Papillon Rouge

夕暮れの風と紅く染まる街並 

何かを思い出させる切ない景色

「tell me something」 （Garnet Crow）

The wind at dusk, the city bathing in crimson

A sad scenery that reminds me of something

"Tell Me Something" (Garnet Crow)

I'm not really sure what to think about these covers for old Dutch Judge Dee books: they're so bad they're almost good. Almost.

Bad weather forces Judge Dee and subordinate Ma Joong to change their route back to their own district and make a detour through Paradise Island, a place built on man's cravings for drinking, gambling and prostitution and the govenment's cravings for tax money. The judge has a chance meeting with his esteemed collegue from the district, who asks the judge to help clean up a case of suicide here as he himself has other urgent business to attend to elsewhere. The victim died inside the Red Pavilion, which was locked from the inside, so it seems like an obvious case of suicice, but strangely enough, a similar suicide happened thirty years ago at the same place. And Paradise Island has more secrets in store for the judge: the number one courtesan Autumn Moon seems to have some connection to the suicide and seems rather keen on getting to know the judge really well, while Ma Joong discovers that the suicide of thirty years ago wasn't all what it seems either. And so the judge stays put in Paradise Island until he has solved all the mysteries in Robert van Gulik's The Red Pavilion (Dutch title: Het rode paviljoen, 1961)

The Red Pavilion is the seventh original Judge Dee novel by Dutch Sinologist Robert van Gulik and the second book to feature a more free style: the first five books (among which The Chinese Maze Murders and The Chinese Gold Murders) were heavily styled after the original gong'an detective stories, with a large cast and the formula of three intertwining mysteries for the judge to solve each story. From The Haunted Monastery on, van Gulik greatly reduced the cast (often by sending the judge away traveling with just one or two subordinates) and did not follow the formula set in the original stories so rigidly anymore. The books were still as enjoyable as ever, brimming with atmosphere like only van Gulik could conjure up and as it became less formulaistic, the stories also felt more fun to read as it was harder to guess what would come.

This time, a locked room mystery lays at the core of the story, multiple even, all happening inside the titular Red Pavilion (which also functions as Judge Dee's lodgings on Paradise Island). I have to say, I was very disappointed with the locked room mysteries: the solutions are basically Locked Room Mysteries 101 and while I wasn't expecting something too fancy, I was still hoping for something more complex than what was presented here. There is one part of the locked room mystery that is actually very neat though, which makes very good use of the setting and that what saves this part of the mystery for me. 

The Red Pavilion reminded me very much of Yokomizo Seishi's Jooubachi (1952) by the way, which also featured a mysterious death commited inside a Chinese-style room locked from the inside. Even the solutions have some similarities. I actually wonder if van Gulik actually read the book: they are not really similar, so I'm definitely not suggesting foul play or anything, but I could imagine van Gulik having read Jooubachi and then using very vague, broad elements of that story for The Red Pavilion.

Like with many of the Judge's stories, the bulk of the mystery is made out of intertwining storylines, where a discovery in one storyline, leads to another in a different storyline etc. The books are best enjoyed for seeing these plotlines slowly unraveling, rather than for the challenge of solving the mystery yourself. In general, I quite liked the setting of Paradise Island, but I thought the plot a bit disappointing. Judge Dee stories have a tendency to resemble each other and with a lot of plot twists I had the feeling I had seen them already in earlier books and certain tropes are repeated much too often to be surprising anymore (the Old Mysterious Man for example).

Overall, I found The Red Pavilion to be a slightly underwhelming mystery. The setting is enjoyable, but the mystery plot is a bit predictable and never impresses. The Haunted Monastery, released in the same year, is much more enjoyable overall in comparision, I think.

End of Rain

"Oh shit, it's dim sum time!"

"True Crime - Streets of LA"

I know some people like to collect their books from the same publisher / with the same style. With English releases, you can often choose between (at least) an UK and US release, so sometimes you gotta pay attention when purchasing books. I myself usually don't mind what edition I get, by the way. Still, I find it quite surprising to see that even though I own less than ten Judge Dee novels, they come from like four or five different publishers...

