Sherlock Holmes in Montague Street - Volume 3 , livre ebook

Andrews UK - Arthur Morrison

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124 pages

English

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In 1893, Dr. Watson and Conan Doyle published what they believed was the last Sherlock Holmes story, "The Final Problem". The world was stunned, and The Strand Magazine rushed to fill the vacuum. Readers were soon introduced to a new detective, Martin Hewitt, as presented by Arthur Morrison. Although initially different than Holmes, Hewitt also showed a number of interesting similarities as well . . . .For many years, Martin Hewitt has been mostly forgotten, except in some Sherlockian circles, where it has long been theorized that he was a young Mycroft Holmes. However, recent evidence has come to light that Hewitt's adventures were - in fact - cases undertaken by a young Sherlock Holmes when he lived in Montague Street, several years before he would take up his legendary rooms in Baker Street with Watson.These volumes are the Complete Martin Hewitt Stories, taking Arthur Morrison's original publications and presenting them as Sherlock Holmes adventures. If you are a fan of Holmes, enjoy! And by all means, seek out the original Hewitt stories and enjoy them as well. The Game is afoot!

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Publié par	Andrews UK
Date de parution	20 décembre 2016
Nombre de lectures	0
EAN13	9781780926841
Langue	English

Informations légales : prix de location à la page 0,0250€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Title Page
SHERLOCK HOLMES
in
MONTAGUE STREET
Sherlock Holmes’s Early Investigations
Originally Published as
Martin Hewitt Adventures
Volume III
by
ARTHUR MORRISON
Edited, Holmes-ed,
and with
Original Material
by
David Marcum

Publisher Information
First Edition published in 2014 by MX Publishing
335 Princess Park Manor, Royal Drive,
London, N11 3GX
www.mxpublishing.co.uk
Digital edition converted and distrubuted by
Andrews UK Limited
www.andrewsuk.com
© Original Content Copyright 2014 David Marcum
The right of David Marcum to be identified as the author of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1998.
All rights reserved. No reproduction, copy or transmission of this publication may be made without express prior written permission. No paragraph of this publication may be reproduced, copied or transmitted except with express prior written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who commits any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damage.
All characters appearing in this work are fictitious or used fictitiously. Except for certain historical personages, any resemblance to real persons, living or dead, is purely coincidental. The opinions expressed herein are those of the authors and not of MX Publishing.
Cover design by www.staunch.com

