Donatella Abbate Badin: Dickens’s "The Mystery of Edwin Drood" And Fruttero & Lucentini’s Attempt To Complete It
From Rossana Bonadei, Clotilde de Stasio, Carlo Pagetti, Alessandro Vescovi (eds), "Dickens:The Craft of Fiction and the Challenges of Reading", Proceedings of the Milan Symposium, Gargnano September 1998, Milano, Unicopli, 2000.
Carlo Fruttero and Franco Lucentini’s "La verità sul caso D." (translated into English as "The D. Case: The Truth about "The Mystery of Edwin Drood"), is the fruit of a joint writing project between two well-known Italian writers of detective fiction who most of the time operate as a couple – hence the use of the ampersand. But even more so, this is the fruit of a joint writing project between them and Charles Dickens. "La verità sul caso D." consists actually in Dickens’s own unfinished "The Mystery of Edwin Drood" interpolated by chapters written by Fruttero & Lucentini which represent about one third of the whole. The two parts form a single text, a dialogue between the two authors and Dickens, or, as some reviewers defined it, “a three-way collaboration” or, even better, “un romanzo a sei mani” (a novel for six hands). To continue the numerical escalation (and borrow Wolfgang Iser’s definition of reading), the new novel is a dramatic example of “the interaction between its structure and its recipients” (1980: 106), in this case not only the common reader but also the over two hundred writers who attempted to complete and complement the novel.
Fruttero & Lucentini use the narrative framework of a debate among the most famous fictional detectives as they are trying to make sense of Dickens’s intentions. Sherlock Holmes, Maigret, Dupin, Poirot (and even a Hercule Popeau, a character created by Hilaire Belloc’s sister well before Agatha Christie gave birth to her immortal sleuth), join some equally famous roman noir colleagues such as Philip Marlowe and Lew Archer. To them we should add Porfirij Petrovic from Crime and Punishment, De Quincey’s “Toad in the Hole”, Dickens’s own Inspector Buckett and Collins’ Sergeant Cuff. Last but not least comes a token academic, Dr. Wilmot, the fictional editor of The Dickensian [Stanley Friedman in his survey "Recent Dickens Studies: 1992" in Dickens Studies Annual, 23, points out that Dickens had played the part of Lord Fred Wilmot in amateur productions of Bulwer-Lytton's comedy Not So Bad As We Seem (p. 393). It is possible that Fruttero & Lucentini used the name allusively although there is no indication to confirm it.]. They are all participants in an “International Forum on the Completion of Unfinished or Fragmentary Works in Music and Literature” which takes place in Rome, defined by Fruttero & Lucentini as “la capitale indiscussa delle rovine e del restauro” (10) (“the undeniable capital of ruins and restoration”). Schubert’s Unfinished Symphony, Bach’s Die Kunst der Fuge, Puccini’s Turandot,
Livy’s "Ab Urbe condita", Poe’s "The Narrative of Arthur Gordon Pym" and Dickens’s "The Mystery of Edwin Drood" are the works under consideration and its motto is “COMPLETENESS IS ALL”. The forum is sponsored by two Japanese firms, themselves devoted, as the authors ironically point out, “to completeness”: one manufactures automobile spare parts, the other electronic components. They plan to use the most sophisticated modern technology together with the best available experts on the subject to produce the reintegrated texts on which they will pocket royalties for fifty years.
The fictional device provides the authors with many opportunities for jibing, à la Lodge, at academic conferences as well as at Italian disorganization contrasted with Japanese efficiency. The humorous tone is carried over to the conflation of the many critical interpretations of the "The Mystery of Edwin Drood" (or, rather, MED, the abbreviation the delegates use) and of the many attempts to complete the text. Fruttero & Lucentini’s "La verità sul caso D." differs from these numerous attempts because the authors seem to be aware of the unfashionableness (as David Parker pointed out recently) of speculating “about how Dickens might have ended "The Mystery of Edwin Drood"” (1993: 185). Instead of attempting to solve the puzzle, they indulge in a tongue-in-cheek metafictional and metacritical exercise with parodistic intentions. They live, after all, in an era that looks askance on closure, toy themselves, though mildly, with postmodernism and are familiar with critical theory, especially through Umberto Eco whose Opera aperta and Lector in Fabula are part of the intricate intertextual fabric of the novel as is Calvino’s "Se una notte d’inverno un viaggiatore" ("If on a Winter’s Night a Traveller"). As in the latter, the reader of "La verità sul caso D." is addressed continuously by the narrator and frequently called upon to use his own detective skills, thus becoming a leading character in the thriller.