The Chinese Gold Murders was about Judge Dee's first appointment as a town magistrate in ancient China, but by the time of Robert van Gulik's Murder in Canton, Judge Dee has worked his way all the way up to Lord Chief Justice. Only special cases can bring the judge and his subordinates outside the Imperial City, and the disappearance of a court censor is such a case. Judge Dee and two of his faithful fellows Chiao Tai and Tao Gan, make their way to the southern harbor city of Canton, where the censor was last seen. The search for the censor is made difficult because of the delicate political and social circumstances of Canton: many Arabs reside in the city for the trade, as well as a great number of the Tanka people. Can the judge find out what happened to the censor?

I should probably do some research on books before purchasing them, rather than just going by the cover. I was unaware that Murder in Canton would be (chronologically) the last in the series. I haven't read the Judge Dee books in order, and it's not really necessary to do so (in fact, I read them criss-cross), but I had kinda wanted to keep this book for last. But ah well...

To be honest, I found Murder in Canton to be one of the less entertaining novels in the series. Sure, the basic premise is still the same, even if Judge Dee is in a higher position now: like always, he's new in town, he has his small group of subordinates with him and he gets involved with three mysteries that end up connected. No surprises there. Well, except for the fact that because Murder in Canton is set so late in the Judge's career, some of his faithful followers have other obligations that prevent them from joining Dee on his new mission (but that happened in some other novels too).

I wasn't too charmed by the novel's mysteries though. All the Dee books are about the Judge investigating multiple mysteries at the same time (because it wouldn't make sense for the highest judicial and investigating official in a district to work on only one case at a time) and the first couple of books had these mysteries intertwine in suprising ways. But these mysteries, even though connected at some level, were often seperate storylines. Murder in Canton is promoted again as being a story of the Judge investigating three cases, but it is clear right from the start that these aren't three storylines that happen to be connected, they are all one and the same plot, just different ends and I wonder why Van Gulik so desperatedly tried to sell it as three mysteries again.

Of course, this wouldn't be a problem per se, but I thought that the (single) story of the disappeared censor was a bit chaotic and boring. Coincidence has always been a staple of the Judge Dee series, but Fate must have had a very busy day with Murder in Canton, and the story seems to meander a bit aimlessly in the middle part of the book. Also, some stories might work with midget assassins and foreign assassins and I'll admit that at least the special setting of Canton makes it somewhat more plausible, but still, I had to raise an eyebrow (figuratively speaking. I can't actually...). The confrontation at the end of the story is a great effort at bringing the cool logic of a Van Dine school novel in an usually more vague, intuition-based series, but it lacks a bit of convincing power, both seen as a 'logical' deduction scene, as well as a classic 'Judge Dee' confrontation scene.

I liked the multi-cultural aspect of Murder in Canton though, something also seen in some of the other novels (like The Chinese Maze Murders). And atmosphere and random trivia on ancient China is something Van Gulik, a famed Sinologist, always excelled in and he delivers in this novel too. No worries about that.

Overall I'd say I thought Murder in Canton was a mediocre Judge Dee story. It has some points that make it special, especially as it's set as the last novel and thus ties up some of the characters overarching storylines, but as a standalone mystery novel, I thought it a bit disappointing compared to earlier efforts.

Maze

もう二度と迷わないように

その腕を離さないで

『Mysterious Eyes』 （Garnet Crow)

Don't let go of my hand

So we won't get lost again

"Mysterious Eyes" (Garnet Crow)

I write about detective fiction in any type of medium, so I have also quite a number of reviews posted under games and audio drama for example. The most surprising (to me) is still the fact I have a musical tag. Not sure whether I'll ever be able to use that again... Anyway, an audio drama today. And it's not even in Japanese!

Dutch Sinologist Robert van Gulik's Judge Dee stories are quite famous around the world. An important factor explaining its popularity is probably the fact that van Gulik's managed to combine his expert knowledge on ancient China and its law practices with stories that are also fun to read. The character of the wise magistrate Dee was based on the actual magistrate Di (Dee) Renjie and his (slightly fictionalized) appearance in the detective novel Dee Gong An (see for a more detailed introduction to the series, this older post).

