16 WLT JANUARY / FEBRUARY 2016 photo : stephen murphy N ew Zealand is, relatively speaking, a tiny country with a population half the size of New York City and in a location so remote, a commercial flight from Los Angeles takes over fifteen hours to get there. The closest big city, Sydney, is three hours across the almost landless Tasman Sea. Legendary for the beauty of its landscape and the fierce Maori culture that has occupied the islands since the late thirteenth century, Aotearoa, as the Maoris called the north island, had its first European contact in 1642, and its coastline wasn’t mapped extensively crime & mystery Kiwi Crime Writing A Rich Tradition from a Distant Sea by J. Madison Davis WORLDLITERATURETODAY.ORG 17 until Captain Cook arrived in 1769. After that, immigrants began appropriating the land, and today the ethnic population is about three-quarters European. The travel book cliché is that New Zealand is culturally the “most British” of the former British colonies, and we can see that in the influence of Kiwi writers on that most British of literary genres, the mystery, from the very beginnings of the genre. One of the earliest best-selling mysteries in the world was written by Fergus Hume, who is claimed by New Zealand even though he was born in 1859 in the Worcestershire City and County Pauper Lunatic Asylum in England, where his father worked, and only lived in New Zealand from age three to age twenty-five. In 1861, during the Otago gold rush on the south island of New Zealand , his father became superintendent of the Dunedin lunatic asylum. Educated in what is now the Otago Boys’ High School in this remote outpost of the empire, and likely isolated even more by living on the grounds of an asylum, young Fergus must have dreamed of bigger things. Even though Dunedin’s population multiplied fivefold in the 1860s and became New Zealand’s largest city from 1865 to roughly 1900, it was under twenty-five thousand people even then. Hume matriculated to the University of Otago, studied law, and was admitted to the bar in 1883, but the prospect of a steady career as a lawyer was not enough. He wrote poetry and anonymous reviews that were published in the local press and became involved in local theater. He developed a reputation as a dandy, but being a big fish in a small pond was still not enough. He moved on to Melbourne, Australia, which had a more lively theater culture, but the theater community of Melbourne was basically a closed shop. Hume could not get any of his plays read, let alone produced . Determined to break into writing, he thought perhaps a novel would work for him. He researched what was selling and discovered that the novels of Émile Gaboriau were popular. Edgar Allan Poe is credited with first making the mystery a popular genre, and Poe’s influence on the French was very powerful. Gaboriau ’s L’Affaire Lerouge (1866) began a series of pioneering French mysteries drawing from the memoirs of Eugène François Vidocq (as Poe had) and further popularized and developed the crime novel. Gaboriau died in 1873, but the translations inspired Hume to write The Mystery of a Hansom Cab, which, like his plays, no publisher would touch. They had no faith in a book by a colonial, he was told. The complicated story of its publication was recently researched and recounted in Blockbuster! by Lucy Sussex. When Hume had it privately printed in 1886, the book flew off the shelves. British publishers now came hat in hand, but Hume didn’t believe it would be as successful in Britain and America, so he sold his book rights for fifty pounds. The New York Times reported in Hume’s obituary that the book sold half a million copies. He made money on the dramatic version, however, and moved to England, where he wrote mysteries until his death in 1932. Hansom Cab, it is worth noting, preceded the first appearance of Sherlock Holmes by a year, and thus this backwater colonial deserves major credit as one of the most influential creators of the mystery...
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