The text, thus, goes beyond parody or the mere display of detective subtlety and Dickensian lore to focus on such contemporary issues as intertextuality and the reader’s construction of meaning. The process of “speculating and inferring” [Speculating and making inferences, in reception theory are the ways in which a reader “concretizes” a literary work through reading. (V. Terry Eagleton, 1983: 76).] displayed by the detectives faced with the unsolved mystery of the incomplete text, is simply a more intense and dramatic example of what we do all the time when reading and sheds some light on how to deal with Dickens’s interrupted text on the eve of the Twenty-First Century, by shifting, for instance, our attention away from authorial intention to privilege the reader’s role in the process. The metaphor of different detectives holding on to different schemata well represents the single reader’s shift from perspective to perspective. The idea of equating detective activities with semiotic-epistemological methods belongs to a well-established tradition, that which, for instance, equates the activities of Charles S. Peirce to those of a detective. Fruttero & Lucentini are likely candidates to contradict Sebeok’s bet that “while C.S. Peirce specialists have all at least thumbed through A.C. Doyle’s Sherlock Holmes Chronicles, the mass of Holmes aficionados have never even heard of Peirce” (Eco and Sebeok 1985: 1). The two Italian novelists seem to be well aware of the equation when they try to imagine what would happen if, instead of detectives, they were to deal with philologists and literati (“se invece di semplici investigatori ci fossero qui letterati e filologi”, 48).
After each group of chapters of Dickens’s novel, which the detectives listen to as it is read to them aloud or subliminally, the detectives turn indeed into philologists and semioticians, putting their minds together to decode each clue – both situational and verbal. Not only do these narratees draw, as other analysts have done, inferences on the basis of biographical data such as Dickens’s statements as to his intentions or the rivalry animating him to outdo Collins’ success with The Moonstone; they also advance hypotheses made on the basis of discourse analysis or “literary competence” – in this case the knowledge of the conventions of the genre and, in particular, of the successful Moonstone formula. The debate is a convenient device for reviewing the best known conjectures about "The Mystery of Edwin Drood", from the earliest readings down to Edmund Wilson’s, Forsyte’s, Aymler’s or Meckier’s, and for offering their own speculations and deductions.
The most important attempts to provide an ending to the novel, previous to 1908, are reviewed in Edwin Charles' "Keys to the Drood Mystery" (1908); most of them call for Edwin's survival. Charles own interpretation is based on John Forster's and Luke Fildes' statements and posits Jasper as the murderer who will be found out by Datchery thanks to the engagement ring which has resisted the action of lime. Felix Aymler's "The Drood Case" (1964) supports Jasper's innocence and introduces an Oriental element. Jasper would be the son of an Egyptian woman whose descendants out a family vendetta on Edwin. Edmund Wilson had also introduced an Oriental note in his famous essay in The Wound and the Bow (1929) suggesting that Jasper was a worshipper of the goddess Kali, in other words a Thug, who indulged in ritual killings. More importantly, here and in other essays, Wilson is the forceful supporter of the thesis of Jasper's dual personality. Charles Forsyte concentrates in the identification of the detective in disguise while Jerome Meckier tries to find a solution dictated by the rivalry between Dickens and Collins.
The indeterminacies which are inherent to any literary text, compounded with those due to a gapped text, are highlighted by the number of different, mutually conflicting readings. All interpretations offered are questionable and dramatically questioned in lively scenes occurring both in the Dickens Room where the debates take place, and at cocktail parties, sightseeing trips and in a variety of other circumstances. The proliferation of hypoteses and solutions, and the failure to reach agreement, well illustrate our present day belief that the scientific quest for certainty is impossible, and all knowledge forever fallible [See for instance,Karl R. Popper’s controversial picture of science as a matter of “conjectures and refutations.”]. Being aware of this, which sems to be one of the novel’s tenets, the authors do not take seriously any of the solutions, not even their own sensational ending which, as we shall see, far from providing a closure and a solution, rather demonstrates the impossibility of finding one and confirms the “perennial insolubility” of the novel.
Like any one who has read an introduction to the novel, Fruttero & Lucentini are familiar with what David Parker terms “the biographical arguments” as to Dickens’s intentions (1993: 186). Various delegates, or the narrator himself, illustrate the contents of Dickens’s private papers, or relate John Forster’s account of Dickens’s plans, Luke Fildes’ revelations of the reason for Jasper wearing a long neckerchief (so that, later on, he may “strangle Ed with it”) and anything that has been ascertained regarding the dating of the action and the identification of locales – the city, the jails, the opium-smoking dens. This way of transmitting the findings of scholars pleasantly is an illustration of what the authors consider also to be Dickens’s artistry, namely passing information without seeming to be doing so [“In questo consiste a conti fatti l’arte del romanziere tanto più bravo in quanto meglio riesce a “far passare” informazioni senza averne l’aria” (32).].