Robert van Gulik's first original book has an interesting publication history: it was actually first published in 1951 in Japan, under the title Meiro no Satsujin ("The Maze Murders"). A Chinese version followed in 1953, but the book wouldn't be published in English (the language the book was originally written in) or Dutch (van Gulik's mothertongue) until 1956: it was known as The Chinese Maze Murders in English, while it was released one year later in the Netherlands with the name of Labyrinth in Lan-Fang (which means the same in English, of course). I am not familiar with the reception history of the book, but I gather it must have been fairly popular, for a radio drama was produced for the Dutch radio waves somewhere between 1957 and 1959: Labyrinth in Lan-Fang was a play in nine half-hour parts, probably broadcast by radiostation VARA.

Labyrinth in Lan-Fang starts with judge Dee being appointed as the new magistrate of the border town of Lan-Fang, one of the strategic points of the empire in their fight against the Uyghur people. Yet not all is well in this town: the population has lost all its trust in the central govenment because of a local usurper, who managed to corrupt all previous magistrates, an Uyghur attack seems imminent and there is also 'normal' work for the magistrate: a case of a widow being cheated out of her legacy by her stepson, a secret hidden inside a painting and a large garden-maze just outside of town, a missing girl and the mysterious murder of a retired governor inside a locked room will also keep the judge busy these first few days of his appointment.

I have read my share of Judge Dee novels, but this was my first encounter with The Chinese Maze Murders / Labyrinth in Lan-Fang. And I liked it! As always, a lot of the enjoyment comes from the way Robert van Gulik manages to bring ancient China alive: from 'big' settings like how the administrative and legal system worked, to little details like daily habits, the food and objects people use, all the Judge Dee novels offer a great look in ancient China, but it never feels 'too heavy': it is perfectly possible, and fine to 'just' read these novels as is.

One of the best elements Robert van Gulik borrowed from Dee Gong An is the story-structure: the judge is always working on multiple cases at the same time (usually three), which is actually quite logically considering he's the highest authority in the district: it wouldn't make sense for him to work on one case at a time. This results in overlapping storylines, which feels quite natural: the findings of one case might be useful to the solving of another, while sometimes he has to prioritize one over another. In most of the Judge Dee novels, these seperate storylines overlap at several points, which is also the case here. In a way, these storylines crossing over make up a Chinese Maze on their own.

And a little bit of sidetracking here, but I recently found out that there are Judge Dee videogames. Well, find-the-object games. But what about a Machi/Detective Conan Marionette Symphony-esque sound novel game, where multiple, seperate storylines intersect and where the outcome of one story, is connected to another? Wouldn't that be an awesome, and fitting Judge Dee game? Just imagine, a game system like that of Marionette Symphony, with the judge, Sergeant Hoong, brawlers Ma Joong and Chiao Tai and trickster Tao Gan each contributing a little in their own way to the investigations!

But back to Labyrinth in Lan-Fang. I usually enjoy Judge Dee stories more as well-structured puzzles, rather than stories with memorable tricks or things like that and I feel the same about this story. Sure, there is a locked room murder, but I felt the solution came kinda out of nowhere. Though I have to note, I think that the storylines of the early Judge Dee novels were all based on actual court records from ancient China (again, this was van Gulik's expertise), so it seems that the trick behind the locked room in this novel was one that was actually used. Kinda creepy if you think about it (and to enter another sidetrack: I remember that a few years ago, there really was a stroller in the attic case in Japan、who was discovered in the end because someone noticed toilet paper was disappearing).

And how was Labyrinth in Lan-Fang an audio drama? The only complaint I have is the length; nine times thirty minutes is a bit too long in my opinion for one story, but besides that, I quite liked it. The combined efforts of Van Gulik's original story, the voice actors and the radio script also did a great job at keeping characters distinct from each other, something that can be quite different when your story is set in a different culture and with so many unfamiliar names. The multiple storyline structure of the Judge Dee stories can be a bit confusing, because it involves of jumping from one storyline to another, but no problems in this adaptation. Oh and I was very happy with the fact that the recording I listened was quite clean, because that isn't always the case with recordings of old radio dramas.

