man, or he would not be a detective at all”  - very unlike previous stories, especially Sherlock Holmes, a mastermind who solved mysteries merely for the fun of it. This way, the mysterious, ruggedly handsome man can not only interact with rich clients who can afford his services, but is unafraid of roaming the mean streets of the city, the home to crime and murder (another reason why women just don't fit the bill). All I can think of with this is a detective with a thick New Yorker or Chicagoan accent saying something along the lines of “I’m just in it for the dough, baby.”

Although not a rule given specifically by Raymond Chandler, my scenario of detective clichés would be incomplete without the presence of a damsel in distress. However, what I’ve come to discover by investigating more detective stories, that yes, there is the presence of a helpless damsel, but there is also the much more interesting development of the Femme Fatale. My favorite example of this type of woman is Raymond Chandler’s own Harriet Huntress from Trouble is My Business. Tall, fiery, vengeful, and seductive, Miss Huntress is anything but diminutive and gentle. She knows her way around a gun and makes quite a likely and capable murder suspect. She has an intriguing backstory of betrayal and revenge, but yet, has much depth of character. She’s quite the dame.