As interpretation chapters follow groups of narrative chapters, the various hypotheses about the "The Mystery of Edwin Drood" are also surveyed thus “pleasantly passing” further information about the critical debate surrounding the novel. At the beginning, the thesis of Jasper’s guiltiness seems to be prevailing as the sleuths espouse Edmund Wilson’s, Charles Mitchell’s and other critics’ ideas. Those supporting the theory of Jasper’s guilt defend their position by maintaining that the interest of the novel lies in Jasper’s double nature which makes him a prototype of the Dr Jekyll and Mr Hyde divided personality. Most fictional detectives, however, cannot be content with such an obvious solution. Where would the mystery be, exclaim some of them, if we knew the culprit beforehand? We overhear one of them muttering “in un vero poliziesco il maggiore indiziato non può assolutamente…” (in a real detective novel the prime suspect cannot possibly…) (33). So the fictional detectives raise a number of questions thus those touched upon in the critical corpus and in the rewritings and sequels to the novel. Their questions regard principally the following points:
- Jasper’s guiltiness. The thesis of his guiltiness is supported by his threatening personality, mesmeric powers, drug-dependance, and violent eroticism, but questioned by the necessity for a detective novel to provide some suspense. Jasper’s guiltiness granted, the suspense of the novel would consist in some surprising revelation as to the circumstances of the crime or as to the way the inquirers would find out about it – in a death-cell (as Dickens seemed to have planned) or under the influence of opium (as in The Moonstone) or under the influence of mesmerism (as Dickens’s interests at the time would suggest). The mystery of The Mystery could also consist in the deployment of a dual personality, Jasper’s guiltiness coming to him as a shock, as his evil self would have committed the crime while the good self was unaware of it.
- The return of Edwin Drood as an avenger or as a ghost to frighten Jasper who had failed to kill him or as Datchery, the detective figure introduced in the last extant chapters of Dickens’s text.
- The identity of Datchery: Besides Edwin Drood himself, the names of Tartar, Grewgious, Bazzard and even Helen Landless all find support.
- The possibility of there being another culprit, Neville or Helena or a killer sent to execute a vendetta or even a vagrant for a real surprise ending.
- The Oriental suggestion. Knowing that Dickens was trying to emulate and outdo Collins’s The Moonstone, one could expect that the cues about Edwin going to Egypt or the mention that the Landless brothers come from the East would have taken much more importance, to equate the Indian plot in The Moonstone.
All these different suggestions can be defended – and have been defended – by various critics on the basis of internal and external evidence (what Parker calls “forensic” and “aesthetic” arguments – 1983: 187). In their turn, the detectives in Fruttero & Lucentini’s novel pick them up to fire the debate while they speak and act in character, adopting solutions according to the nature of the works from which they originate and the subgenres they represent. The members of the hard-boiled school are pitted against those who seek the solution of the enigma through deduction (the British school, we might call them); the supporters of a surprise ending, à la Christie are opposed to those à la “Porfirij Petrovic” who, like the judge in Crime and Punishment, see in "The Mystery of Edwin Drood", a psychological thriller rather than a novel of detection, indeed, because of the use of drugs, a “psychiatric thriller” (33). All these conjectures are used dramatically to create tension among the delegates. Fruttero & Lucentini do not seem to favour one above another but rather they try to retrace the steps of the various theorists and show how the group of detectives reconsider and adapt each conjecture formed and strive to reach a cumulative final interpretation consistent with the text, only to be diverted from their purpose by an unexpected, shattering finding.
The process of reading, thus, is illustrated sequentially: after a series of interventions supporting, for instance, Jasper’s guiltiness, new conjectures will be advanced. What was acquired will fade or be readjusted as new information is added. “Reading is not a straightforward linear movement, a merely cumulative affair” writes Eagleton commenting on reception theory. We “shed assumptions, revise beliefs, make more and more complex inferences and anticipations.” (1983: 77). The detectives’ heated debate mimics the process by which a reader passes through the various perspectives offered by the text and relates the different views and patterns to one another.
To prove this the authors swerve from what seemed to be their original plan, namely to have the detectives write a completed version of The Mystery. While the delegates are finalizing the results of the working session and seem on the verge of opting for a solution of the case which includes the most spectacular elements of past theories (the Islamic plot with the Landless twins as the exotic killers), suddenly Maigret and Poirot rejoin the party with a sensational revelation. The examination of the paratext – the frontispiece and illustrations of the first edition – together with telepathy have allowed them discover that Dickens could not complete the novel because he was murdered by Wilkie Collins as a revenge for his planning to use an idea of the latter. As in Hamlet, Jasper’s guilt would have been disclosed through a play – Dickens’s own Mousetrap – written by the amateur playwright Bazzard, who masquerades as Datchery. Thus reality (at least the fictional reality of "La verità sul caso D.") rejoins fiction. Dickens is unable to conclude the story of the uncle murdering the nephew (a sort of Cain and Abel story, as has been pointed out by Wendy S. Jacobson) because he was himself murdered by his Cain-like brother-rival Collins.