This month featured reviews of Japanese novels based on Chinese novels, Japanese translations of English novels, Japanese novels set in the United States and a too eager Japanese take on two American detective novels, so what better way to finish month than with a review of a Dutch audio drama based on a book originally written in English by a Dutchman, but first published in Japanese?

Original Dutch title(s): Robert van Gulik (original story), "Labyrinth in Lan-Fang"

A Night of Fright is No Delight

「また博多？この会社、博多枠があるんか？いま博多スリーカードやで」

『ゲームセンターＣＸ　#31 「海腹川背」どうでしょう?課長リターンズ』

"Another one from Hakata? Does this company have a Hakata quotum? We have three Hakata cards here!"

"Game Center CX #31 - How about 'Umihara Kawase'? The Section Chief Returns"

Another historical mystery? Do I have a historical mystery quotum? We've had three historical mysteries in a row now!

I wrote rather extensively about Judge Dee last week, so I'll just refer to that post for the basics and characteristics of that series. Anyway, this week I finally had a chance to look at Judge Dee and the Monastery Murders, a 1974 telefilm based on van Gulik's 1961 novel The Haunted Monastery. I haven't read that book, so I have no idea whether it is faithful to the original story or not, but most people on the internet, to refer to an anonymous entity, seem to agree that it is mostly faithful. Anyway, the story starts off very Scooby Doo-like. Judge Dee, his three wives and Tao Gan (and other servants) are forced to spend a night at a Taoist monastery because the axle of the Mystery Machine their coach broke down during a dreadful storm. That night also happens to be the anniversary night of the monastery and the judge, despite having caught a cold, naturally has to join the monks in their celebrations because of his rank. But there is more than meets the eye to his monastery, or else it would make for a rather boring story. A window that disappears before the very eyes of the judge, the murky past of the monastery that involves the death of no less than three girls that once stayed here and even the previous abbot and more. Dee has a busy, busy night trying to solve all the mysteries that lurk in this dark place.

And just like that most of Scooby Doo's episodes are fun, this is a truly entertaining telefilm. Which is partly because of the great production values. The titular haunted monastery really seems haunted, as the sets are wonderfully gloomy and eerie. There is a distinct atmosphere of pressure and fear throughout the story, as the judge wanders through the lonely hallways of the monestary and you never know what might be hiding around the corner. Indeed, just like a Scooby Doo episode.

One thing I really liked about this production were the use of still frames that turn into illustrations (I suppose they functioned as eye-catchers for the commercial breaks). It was reminiscent of the late anime director Dezaki Osamu's 'postcard memories' technique, where he would also use still frames that turned into actual illustrations (instead of motionless animation) at dramatic moments. In fact, the overall production values for this telefilm are quite high, and while some of the artistic decisions were a bit doubtful (I was not a fan of the color-schemes of the clothing, for example), this is a really well-made movie.

The sets form a great background to the judge's investigations and while the story is more about the judge's spooky adventures in the building than about bringing a classical orthodox story, there are actually quite some interesting things to be seen here. Most impressive was the deduction the judge shows concerning a picture of a cat by the late abbot and the overall story really comes together nicely near the end, where the judge has one of those moments when everything comes together and the case is solved.

While Khigh Dhiegh physically does not resemble the Judge Dee of the illustrations by van Gulik, I was not really bothered by that. In fact, the whole production conveyed the atmosphere from the series very good (even though I have not read this specific story) and I suspect that some of the dialogue are lifted (almost?) completely from the book. I also think that the reason this telefilm works so well is because the story is located in one specific place without too many references to the outside world. It works perfectly as a stand-alone telefilm, with not too much series-luggage and not too many (temporal specific) cultural references. The down-side is that the setting sometimes leans towards very non-specific, stereotypical depictions of 'Ancient China', but it works in the context of this particular story. It's a shame they didn't continue with a whole series based in this telefilm.

Anyway, I had fun watching this movie and it is certainly recommended to fans of the Judge Dee series.

Orient X Occident

夢の楽園を探しながら

走る君を見つめていたい

誇り高く汚れを知らない

君を信じていいですか

『Will』 米倉千尋

I want to look at you running

As you search for the heaven of your dreams

With pride and without any blemish

Is it alright if I believe in you?

