Criminal Brief readers might remember pastiches have to be damn good to win me over. That doesn't mean I dismiss or entirely dislike old heroes brought back to life by other than their original authors, but they must attain a high standard. One of our own, Dale Andrews with his thorough research, sets a high bar with his Ellery Queen stories.
Pastiche authors also have to capture the flavor of the original stories, the era, the settings, and especially the characters. More often than not, one of these will fall flat. Then the question becomes whether readers (and movie viewers) accept the character.
Often acceptance hinges upon what a reader or viewer is first exposed to. I recall an English friend complaining bitterly about the Roger Moore version of The Saint. At first blush, what wasn't to like? The cast and crew were British and whilst the series wasn't as good as anything the Patricks appeared in (McGoohan and MacNee (not to mention Diana Rigg's Emma Peel)), it was a good diversion.
And then I started reading The Saint novels and became properly hooked. I understood ITC failed to capture the period and much of the ambiance of Leslie Charteris' characters.
One other reason I'm slow to embrace pastiches is the abundance of fresh and perhaps unique stories that might never see the light of day (at least a bookstore day) thanks to being elbowed aside by better known heroes and authors. It's bad enough movie makers recycle characters and plots, but it seems a shame when book publishers do it.
Yes, I can understand hankering and hungering for more of characters one's grown to love. Perhaps for this reason and because it's not my chosen genre, I'm less critical of classic romance characters resurfacing than I am of mystery reprises. Recycle the Janes (Austen and Eyre) but don't touch Marple!
(Romance fans might be interested to learn new Jane Austen novels are in the pipeline including updates of Emma and Pride and Prejudice. And for the particular attention of our friend Travis Erwin, not all fans are pleased one of those authors is male, Alexander McCall Smith.)
If anything, romance fans are even more engaged and critical. You might remember the harsh criticism of Scarlett, the sequel to Gone with the Wind. The music field witnessed bitter, even vicious comments about Hayley Westenra covering Kate Bush's Wuthering Heights. While I rarely prefer remakes to the originals, I compliment Bush's creative genius but I find her little-girl performance a bit shrill for my ears, although I seem to be an exception.
Okay, I confess a bit of tongue in cheek (cheeky lad, that!). There is another way: I very much like the Solar Pons stories. August Derleth was such an admirer of Sherlock Holmes, he wrote Conan Doyle for permission to pick up pen and continue the series. Doyle declined, but not to be entirely put off, Derleth invented the great detective, Solar Pons.
The character became so popular, that when an edition came out that edited some of the Americanisms and timelines, the fan base reacted harshly, and an omnibus correcting the corrections soon followed.
But here it gets curious: A few years after August Derleth died, British author Basil Copper began writing further Solar Pons stories. In other words, Copper wrote pastiches of Derleth's pastiches! (And to be perfectly clear, Basil Copper was the editor who'd corrected Derleth's occasional Americanisms.)
Bonding with Fans
Only recently, we learned Jeffrey Deaver was engaged by the Fleming estate to write an 'official' new James Bond novel. Deaver, an American as you know, received not unpleasant mixed reviews for his effort, some positive, some not so much but they were better received than his immediate predecessor, Sebastian Faulks (who rather sounds like a Bond bad guy). As some have pointed out, Deaver is a better writer than Ian Fleming was, but critics are tough when it comes to capturing the essence of a character.
Deaver wasn't the first American appointed to write official 007 tales– that was novelist Raymond Benson– but I was surprised to learn we're about to see another new pastiche, this one by British writer William Boyd.
Wait, I'd be remiss if I failed to mention Samantha Weinberg's chicklit trilogy, The Moneypenny Diaries. And I should mention internationalism works both ways: Irish author John Banville, writing under the name Benjamin Black, is channeling Raymond Chandler's Philip Marlowe.
James Bond is hardly the only character brought back to life. I do my best to ignore the Batman-like parody of Sherlock Holmes that Robert Downey, Jr came up with. But other works have either arrived or are on the way.
British children's novelist Anthony Horowitz was licensed to write a new 'official' Sherlock Holmes with an Edith Wharton sounding title, The House of Silk.
Apparently Robert Ludlum's estate didn't feel the Bourne Trilogy satisfactorily wrapped up the series. They've authorized yet another retake called The Bourne Dominion by Eric Van Lustbader.
And finally, we return to Agatha Christie, not Jane Marple but Hercule Poirot. You may remember Christie hoped to prevent pastiches following on her novels, but her estate had other ideas. They've contracted with writer Sophie Hannah to produce a new novel featuring the egg-headed Belgian detective.
While I may criticize errant pastiches, one parting thought occurs to me: Wouldn't we authors like to reach that pinnacle, one where readers love our works so much, they can't get enough even after we're gone?