So there is closure after all in "La verità sul caso D." – a closure that goes against the grain of the novel and is tantamount to recognizing that each attempt at interpretative detection, especially in the case of a forcedly open text such as Dickens’s is, defeats its own purpose denying meaningful patterns in the text, or proving that any patterns found are illusory impositions of the reader. The different interpretations of The Mystery do not only reflect the unfinished status of the novel but they foreground the anarchic polysemantic potential of all texts while the activity of the detectives trying to impose some manageable framework by reducing the polysemantic potential to some kind of order, equates that of the critic or of the simple reader. There are no correct readings which will exhaust the semantic potential of a text and especially of a text such as "The Mystery of Edwin Drood" which, besides being unfinished, is also full of rich suggestions, gaps and loose ends that need decoding (and on which many critics have concentrated ignoring the temptation to provide an ending).
The classic detective novel, it has been repeatedly pointed out, is a rigid, hypercodified form, presenting a reassuring model of reality where, with the unmasking and punishment of the criminal, we return to a state of social and moral equilibrium and to the triumph of rationality [See Roberto Barbolini’s analysis of the genre in his Il detective sublime and Stefano Manferlotti’s more specific study of "The Mystery of Edwin Drood" as a parody of detective novels.
Wilkie Collins’s detective stories fit the pattern while "The Mystery of Edwin Drood", even in its fragmentary form, promised to be much more unsettling, questioning, as it was, the Victorian ideals of perfectibility, of the goodness of human nature, of the power of reason and of the adequacy of literary forms to contain experience.
Fruttero & Lucentini’s "La verità sul caso D.", with its absurd and sensational conclusion, foregrounds the forced indeterminacy of Dickens’s text and shows how what could have been a detective novel in the Nineteenth century tradition is, in its present state (but maybe even if it had been completed) an open text, indeed a postmodern text, itself leading to the infinite rewritings of other postmodern texts.
Works Cited
- DICKENS Charles, FRUTTERO Carlo and LUCENTINI Franco, La verità sul caso D, Torino, Einaudi, 1989.
- DICKENS Charles, FRUTTERO Carlo and LUCENTINI Franco, The D. Case: The Truth about "The Mystery of Edwin Drood", trans. G. Dowling, New York, Harcourt Brace Jovanovich, 1992.
- DICKENS Charles. "The Mystery of Edwin Drood", M. Carwell (ed.), Oxford, Oxford UP, 1972.
- AYMLER Felix, The Drood Case, New York, Barnes & Noble, 1964. BARBOLINI Roberto, Il detective sublime, Roma, Napoli, Theoria, 1988. CALVINO Italo, Se una notte d’inverno un viaggiatore, Torino, Einaudi, 1979.
- CHARLES MARKHAM Edwin, Keys to the Drood Mystery, London, Collier, 1908. COLLINS Philip, Dickens: Interviews and Recollections, London, Macmillan, 1981. COLLINS Wilkie, The Moonstone, London, Penguin, 1966.
- EAGLETON Terry, Literary Theory, U. of Minnesota P, 1983.
- ECO Umberto and SEBEOK T.A. (eds.), The Sign of Three: Dupin, Holmes, Peirce,
- Bloomington, Indiana UP, 1983.
- FORSTER John, The Life of Charles Dickens, London, Dent, 1966. FORSYTE Charles, The Decoding of Edwin Drood, London, Gollancz, 1980.
- FRIEDMAN Stanley, “Recent Dickens Studies: 1992”, Dickens Studies Annual, 23 (1993).
- ISER Wolfgang, “Interaction between Text and Reader”, The Reader in the Text, S. Suleiman and I. Crosman (eds.), Princeton UP, 1980.
- JACOBSON Wendy S., “The Genesis of the Last Novel: "The Mystery of Edwin Drood"”, Dickens Studies Annual, 25 (1996), 197-210.
- MANFERLOTTI Stefano, “Generi e parodia dei generi in "The Mystery of Edwin Drood" di C. Dickens”, La performance del testo, F. Marucci and A. Bruttini (eds.) Siena, Ticci, 1986. 195-202.
- MECKIER Jerome, Hidden Rivalries in Victorian Fiction, Lexington, The UP of Kentucky, 1987.
- PARKER David, “Drood Redux: Mystery and the Art of Fiction”, Dickens Studies Annual, 23 (1993), 185-195.
- La Stampa Tuttolibri: Reviews of "La verità sul caso D." 7/10/1989 and 18/11/1989.
- WILSON Edmund, “Dickens: The Two Scrooges.” The Wound and the Bow, Cambridge, Mass, Houghton Mifflin, 1941 (1929).