By John Gardner
The novel that reintroduced the Napoleon of crime to the Victorian underworld—now again in print after virtually 40 years
Once back, the sport is afoot...
What particularly occurred in Switzerland among Moriarty and Sherlock Holmes in 1891? And why is Holmes, now in London at 221B Baker road, interestingly uncooperative with Scotland Yard's inquiries? in addition, why has Moriarty deliberate a grand assembly with the overseas crime syndicate? those are the questions that make up the bigger secret of the sinister Professor Moriarty's go back.
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Extra info for The Return of Moriarty (Professor Moriarty, Book 1)
Example text
For more on La Nausée, see Chapter Four below. 8 For Shields (1994, 62-3), he is Parisian by virtue of being “always as much mythic as […] actual”. 9 This reading draws on the chiastic form of the full title, in which Les Petits poèmes en prose is opposed to the subtitle Le Spleen de Paris. According to Covin (2000), while spleen can be seen to oppose Paris, just as poem opposes prose, in which case the city is re-presented as an Ideal, Paris can also be seen to stand outside the opposition, encompassing the tension between the poles.
It is in this direct access to events that the poem gives to the reader that its fetishistic power resides. 33 For, when Lehmann analyzes “À une Passante” from the perspective of the fetish, he is working from the garments backwards; that is to say that if the garments function in the poem as a fetish it is because the traumatic moment has already occurred: “The character of the fetish alludes in the poem both to the commodity, that is, the fashionable detail on the garment, and to the eroticism of the leg, which in itself can be seen only in its sartorial representation: adorned by stocking and shoe” (Lehmann 2000, 245).
We dress to be part of the crowd, yet to stand out from the crowd” (Wilson 2001, 51). It is precisely in this double movement that the follower of fashion can be compared to that other major but elusive figure of modernity, the flâneur. He, like Dior’s models, is of his time to the extent that he occupies a specific point in history;6 and yet, as Chambers (1999) reminds us, he is always, at least partially, out of step. In addition to being critically perverse, the flâneur is also double in terms of his literary and historical presence.