"Will" (Yonekura Chihiro)

I really should tidy up my books one of these weeks. Most books are easily accessible, but the times I need a book that is not accessible, well, I really need to work to retrieve it. Carefully constructed towers of books will fall, occasionally on me and it takes ages to get everything back in place. This does not seem that farfetched a scenario actually.

But to go to the topic of today. Judge Dee! Is there a need for an introduction (we always have Wiki)? Seeing I already have a neat little tag for it, means I have written about him in the past, but that concerned a slightly different topic. Namely, Dee Gong An, a 18th century Chinese detective novel, translated by Dutch orientalist / diplomat Robert van Gulik. The novel starred a fictionalized version of the magistrate Di (Dee) Renji. What was special to Dee Gong An, was that it actually resembled a Western detective novel, whereas most Chinese detective novels of the past were less about detecting, but more about bringing an ethical (and ideological) message (thus featuring an emphasis on the punishments of the criminals who went against the order of man/empire). Ghosts and spirits also made appearances as hint-giving plot devices, something that naturally does not fit with the rational Western detective model. Dee Gong An was different, but in a good way.

Van Gulik later wrote his own (original) Judge Dee stories, based on the characters (Judge Dee) of Dee Gong An and continuing with the Western detective story model. Occasionally, the cases were based on actual court records from ancient China, at other times they were completely original. Like Dee Gong An, van Gulik's stories are set in Tang China (when the real Di Renji lived), but contain mainly elements from the later Ming dynasty. Van Gulik also employed a certain plot-device often seen in ancient Chinese detective novels in his own Judge Dee novels: the judge is often busy with several cases (usually three) at the same time, in constrast to the Western detective who usually is concentrating on one single case. Finally, Van Gulik also made illustrations for his novels mimicking the style of ancient Chinese illustrations (which are really neat!).

Fun fact is that van Gulik wrote his stories in English first, with (his own) Dutch translations being published later. The Dutch 'translations' are actually quite fun to read in this time and age, having a sense of... dated Dutch that is less apparent in the English texts. To me, the dated Dutch kinda feels similar to the 'strange' English one sometimes sees in translations of old Chinese texts, adding a layer of 'authenticity' to the texts (in a very inappriopiate way, I admit. But hey, I can't help how I feel about texts!). And yes, this explains why I use both Dutch and English covers in this review.

Van Gulik was a celebrated Orientalist from Leiden University (which makes him my senior... I guess) and was thus an expert on the topic. It is difficult to write realistically and convicing about a different time and place, but van Gulik was one of those persons with both a talent for writing as well as excellent academic knowledge about the topic he wrote about it. Who could have been a better guide to Tang/Ming China than van Gulik? His books are thus interesting and funny detective stories set in a 'foreign' setting that nonetheless never feels strange or wrong.
 
Magistrates (who acted as mayor/judge/detective/jury) in ancient China were appointed to their location of occupation, changing cities once in a couple of years. Van Gulik used this for his novels, with his Judge Dee going to new places (where he meets new friends/enemies/etc.) once in a couple of stories. In this post I will discuss the stories of the Judge Dee canon set in Peng-Lai, where Judge Dee first made his name as a master-detective (the stories were not written in this order by the way).

The Chinese Gold Murders starts with Dee's very first appointment as a magistrate. The city of Peng-Lai is situated near sea, close to the Korean peninsula. Until just a few years ago, China had been at war with the Korean states and Peng-Lai is thus an important strategic point, with a military base to keep the borders in check, but also a lot of trade coming and going from Japan and Korea. Dee's appointment to this city was actually very sudden, because the position became available because the previous magistrate was murdered! He was poisoned in his (locked) library, but the official emprial inquisitor was not able to find out what happened, leaving our rookie magistrate with a huge case. But the judge is also burdened with a smuggling case and even the disappearance of one of his senior clerks, resulting in some very hectic first days as the magistrate in Peng-Lai. Oh, and there is something about the ghost of the previous magistrate haunting his old house...

