Morbid Taste For Bones

In modern literature, creating suspense and apprehension is essential in creating a story that readers are both fascinated and engaged in. These characteristics are particularly significant in Truman Capote’s novel, In Cold Blood. The novel depicts a true to life story about how a mere robbery attempt in Holcomb, Kansas concludes in a merciless murder of a four-member prosperous and prestigious family, the Clutter’s. Although the readers already have knowledge of the murder in the story earlier on, Capote efficaciously maintains the reader’s curiosity by creating suspense and apprehension. In particular, Capote provokes suspense and apprehension by shifting between concurrent events waiting to disclose the details of the murder and the establishment

For example, when Angela Wexler a perfect child who would not do anything harmful bombed her own face only to get caught by her mother, who cares so much about her. In the story it states that “ Angela glanced at her watch and reached for the tall, thin carton wrapped in gold foil.”this quote shows us that Angela knows when and where (it was in the parcel) the bomb in the Wexlers apartment will explode (Raskin 112). The reason why this part of the story shows suspense is because we don’t know the intentions of Angela, until the clues we find later in the story shows us Angela’s actual intention was to get caught by her mother and be an actual normal being. Another example of suspense is the cliffhangers. The reason why cliffhangers are suspenseful because they leave the reader dangling with questions, and want to read on to know more. A good example of a cliffhanger is after Turtle finds the answer to the game, we think Angela and Dr Deere are getting married, but it is actually Crow and Otis Amber’s wedding, which is very awkward moreover, we never knew what happened between them, like you don’t know what is happening when you are absent (Raskin 207). All of these are good examples of suspense which a good mystery novel

“The third stage of narrative development was characterized by the appearance of rogues… relying on cleverness more than force, and motivated more by profits than by passion” (Williams 14). Rogues defied whatever came in between their pursuit, whether it be law or authority (Williams 14). In the third stage of criminal literature, the protagonists were all rogues despite of their unlawfully ways, they “aroused reader sympathy” (Williams 16). Williams described these rogues as “outsiders, existing apart from the social structure either by choice or by fate” (William 16). He also described these rogues as “individualistic, opportunistic, self-reliant” as well as “defiant of authority and entirely free” (Williams 16). William argues that the evolution of these narratives took place in three stages: the first being the “early execution sermons and final confessions”, the second being “the incomplete narratives of life and, finally the full length rogue narrative” (Williams 17). Williams’ article describes how criminal literature changed from “promoting obedience, [to] encouraged defiance” (Williams

Larson describes one of the great performances by Buffalo Bill at the fair. He describes his hair as “streaming,” the trim of his outfit as “glinting,” and his bow of respect to Susan B. Anthony as “seeping” (286). The parallelism and word choice creates a sense of awe for the reader which further contributes to how Larson portrays the people to see the fair as extravagant. Larson’s intent with the loaded language in his description of Holmes’s murders switches to draw attention to the evil and darkness. He repeats the word “phase” when describing his “quest for possession” to emphasize the fact that Holmes had this unpropitious thing of murder down to a routine. The level of evil goes up as Larson describes what Holmes did with the bodies afterwards. He emphasizes how Holmes could’ve cared less what happened to the bodies after he was finished with his game of seduction and murder by referring to them as “materials,” “irrelevant,” and a “recreation” (199-200). Both the hinting to Holmes’s routine of murder and his disposal of the bodies continue to illustrate Larson’s point of how wicked Holmes’s actions really were. If it hadn’t already happened, the repetition of the rhetorical device of loaded language in Larson’s descriptions of the fair and the murders help bring the reader to the harsh realization that there

People reads books and they get their captured by the suspense the authors use to write their stories. Suspense is a key point for most readers it keeps them reading the book to see what happens next. Both Edgar Allan Poe and Richard Connell are very good authors that use a lot of suspense throughout their short stories. Poe’s “Cask of Amontillado” and Connell’s “The Most Dangerous Game” are two stories full of suspense. It’s unpredictable, surprising that we can’t figure out what happens next. .Through conflict, setting, and diction Poe and Connell are able to build suspense.

The Author does a good job giving clues to help solve the mystery (whole book). The author adds a poem which gives the order of the deaths and how they die (31). There is also glass figures that every time one of the people dies a glass figure disappears. It also gives clues throughout the story that helps figure out who is killing people (whole book). But the author also makes you think. There are also those moments where you read something and realize how it connects to something that happened previously in the book.

