Rachel Jones

Rachel Jones
ENGL 1147
Christina Black
Assignment 6

I, Sherlock Holmes

Creative Writing Piece: An adaptation of “The Adventures of the Bruce-Partington Plans” by Sir Arthur Conan Doyle which picks up with the original story at page 45.

           

A blind, you say? Perhaps, but you must consider all of the evidence that has been gathered. I see you grow impatient Lestrade, so I will point out the remaining holes in our theory. Suppose he makes contact with the foreign agent and the exchange is made. He must then return the paper sot the office before they are noticed missing. However, as you have realized, there remained only seven of the ten pages he took, in his pocket. Not only this, but where is his reward for betraying his country?

Yes, yes, you suggest the most obvious solution yet there are still flaws. If, as you say, he was killed by the foreign agent on the train, then where is his ticket? Exactly! The murderer confiscated it to erase the location of where he was residing. However, if this is the solution, there remains nothing left for us to do- the man is dead and the plans are in circulation.

My dear Mycroft! You’re insistence is intriguing. If you believe this is not the proper solution to the case…Come, Watson! And, Lestrade? Would you accompany us for a time? Mycroft, I will update you this evening. I see that this soothes your excitement but do not expect much to be uncovered.

Now, sir, you say that the body could only have arrived here by train and that, as near as you can figure, the train passed through around midnight on Monday. Where the cars inspected for signs of violence? No such signs, no ticket, and no door found open? Very well.

A heavy thud, Lestrade? And dense fog…just a moment Lestrade, let me concentrate…points…the points. Oh, sir, is there an abundance of points along this system? You say not, what of the curve here?  Your interest is clear and while I do not have a new clue I do have an idea. You have stated that there was no blood found on the rail line but the deceased sustained a considerable wound. Yes, it may not have been external but one would expect a bit of blood.

Sir, could you allow me to inspect the car which the witness heard the thud from? Broken up? Very well, Lestrade reminds me that they have been properly inspected. Watson, I believe it is time to carry on to Woolwich to further our expectation.

Analysis:

The Reluctant Fundamentalist by Mohsin Hamid, a novel published in 2000, is quite different from the other works read, discussed and analyzed throughout this class. Therefore, its portrayal of themes provide different and intriguing evolutions. David Lehman introduced a theme that stated that the “most subversive” part of this genre is the realization that “the sleuth and the culprit are more alike than different”, a concept that can be extended to compare opposing sides in a war and even complete ideologies (xv). “Us” and “Them” can also be applied to the reader and the protagonist. If “Us” compares to the reader and “Them” compares to the protagonist, authors can manipulate the fine line that separates the two. “Us” and “Them” can have two different definitions which are distinct in the other novels. However, in this particular novel, it appears as if these two definitions blend.

Hamid utilizes a unique writing and narrative technique that allows the reader to feel as though they are being directly spoken to by the protagonist. The novel is completely composed of a one-sided dialogue spoken to an unknown man. As it is only dialogue, it is as though Changez, the protagonist, is speaking directly to the reader. This technique is intriguing as it makes the novel a quick read and allows for a seemingly more personal connection.  It also changes the how the “Us” and “Them” theme is portrayed.

One of the aspects of this particular theme is the number and type of viewpoints presented by the author. By examining the other works, it is evident that as the number and variety of points of view increased, so did the subversion of “Us” and “Them”, both between the reader and protagonist and the opposing forces in the plot.  This occurs because the protagonist or the “Us” side within the novel, is portrayed through various eyes and are more developed and complicated characters. In this way they become more relatable, more human, and ultimately less like a complete enemy.

Throughout the evolution of this genre, the novels chronologically gained more viewpoints. Hamid however, goes back to the beginning and cuts the number of viewpoints back to one. However, he does so in an extreme way, providing no description or added commentary from a narrator. Instead, the story is told only through the words of the protagonist. Initially this appears to be a step backwards. However, Hamid is able to push the theme further.

Changez’s character is unique in that, while conversing with the stranger, he presents a multitude of aspects to nearly everything discussed. This is a reflection on how perceptive he is, how well he is able to read other people’s thoughts and views, and how he was initially so successful at his job. This is one way in which Hamid is able to portray his intentional theme of us versus them.

The novel focuses on the topic of terrorism and how both sides, in this case a westerner and a Pakistani, have stereotypes and prejudices against the other. Changez brings up various stereotypes associated with terrorist and discusses how these stereotypes affected him both in New York City and at home in Pakistan. He is able to relate his experiences in a way that, while occasionally brushes his companion the wrong way, still allows him to understand how he was feeling and that his actions were never completely wrong.

By doing this, Hamid is demonstrating that while Pakistan and New York City contain extremely different cultures, the inhabitants are all human. Ultimately there is no distinct difference between a Pakistani and a New Yorker, they are both humans with the same emotions, motivations and same desires in life.

So while Hamid’s narrative technique limits the number of viewpoints presented to the reader, the complexity of Changez’s character and his ability to perceive many viewpoints for himself made up for it. Therefore, Hamid is able to bring together “Us” and “Them” in both definitions of the theme. His narrative technique allows the reader to feel as though Changez is speaking directly to them. In this way, he is convincing the reader that the us and them of terrorism are not truly separate. In doing so, he is also allowing the reader to build a connection and relate to the protagonist.

Sir Arthur Conan Doyle is one of the pioneers of detective fiction and by applying Hamid’s narrative technique, it creates an interesting perspective. By retelling the short story through only Sherlock Holmes’ dialogue, it presents a different take on “Us” and “Them” than Doyle first exemplified. Doyle originally portrayed the short stories through only Dr. Watson’s perspective. Watson’s character typically reveals Sherlock’s clue collecting and his big reveal. This only portrays the sleuth that is Holmes but not the true thought process, the trial and error, and the complexity of his character.

This allows for Sherlock to become more relatable to the reader. However, the other definition of “Us” and “Them”, the opposing forces in the plot, is no more defined than before. While the sleuth is more characterized, the criminal is not. The story reveals no more about the criminal and thus shows no more of a similarity between the two. However, if more of the story was re-written in the style of The Reluctant Fundamentalist, it could potentially reveal more of the subversion between “Us” and “Them”.

These two pieces of literature exemplify the two ends of the genre and show that while one aspect of the genre can evolve to further different themes other aspects can regress but also still further the theme. In Hamid’s novel, both the writing technique and the character development help to do this. It is intriguing to see how evolution is not always a progressive, linear process but rather a complicated, trial and error process.

Works Cited

Doyle, Sir Arthur Conan. "The Adventure of the Bruce-Partington Plans." The Adventures of the

Dancing Men and Other Sherlock Holmes Stories. Mineola, NY: Dover Publications, 1997. 38-62. Print.

Hamid, Mohsin. The Reluctant Fundamentalist. London: Penguin, 2008. Print.

Lehman, David. "Introduction." Introduction. The Perfect Murder: A Study in Detection. Ann

Arbor, MI: University of Michigan, 2000. Xiii-vii. Print.