Introduction
I. About the Author
Arthur Morrison was born in 1863 in the East End of London. Growing up in a working-class family, he could not help but be well aware of the terrible poverty which surrounded him. Very little is known about Morrison’s early life, and his probable embarrassment concerning his own family’s poverty during this time meant that very few details ever became public knowledge. In later years, he would attempt to alter or hide his biography as a denial of his origins, thus making it difficult indeed to determine anything specific about his early life. The abominable conditions in the East End in the late 1800’s have become legendary over the years, and Morrison was there during the worst of those times.
When Morrison was about eight years old, his father, a steamfitter at the London Docks, died, leaving him, as well as his mother and two siblings, to make their way as best they could. Despite oppressive conditions, the family persevered, and when Morrison was in his mid-teens, he found employment with the London School Board as an office boy in the Architect Department. Some of these experiences were no doubt useful when he came to write the Martin Hewitt story, “The Dixon Torpedo” (June 1894), set in an engineer’s office. In 1880, his first published work, a poem, appeared in a magazine. He continued to publish small pieces over the next few years, although often anonymously, so that an accurate count of what was written during this span will never be known. In 1885, his first major journalistic piece was accepted and published by The Globe newspaper.
Morrison was mostly-self taught, and in 1886, he obtained employment as a secretary with a sizable East End charitable foundation, the People’s Palace. He remained in this position while continuing to write, and in a few years he became the editor of The Palace Journal. He eventually resigned in 1890 to join the editorial staff of The Globe on a full-time basis.
The amount of Morrison’s writing increased dramatically. In 1891, he published a collection of supernatural short fiction, Shadows Around Us, now nearly forgotten. At that point, he began to turn his attention toward writing pieces that reflected the conditions in the East End, a type of work that came to be known as slum fiction.
Morrison wrote pieces describing various aspects of poverty that he had observed during his childhood and young adult years. His books on the subject are frequently mentioned as leading examples of that type of work, and Morrison portrayed conditions in a realistic way that had not been done before in literature. These books are: Tales of the Mean Streets (1894), a collection of short stories, and two novels, A Child of the Jago (1896), and The Hole in the Wall (1902).
Unlike many of his contemporaries writing on these same subjects, Morrison’s works are decidedly pessimistic, implying that improvement of the condition of the poor is almost overwhelmingly difficult and unlikely to be successful, especially through benevolent intervention by wealthier members of society. In addition, Morrison took a pessimistic view of the poor themselves, and there were no sympathetic or admirable characters in his slum fiction.
During the 1890’s and early 1900’s, Morrison began developing an interest in Japanese art, and as a collector and writer on the subject, he became a recognized expert. As his interest and expertise grew, he would eventually transition away from both journalism and fiction, abandoning both completely by the early 1900’s, except for one short fiction collection, Fiddle o’Dreams and More, published in 1933. In 1911, he published The Painters of Japan, which is still considered an important work in the field, and in 1913, he sold most of his collection of Japanese art, acquired over the previous decade or so, to the British Museum, receiving enough money to retire.
Very little is known about the last thirty years of Morrison’s life. He lived quietly until his death in 1945, and as E.F. Bleiler wrote in his introduction to Best Martin Hewitt Detective Stories (1976), “When he died . . . the world was more astonished to learn that he had been still living than that he was dead.”
II. About Martin Hewitt
Although Morrison was never forthcoming about his past, he was very accurate in using his experiences while growing up in order to vividly portray the conditions faced by London’s East End poor during the late nineteenth century. And yet, while he is usually remembered for his slum fiction and his thought-provoking criticisms of London poverty, Morrison had also inexplicably turned his attention to writing detective stories, which were all the rage in the mid-1890’s. It was then that he created and wrote the first and largest portion of his twenty-five Martin Hewitt short stories.
Following the publication of the final (at that time) Sherlock Holmes tale, “The Final Problem” in December 1893, The Strand Magazine was in desperate need for some type of serialized-character detective fiction in order to fill the void. Morrison’s Martin Hewitt somewhat fit the bill for a while, but not in the same spectacularly successful manner that Holmes had done.
Morrison seemed to have constructed Hewitt so that he would instantly be identified as the opposite of Holmes. Hewitt was first described as plump and of medium height, a genial and smiling man. He was a former law clerk who had decided to take his special investigative talents out on his own. He claims no special powers, but simply the good use of common sense. The stories are narrated by a journalist named Brett, who sometimes appears as Hewitt’s Watson, and sometimes remains completely off-stage, allowing Hewitt to investigate alone in third-person narrative.
Hewitt’s first case had been “fifteen or twenty years back”, when he had made a name for himself, as explained in the first story, “The Lenton Croft Robberies” (March 1894). This would thus indicate that he began his career in the mid-to-late-1870’s, based on the story’s publication date. After this first success, Hewitt had then set himself up with a clerk named Kerrett in an office near Charing Cross, off the Strand. However, after the initial descriptions which serve to note the differences between Hewitt and Holmes are stated, the similarities between the two start to become very obvious. Hewitt makes use of disguises and knows many obscure facts. He solves cases logically, with close observation of clues missed by others, and he hides the process and explanation until the end. He has few friends, keeps extensive scrapbooks, and on occasions is heard to utter Holmes-like things, such as the following: “. . . all the other ways being impossible, this alone remains, difficult as the feat may seem.” (“The Case of Mr. Foggatt”, May 1894).
And then there is this exchange in “The Ivy Cottage Mystery” (January 1894), when Hewitt is asked about some clues in the form of scraps of wood.
“That puttied-up hole in the piece of wood seems to have influenced you. Is it an important link?” Brett asks him.
“Well-yes,” Hewitt replies, “it is. But all those other pieces are important, too.”
“But why?”
“Because there are no holes in them.”
That sounds like the same someone who would give a cryptic answer about the dog that did nothing in the nighttime.
The Strand published the first seven Hewitt stories between March and September 1894. These were immediately collected into book form as Martin Hewitt, Investigator (1894). After a break of a few months, the next set of six Hewitt tales were published, not in The Strand this time, but rather in The Windsor Magazine. This collection was advertised as “The Chronicles of Martin Hewitt: Being the Second Series of the Adventures of Martin Hewitt, Investigator.”These stories ran from January to June 1895, and were quickly published in book form as Chronicles of Martin Hewitt (1895). Another series of six followed in the same magazine the next year, from January to June 1896, and were billed as “The Adventures of Martin Hewitt: Third Series”. These, too, were immediately collected and released as a book entitled Adventures of Martin Hewitt (1896).
Through the rest of the 1890’s and into the early 1900’s, Morrison was slowly withdrawing fr