This is a very entertaining story, which really shows what a great writer van Gulik was. The way he builds up his story is just fantastic: from the map to the city of Peng-Lai to the descriptions of everything that goes on in the city, everything appears alive in this novel. The descriptions of the 'underworld', the international relations with Korea, heck, even a visit to a local restaurant manages to be absolutely captivating. And like I mentioned earlier: despite the 'alien' setting, it never feels too alien for the reader. Everything feels amazingly familiar and never too orientalist foreign (though I have to admit that having read Journey to the West, Three Kingdoms, The Water Margin and The Investiture of the Gods, I might be a bit more used to the setting than most people). The locked room murder of the previous magistrate is a much more ingenous variation of a problem seen in the original Dee Gong An and really good: the problem is just that the solution of the problem definitely deserved more attention; now it is sorta mentioned as side-note (a treatment the trick really doesn't deserve!). The other cases are not as interesting on their own, but van Gulik manages to keep everyone on their toes by masterfully weaving in and out of the storylines (and also by tying up the storylines a bit). The multiple storylines also help by conveying an idea of all the things a district magistrate has to do, as compared to the Western detective who has the leisure of working on only one case. But anyway, this is really a worthwile read!

The short story collection Judge Dee At Work features another three short stories about the time Judge Dee's time as the magistrate of the city of Peng-Lai. The first of them, Five Auspicious Clouds, is set just a week after The Chinese Gold Murders and revolves around the apparent suicide of the wife of an important business man. Technically, this is just a clock-based alibi-trick story, which isn't that great actually. The idea of a clock-based alibi trick set in ancient times is interesting, I concur (no, it's not even based on a sand-clock or sundial). But the trick is rather easy to see through and we all have all seen the mistake the murderer makes way too often to be impressed by it.

It seems that The Red Tape Murder is not very well liked, but I have to admit I have a soft spot for it. Incomplete documents force Judge Dee to visit the military base of Peng-Lai. Some days ago, a murder happened at the base, though that falls under military jurisdiction and not civil (Dee's) jurisdiction. Dee's lieutenants Ma Joong and Chiao Tai however tell him that the suspect arrested really isn't the kind of person to have commited a murder (even though he was the one in the perfect location to have commited the murder) and the judge therefore tries to find out more about the case, without upsetting the people at the base. The bureaucracy is an amusing element of the story, but the most interesting element has to be the actual murder, which features a trick so absurd and farfetched, that it actually seems plausible. It's an original trick and as I write this, I actually have to chuckle because I keep having mental images of the trick in my head. Something that has to be read.

He Came With the Rain on the other hand seems to be a well-received story that I personally don't really care for. Judge Dee happens to hear about a murdered man in a tower occupied by a deaf-mute girl in the marshes outside town. A man was caught red-handed (literally) in the marshes, but the judge is not sure whether that's the man they are looking for. The deaf-mute girl tells the judge about a demon who comes with the rain, but it seems that this is not just nonsense. The one good point of the story: information about folklore. The rest of the story just doesn't interest me. At all. Heck, I really had no recollection of this story as I was rereading this and I think I will forget it again in just a few days.

The final story of Judge Dee's time as magistrate of Peng-Lai is The Laquer Screen, but that story is not set in Peng-Lai, but in a neighbouring district. The judge and his lieutenat Chiao Tai visit the nearby town of Weng-Pei on their way back from a conference as a short holiday. A courtesy visit to the local magistrate Teng makes the judge suspect something strange is going in the household of Teng, but thinks it is none of his business. After some events, Judge Dee and Chiao Tai are mistaken for criminals and they end up in the headquarters of the local underworld, led by a person called the Corporal. It is through these connections that the judge finds out that the wife of magistrate Teng was murdered. Upon questioning him, Teng tells Dee the horrifying story of how his life has been eerily similar to a four-piece laquer screen he had purchased and that the final screen shows how a man killed his beloved wife: Teng then tells Dee that he must have murdered his own wife in a fit of insanity. Dee however refuses to believe that and starts his own investigation.

