Showing posts with label Hercule Poirot. Show all posts
Showing posts with label Hercule Poirot. Show all posts

Thursday, October 7, 2021

Definitions of the Cozy Mystery

A spirited discussion on the Short Mystery Fiction Society list led to several short or longer definitions of the beloved cozy mystery. I collected most of them, and list them here. Some are tongue-in-cheek, some are serious, but all give insight into the genre. I've omitted the writers whose definitions are quoted and edited lightly.

 

A cozy mystery is one in which the blood is dry before it hits the page.

They are a place for the reader to escape, a place the reader will like being. The language used is soft, not harsh, the people are those the reader would like as neighbors, and the killer has a very good reason--at least in their own head--for doing the deed. That pleasant place where order will be restored.

 

A cozy is a mystery in which someone gets killed but no one gets hurt.

 

I think of the word cozies as mysteries to which the word "cozy" applies in two ways.

First, cozy in the sense of comfortable. They're not disturbing to read. Violence happens offstage, sex is only suggested, the language is mild.

Second, cozy in the sense of close and contained. The story takes place in a community of limited size, such as a small town and there is only a handful of suspects.

Life as it should be with a little excitement added in (murder).

 

There’s a lot of hairsplitting over the definition of a cozy and the difference between cozies and traditional mysteries.  The lines are definitely blurred. Basically a cozy has no on-page sex or violence, with little or no profanity (preferably none). They often take place in a small town. I never heard the bit about no one getting hurt. Traditional mysteries are grittier and perhaps more realistic. I would put Agatha Christie’s Jane Marple in the cozy category. Sayers more traditional.

 

I would also note that cozies have a strong element of female empowerment. The protagonists are busy making a life for themselves, often a new life after a tragedy, and often against the odds. They run businesses and libraries and community theaters, and sometimes families. Their world is disrupted, and they do everything it takes to put it back together. They get sugar done. 

 

"Cozy" is essentially synonymous with "traditional mystery."

 

I do want to say that although the cozy genre is very heavily weighted towards female protagonists, there are some authors who have done a great job making male protagonists work in a cozy as well. I’m thinking about M.K. Wren’s Conan Flagg series, Jack Ewing’s Primed for Murder, Stephen Humphrey Bogart’s R.J. Brooks mysteries, Matt Witten’s Jacob Burns mysteries and many more.

 

Cozies have nothing in them that will upset *anybody,* even the most strict reader.

For traditional mysteries, the most important thing is the puzzle. 
The level of action and danger varies, and we don't always like the protagonist that much, but the puzzle needs to hang together. The reader gets intellectual satisfaction from the solution of the puzzle.

For cozies, the most important thing is that the reader feels that the protagonist is a friend, and they feel comfortable in their company. 

Cozies can have some mild action, and some danger, and they have a puzzle, but all of that is subordinated to creating an emotional bond between the protagonist and the reader.
The reader gets emotional satisfaction from having spent an enjoyable few hours in the company of their friend.

 

A cozy is a book you can read before going to sleep at night, and still be able to go to sleep at night.

Both cozies and traditionals: no excessive, graphic, gratuitous sex or violence on the page, plus very little or, preferably, no “expletive deleted” words. Usually a small-town setting. Emphasis on backstory, character development, whydunit as well as whodunit.


Difference between cozies and traditionals: in a cozy, the sleuth is always an amateur, generally female. In a traditional, it is a professional, sometimes a police officer, but more often a private investigator, and more often male. 


Christie’s Poirot books are traditional; Miss Marple books are cozies. 

 

Someone dies, no one gets hurt.

There’s a lot of hairsplitting over the definition of a cozy and the
difference between cozies and traditional mysteries.  The lines are
definitely blurred. Basically a cozy has no on-page sex or violence, with
little or no profanity (preferably none). They often take place in a small
town. I never heard the bit about no one getting hurt. Traditional
mysteries are grittier and perhaps more realistic. I would put Agatha
Christie’s Jane Marple in the cozy category. Sayers more traditional.

Thursday, September 7, 2017

Revisiting an Old Favorite

Earlier in the week I was considering several topics for this blog, and was about to settle on setting. This is something I consider crucial to a successful novel, a sense of the physical location as well as psychological space of the story and its characters. But I decided to abandon the idea after coming across two other blogs on the same topic. Both were well done, and I agreed with what both writers had to say. On a whim, however, I thought to look at one of my favorite writers and consider setting from her perspective.

In the 1970s I went through all of Agatha Christie’s books, including Sleeping Murder, the last Miss Marple, published just after her death in January 1976, and Curtain, the last Hercule Poirot mystery, published in 1975. I heard the news of Christie’s death in India, and her readers there were just as saddened as any in the UK. Since it has now been many years since I last read one of her books I have forgotten some of her standard techniques.

In Curtain, Christie approaches her story in a manner that is little used today in the traditional mystery. Even though the setting, Styles, a country house in Essex, is known from her first mystery and offers myriad opportunities for describing life in a country house in the modern era, Christie spends almost no time on this beyond telling us that Colonel and Mrs. Luttrell have bought the old place and turned it into a guest house. And they’re not doing very well at it either. The narrator, the hapless Hastings, tells us a lot about his sad state after the death of his wife and the launching of his four children, but little about the scenery.

Most of the novel is told in dialogue. If the author has to set a scene with characters showing up on the terrace or collecting drinks in the game room, she does it swiftly and efficiently. Her preference and great skill is letting us hear the suspects chatting away, noticing something and stumbling over their surprise, making a faux pas and trying to conceal it, or just behaving badly.

With her focus on dialogue and the behavior of her characters, Christie doesn’t waste time creating a mood or distracting the reader with descriptions of the copse below the house or the pub at the nearby village. The book is a scant 185 pages, and yet the mystery is one that keeps the reader guessing, with plenty of clues even though we don’t recognize them as such at the time.

Crime fiction has changed enormously since the 1970s, and I’m a fan of many of the newest books. But it’s a pleasure to return to an old favorite and find myself in such competent hands.

For more about Agatha Christie and her books, go here: http://www.agathachristie.com

To read my books, go here:

https://www.amazon.com/Susan-Oleksiw/e/B001JS3P7C

https://www.smashwords.com/profile/view/SusanOleksiw

http://www.barnesandnoble.com/s/susan+oleksiw?_requestid=1017995