Showing posts with label Martin Edwards. Show all posts
Showing posts with label Martin Edwards. Show all posts

14 April 2017

Interview with Martin Edwards, Malice Domestic's Poirot Award Winner


By Art Taylor

What has struck me most about Martin Edwards, whenever I've been fortunate to spend time with him, are his kindness, generosity, and modesty—qualities which continually understate his truly monumental accomplishments.

Martin Edwards
Just in the past year, Edwards won the Agatha, Edgar, and Macavity Awards in the U.S. and the H.R.F. Keating Award in the U.K. for The Golden Age of Murder: The Mystery of the Writers Who Invented the Modern Detective Story, but while this landmark book alone might be enough to earn that adjective "monumental" I used above, it's only part of Edwards' story. He's published a dozen and half novels, including two series set in Liverpool and the Lake District. He's published more than 60 short stories, and he's been honored with both the CWA (Crime Writers' Association) Short Story Dagger and the CWA Margery Allingham Award for his short fiction. He's edited 30 anthologies (and counting!), and he advises the British Library's Crime Classics series, republishing both novels and anthologies of classic stories (published in the US by Poisoned Pen Press). He's the president and archivist of the famed Detection Club, and he's the chair and archivist for the CWA as well. And he keeps up a lively blog on fiction, film, and more at "Do You Write Under Your Own Name?"

Oh, and seems like he accomplished most of this in his spare time, since he's also had a long legal career. 


In two weeks, Malice Domestic will celebrate Edwards with this year's Poirot Award, honoring outstanding contributions to the mystery genre. I can hardly imagine anyone who deserves the award more.

In advance of that, Edwards indulged me with a interview—while traveling and via iPhone!—a few quick questions touching on each area of his distinguished career.

Art Taylor: At last year’s Malice Domestic, you won an Agatha Award for The Golden Age of Murder, and this year, you’re returning as the Poirot Award honoree, with that same book  among the cornerstones of your contributions to the genre. Other than awards, what’s been a particularly memorable moment in the reception the book has received?

Martin Edwards: I worked on The Golden Age of Murder for many years, thinking few people would share my enthusiasm. Of all the many gratifying responses, I treasure the review in The Times by Marcel Berlins, one of our leading and most respected reviewers. Modesty forbids me to quote it here. But not to include it on my website!

[Editor's note, overriding Edwards' modesty: The Times wrote that "Few, if any, books about crime fiction have provided so much information and insight so enthusiastically and, for the reader, so enjoyably... No other work mixes genre history, literary analysis and fascinating author biographies with such relish.”]
 
Is there more ahead in your work as a historian?

Yes, this summer will see publication of The Story of Classic Crime in 100 Books, a companion to the British Library's amazingly successful series. It's a book I'm very proud of.


How do you select books for the British Library's Crime Classics series, and has there been a title that you’ve been particularly proud to reintroduce into publication?

I act as consultant to the British Library and make endless suggestions about books, but they make the decisions. I'm very pleased about many of the reprints but writing a new solution to Anthony Berkeley's The Poisoned Chocolates Case was a particular joy.

[Another editor’s note: A joy for this reader as well!]

John Dickson Carr has said that short fiction is the natural form of the detective story. What special place does short story hold for you in the mystery genre? What  do you value most in a short story—and what are your own goals and challenges in writing your own short fiction? 


Short stories are wonderful! Sherlock and Father Brown were at their best in the short form, and today it remains a great vehicle for a mystery (as you have shown, Art!). A great short story grips from start to finish with no wasted words or longeurs.

One of the pleasures of short story writing is the chance to experiment, to take risks that might seem too daunting in the context of a novel that could take a year or more to write. I wrote short stories set in the countryside before moving from a Liverpool-based series to one set in the Lake District, and that apprenticeship did help. In between finishing one novel and starting another, writing a short story or two can offer a welcome change of pace, and get you in the mood to start another long haul. And there are some things you can do in short stories that you simply can’t do (or at least I couldn’t do) in a novel. One example is a very short story I wrote in the form of an extract from the index to a book. Another is a story called "Acknowledgments" which takes the form used by authors when they include acknowledgments in a book; except that in this story, things take an unexpected turn....


While you’ve obviously been busy in many directions, your fans are waiting for the next novel! What’s ahead for the Lake District Mysteries? (And really, where do you find time to do all that you do?)


I am working on a different kind of novel at present but after that it is back to the Lakes! I hope to continue to mix fiction and fact as a writer. I love both. As for time, well, life is short. I want to write as much as I can but most of all I want to write as well as I can. The awards have been hugely encouraging and the Poirot award is a great honour for which I'm truly grateful. I hope to repay that honour by writing the best books I can—and as a novelist I think the best may yet be to come. We'll see!


