The Public Life of Sherlock Holmes: Meet Nero Wolfe
In 1926, Sir Arthur Conan Doyle penned his last Holmes tale, The Adventure of the Retired Colourman. Rex Stout, a fan of those tales, would shortly create a detective who would not only evoke memories of Holmes, but who would cast his own (gargantuan) shadow: Nero Wolfe. The seventy-four stories, written over forty-one years, would be collectively known as the Corpus, akin to the Sherlockian Canon.
Nero Wolfe lives in a New York City brownstone with Archie Goodwin, Fritz Brenner, and Theodore Horstmann. This boys’ club (Wolfe makes Holmes look like a romantic) is a self-contained unit, with Wolfe and Archie solving crimes, Fritz cooking and taking care of the household chores, and Horstmann assisting Wolfe with his hobby, the cultivation of orchids in a rooftop greenhouse.
Archie often comments on the beauty of the orchids, which is a far cry from the thoughts of General Sternwood in Raymond Chandler’s The Big Sleep: “Nasty things. Their flesh is too much like the flesh of men, and their perfume has the rotten sweetness of corruption.” Po-tay-toe, po-tah-toe, I guess.
Because the characters do not age, the stories all have a comfortable familiarity about them. Also, they are set contemporary to their writing, so while in a Holmes tale, it is ‘always 1895’, the Wolfe stories feel much more like modern mysteries, even though some are over seventy-five years old.
There’s a suspicion common in genre circles when a writer or creator from ‘the mainstream’ uses genre conventions or plot points. It’s sometimes a justified suspicion, as the writer unfamiliar with genre falls into cliché or loses control of their material through inexperience with the form. But sometimes something else happens: fresh eyes can find new truths. And every so often somebody approaching a genre by starting at square one can show why the classic genre material works in the first place — and even twist that material a bit to find new life for it going forward.
