Читать книгу Arthur Conan Doyle: A Life in Letters - Daniel Stashower, Исмаил Шихлы - Страница 10

As one might expect, these letters hold many revelations about the origins of Sherlock Holmes. Not only does the young author give a vivid account of the great detective’s fitful beginnings, but it is intriguing to note many details from Conan Doyle’s private life that transferred into the stories. The letters from the 1880s spent in Southsea, a suburb of Portsmouth on the Channel coast, where the first two Holmes novels were written, offer vivid details of Conan Doyle’s early struggles as an aspiring author. He writes frequently of his difficulties in making ends meet, his problems with tax collectors, and trying to get by selling anonymous stories to the popular magazines of the day. As he makes his first tentative steps into the literary arena, he offers blunt assessments of each new manuscript (‘I have completed a very ghastly Animal Magnetic vampirey sort of a tale’), and details the apparently endless round of rejections that his early work amassed: ‘My dear, I am continually sending things to the Cornhill and they send them back with a perseverance worthy of a better cause.’

The eventual success of Sherlock Holmes (‘Sherlock Holmes seems to have caught on,’ he told his mother in 1891, in one of the great under-statements in literary history), and Conan Doyle’s notorious ambivalence toward his most famous creation, formed a thread throughout his life. The first two Sherlock Holmes novels in 1887 and 1889 were failures, but as the short stories burst onto the pages of the Strand magazine in 1891, Conan Doyle welcomed the sudden rush of wealth and fame. But very soon he became wary of being too closely associated with what he called the ‘humbler plane’ of detective fiction. ‘He takes me from better things,’ he told his mother.

The ‘better things’ included the historical novels he loved so much, after having been raised on the works of Sir Walter Scott. His first breakthrough came with a historical novel called Micah Clarke in 1889, and in 1891 his tale of the Middle Ages, The White Company, helped to convince him that he could give up medicine for writing. In books like these he believed that he was writing enduring literature, and he expected to achieve critical success—particularly with his 1906 novel Sir Nigel, a prequel to The White Company, the two of which, taken together, he believed formed a new and lasting contribution to the national saga.

Yet most critics saw them as merely tales of adventure, and not as entertaining as Sherlock Holmes, or as the picaresque Brigadier Gerard stories about the Napoleonic wars, or as Professor Challenger in pioneering science-fiction tales like The Lost World. It chafed Conan Doyle greatly, but in fact he had been true to a sentiment that he had expressed in an 1894 interview: ‘We talk so much about art that we tend to forget what this art was ever invented for. It was to amuse mankind—to help the sick and the dull and the weary. If Scott and Dickens have done this for millions, they have done well by their art.’