IN PERSONAL NEWS (Back to Art)


I'll close out this post with a bit of news about my own work. Last week, I learned that my story "Parallel Play" from Chesapake Crimes: Storm Warning, already a finalist for this year's Agatha Award alongside fine fiction by fellow SleuthSayers Barb Goffman and B.K. Stevens, has also been named a finalist for this year's Thriller Award for Best Short Story—and I'm in good company there too, with a slate that includes Eric Beetner, Laura Benedict, Brendan DuBois, and Joyce Carol Oates! The winner will be announced at ThrillerFest in New York in mid-July—and I'll be making my first appearance at that conference as well, keeping fingers crossed, of course, and toes too, let's be honest!

In the more immediate future is Malice Domestic itself, April 28-30 in Bethesda, Maryland, and here's my schedule below for that weekend.
  • Opening Ceremonies • Friday, April 28, 5 p.m.
  • Welcome Reception & Anthology Signing for Malice Domestic 12: Mystery Most Historical (as part of editorial selection committee) Friday, April 28, 9 p.m.
  • Panel: “Make It Snappy: Agatha Best Short Story Nominees,” with Gretchen Archer, Barb Goffman, Edith Maxwell, and B.K. Stevens, moderated by Linda Landrigan • Saturday, April 29, 10 a.m.
  • Agatha Awards Banquet • Saturday, April 29, 7 p.m.
Looking forward to seeing folks in Bethesda in just a couple of weeks!

29 April 2015

The Golden Age of Murder


A special treat today.  I lucked into an advance copy of a terrific nonfiction book and when I realized the official release date was this week I invited the author to tell us about it.  Martin Edwards is the author of eighteen novels, and eight non-fiction books.  Plus he's edited two dozen anthologies.  He has won the Crime Writers' Association Dagger and the Margery Allingham prize for short stories.  I highly recommend his book, which has taught me a lot about the writers of the so-called Golden Age, and especially WHY they wrote what they did. — Robert Lopresti


The Golden Age of Murder

by Martin Edwards


Crime fans know better than anyone that appearances can be deceptive. And that idea is at the heart of The Golden Age of Murder, my just-published study of the British crime novelists who dominated the genre between the two world wars. There’s a widely held view that those writers were cosy, conventional folk who wrote cosy and conventional books. But the more I researched the men and women who wrote the best Golden Age mysteries, the more I became convinced that the truth was rather different – and much more enthralling.

I write crime novels set in the here and now, but I’ve always loved the ingenious traditional murder mysteries. Like so many other people around the world, my introduction to adult fiction was through the books of Agatha Christie, a writer whose work I still love. From her I graduated to Dorothy L. Sayers, and then other great names of the era, such as Margery Allingham, Ngaio Marsh, and Anthony Berkeley.

Later I discovered that those writers, and a good many others whose books I enjoyed, were members of the Detection Club, a select and rather mysterious organisation which exists to this day. Led by Berkeley (who founded the Club) and Sayers, members yearned to raise the standard of crime writing, and strove to ensure that their own work was fresh and inventive.

Sayers, for example, wanted to take the genre in a new direction, and with a fellow Club member, Robert Eustace, she produced The Documents in the Case, an ambitious book in which Lord Peter Wimsey did not appear.  Writing as Francis Iles, Berkeley became the standard-bearer for the novel of psychological crime – the first Iles book, Malice Aforethought, remains a genre classic, and the second, the dark and deeply ironic Before the Fact, was filmed by Alfred Hitchcock. But Club members also remained true to the game-playing spirit of the times. They collaborated in “round-robin” mysteries such as The Floating Admiral, each writing a chapter in turn. The book enjoyed critical and commercial success, which was repeated when it was republished recently

I became fascinated by the relationships between the writers – long before the days of blogs, Twitter and Facebook, the Detection Club was a remarkable social network. Seven years ago, I was elected to membership of the Club myself, and was asked to look after the Club’s archives. But since very little had been retained over the years, really I had to become a detective, finding out about the Club’s history. I talked to experts across the world, and travelled around, tracking down descendants of those early Club members.

Fresh mysteries kept arising, crying out for a solution. The Club’s members obsessed about their personal privacy, and many of them hugged dark and disturbing secrets. One pioneering novelist even made diary entries in an unbreakable code, so nobody could decipher what was in his mind. Clever people, well-versed in the art of mystification, Detection Club members deployed their skills to obscure the trail for anyone seeking to learn more about them. Agatha Christie’s controversial eleven-day disappearance in 1926 is by far the most high profile of the numerous disasters that befell Club members, and affected their writing as well the future course of their lives.

In The Golden Age of Murder, I’ve set out to solve the mysteries of the writers who in many ways were responsible for inventing the modern detective novel. It’s been an engrossing quest, and my greatest hope is that it will encourage people who have, in the past, been dismissive of traditional detective fiction to think again. Of course, plenty of bad books were written in the Golden Age, as in every age, but the best work of the time was exhilarating, innovative - and unforgettable.