There are several types of mystery stories, one in particular, is known as hard-boiled mysteries. This specific genera was originated in the 1940s, they were created to veer away from the typical mysteries that dominated this era. This particular mystery genera is quite different from another mystery story, especially when it comes to the characters in the story. Within the hard-boiled mystery genera, there are several different articles and stories. Some of these include, “Red Wind”, “Three Dot Po”, “Film Noir and the Hard-Boiled Detective Hero”, other articles come from “detnovel.com.” Furthermore, within these articles and stories there are several ideas and themes discussed and introduced. However, there is one idea present in all,

Though set in entirely dissimilar countries at different points in history, Margaret Atwood’s ‘Alias Grace’ and Hannah Kent’s ‘Burial Rites’ possess significant comparisons. Both for instance, are fictionalized historical novels following the tribulations of a female protagonist convicted of murder and both have been widely acclaimed for their incredible literary style which merges classic poetry, epigraphs, folklore and historical articles with fiction. The most striking parallel between each novel that can be drawn, however, is the way in which authors masterfully craft the stories of untrustworthy, cunning and deceptive criminals to elicit sympathy from their audiences. Readers of the novel and secondary characters alike are gradually pulled into sympathising with ambiguous and untrustworthy female leads, Grace Marks (Alias Grace) and Agnes Magnusdottir (Burial Rites). Despite the heavy suspicions of others and a lack of evidence to support their claims of innocence, these characters present artfully manipulated features of their defence stories to provoke empathy, sympathy and trust from those within the novel, and those reading it.

To write a good mystery novel takes time and only a few authors have been successful in writing them. Mystery novels has been around for a period of time with historical authors such as Arthur Conan Doyle and recent author Stephen King. In these novels, clues are provided by the author and Christopher Boone, narrator of the novel The Curious Incident of the Dog in the Night-time, states, “If it is a good puzzle you can sometimes work out the answer before the end of the book” (5). In relation to this, the most valuable information is typically gained throughout the process of the investigation rather than the solution itself. Although the book The Curious Incident of the Dog in the Night-time is not classified as a detective story, the plot still goes through an investigation and shares elements of a mystery novel. The mystery within the story that keeps the novel going is to find the killer of Mrs. Shears’ poodle, Wellington, and in turn, shapes the ending where the audience sees the development of the protagonist, Christopher, through the investigation itself, the journey to London and his overall ability as a writer.

This is all to have them anticipate the ending and the solving of the mystery, to keep them gripped. Even the very title of the novel is unclear and does well to conjure up ideas inside the readers mind. It is only until the whole story is took in and the ending is unveiled that the reader can fully appreciate and understand

While each proses a serve of justice and determination to do the right thing; the men approach the crime scene emotionless, indifferent and determined to go in and get to the bottom of the mystery as quick as possible, and push aside the little details. Little do they know that the things they are putting off could be very essential to their case? For example, in a conversation between the attorney and Mr. Hale who remarks, “..I said to Harry that I didn’t know as what his wife wanted made such a difference to John..” who was interrupted by the attorney in mid conversation and interjects, “Let’s talk about that later, Mr. Hale. I do want to talk about that, but tell now just what happened when you got to the house.” (1127) Meanwhile, while the men are out on their hunt for clues, the women stay in the kitchen to look through Mrs. Wright’s things and discuss a motive for why she killed her husband. Glaspell proposes a plan that by looking deeper into circumstances, you may in turn fully understand its true meaning; leaving no stone left unturned.

Mystery and thriller novels, in which Agatha Christie is often considered as the queen of, commonly present a complex and confusing cast of characters which through the efforts of the detective/narrator/reader, then become organised groups of people who are good and bad, who belong to black or white, alibis sorted into two sides of complete contrast. Generally, there are one or two criminals and numerous victims in a typical detective novel. However, in Agatha Christie’s And Then There Were None, the cast of characters all have a similar trait: they are all part of a murder case in which the law couldn’t wholly touch. In the novel, Christie presents the central theme, justice, as an ambiguous concept.

A good mystery story needs a hero, a villan and an out of the ordinary storyline. In my opinion the story should have a realistic drama and the right setting, something to drastic will not allow the reader to relate to the story. A narrator may make the story more personal and the reader can really get inside the story to know what the character is feeling and fears, increasing tension. There also should be a range of suspects; some of these characters can be used as red herrings, which can mislead the reader, adding to the shock at the end of the story. In ‘The speckled band’ the suspects are the gypsies, the exotic animals and Dr Roylott, there are some obvious and some not,

While murder is widely considered to be the most abhorrent and atrocious act one can commit, Murder on the Orient Express by Agatha Christie takes the dark and tainted act, and raises the question of its’ moral implications. The murder victim in the novel, Mr. Ratchet, has a previous alias, Mr Casetti. He is responsible for the kidnapping and murder of a young girl, Daisy Armstrong. He pretends she is alive, and extorts money from her family for her “safe return”. He blackmails the authorities: allowing him to escape from the deserved punishment. Daisy’s family decides to take matters into their own hands, and seek vengeance for the young girl. The question of whether murder

Mystery and suspense is conveyed by never giving the reader an entire answer, which causes the reader to read on.