Like the other Judge Dee novels, The Laquer Screen contains three cases, but they are really deeply intertwined and they might as well be considered one big case. This is overall not as interesting a story like The Chinese Gold Murders. Sure, this book offers something different, with just one lieutenant to support the judge in a town (where he has no jurisdiction). There is a glimpse of the underworld we usually never get to see. The story of the laquer screen is also quite creepy. But there is little room for a real mystery as it has quite a small cast and with several coincidences influencing the way the story develops, it never feels as rewarding a mystery as The Chinese Gold Murders.

Of the stories set in Peng-Lai, The Chinese Gold Murders is definitely the most fun one and actually a great novel to start the series with (though it was not the first Judge Dee novel written). The other stories are fun if you're interested in the series, but not really interesting on the merit of just their plots. And I am not sure whether I will do more Judge Dee reviews in the near future, though I am definitely playing with the idea.

Hmm, in my head, I imagined this post to be quite a bit better than how it turned out to be. Ah well. I am not going to rewrite this again (long story).

"No Chinaman must figure in the story."

「えー、自分が人に嫌われてんじゃないかって心配してる皆さん、安心してください。そういう場合は大抵本当に嫌われてます。問題なのは自分が人に嫌われているのが分かってない人の方で…。」
『古畑任三郎：　ピアノ・レッスン』

"Ehm, people who are concerned whether they are disliked or not, don't worry. In such cases you usually really are disliked. But a problem are those people who don't see they are being disliked..."
"Furuhata Ninzaburou: Piano Lesson"

"No Chinaman must figure in the story". Thus says the fifth commandment for the Golden Age detective as set by Robert A. Knox. It sounds just a bit more racist than meant to, as the rule meant that the evil mysterious opium-den master Fu Manchu-like stock character Chinaman which was in popular use in cheap thrillers in Knox' time should have no place in a formal mystery novel. Of course, pretty much all the rules set by Knox were broken in several of the best mystery novels ever, so Chinamen were indeed also featured in detective novels.

One of the better known examples is the Chinese detective Charlie Chan who operates in Hawaii. I picked up a omnibus of the first 3 Chan novels (with the Worst. Cover. Ever.) at the Bookfest (which is probably the nearest we'll get in the Netherlands to a Book Off) and recently finished the first novel, The House Without a Key. The Chan books and writer Biggers are often praised for their positive portrayal of Chinese persons in literature (contrary to the practice of those days), but even then, the clutches of Orientalism are hard to escape, so instead of a evil mysterious opium-den master Fu Manchu-like stock character, we get a benevolent mysterious overly polite stock character who at least not speakies pigeon talk, but does talks the English in a way the most peculiar and quaint. Of course, we know that the Belgian Hercule Poirot has an excellent grasp on the English, but talks sometimes in broken English to let people underestimate him, but I doubt that's the case with Chan. The plot of the book was nothing special, but I did like the Hawaiian setting. 'Cause it reminds of me a quite tasty meal I had in Japan once. Twice.

A lot more entertaining are the Judge Dee books by Robert van Gulik. While different from the classic model, detective-like novels have been around in China for centuries, usually in the form of criminal court records, with the judge (who was also responsible for the prosecution...) as the detective. Van Gulik translated one of these court records, Dee Gong An ("Celebrated Cases of Judge Dee") most excellently, providing a role model for (crime) translators everywhere in my opinion. Afterwards van Gulik wrote his own mystery novels using the characters of the Dee Gong An. Set in the Tang dynasty, the books are both entertaining as (very!) informing, as van Gulik was a celebrated Sinologist and incorporated loads of interesting facts regarding the culture and judical system in the novels. Like a detailed explanation regarding the legal use of torture by judges.

Van Gulik translated another court record by the way, Tian Yin Pi Shih ("Parallel Cases from under the Pear Tree"), which also makes an interesting read for people interested in the ancient Chinese judical system. 72 double cases are presented, many of them reminiscent of the judgment of Solomon. Some cases described in the book were also used by Van Gulik in his Judge Dee novels, if I remember correctly.

These kinds of court records were also available in Japan. These premodern detectives seem to be quite interesting to me as a historical source as well as narratives. I think it would actually make a great research topic somehow, sometime in the future. Far away future.

Yes, I know I still have to read Sherlock in Shanghai.