By Stephen Osborne, Rajan Khanna, Elka Cloke, Ruth Sims, Michael G. Cornelius
What different characters from English literature have captivated hearts and minds as completely as Sherlock Holmes and his unswerving spouse John Watson? Many lovers think the connection among those males is deep and greater than platonic. In A learn in Lavender, the Holmes universe is queered and authors have devised tales within which Holmes and Watson are fanatics, or examine mysteries of inverts hidden from the legislation and cultures of the Victorian period; even the indomitable Lestrade has his flip at love; and eerie apparitions within the evening sky, similar to Jules Verne, draw Holmes to Cleveland road, domestic to an notorious scandal.
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Additional resources for A Study in Lavender: Queering Sherlock Holmes
Hence the studios, in late 1942 and early 1943, began planning a shift to detective films and suspense thrillers—the term film noir was unknown at this time. As a consequence of this shift, they began employing pulp writers such as Frank Gruber, Steve Fisher, and Raymond Chandler. In 1943 Paramount purchased the rights to James M. Cain’s novella Double Indemnity after it was published, with two other stories, in a hardcover novel by Knopf as Three of a Kind. By the time filming began in September 1943, Universal was also shooting their adaptation of Cornell Woolrich’s Phantom Lady.
Knopf. Other pulp writers soon followed Hammlett’s example with novels such as Paul Cain’s The Fast One (1932), Erle Stanley Gardner’s The Case of the Velvet Claw (1933), Raymond Chandler’s The Big Sleep (1939), and Cornell Woolrich’s The Bride Wore Black (1940). The film studios in Hollywood in the 1930s mostly ignored hard-boiled fiction and preferred the classical mode of detective fiction. Even though the first screen appearance of Hammett’s The Maltese Falcon was released by Warner Bros. in 1931, it was Hammett’s final novel, The Thin Man, published in 1934, that attracted MGM’s attention—the studio quickly rushed a film version into production.
Alain Silver and James Ursini, 77–93. New York: Limelight Editions. Schickel, Richard. 1992. Double Indemnity. London: British Film Institute. Shearer, Lloyd Shearer. 1999. ” In Film Noir Reader 2, ed. Alain Silver and James Ursini, 9–13. New York: Limelight Editions. Silver, Alain, and Elizabeth Ward. 1992. Film Noir: An Encyclopedic Reference to the American Style. New York: Overlook Press. Silver, Alain, and James Ursini. 2004. Film Noir. Cologne, Germany: Taschen. , and Eric Lax. 1997. Bogart.