About the Book
Nominated, 2024 Edgar Allan Poe Award in the category of best critical/biographical, Mystery Writers of America
Shortlisted, 2024 Agatha Awards - Best Mystery Nonfiction, Malice Domestic
Posthumous Winner - 2023 IFCA Book Prize, International Crime Fiction Association
Narrative innovation is typically seen as the domain of the avant-garde. However, techniques such as nonlinear timelines, multiple points of view, and unreliable narration have long been part of American popular culture. How did forms and styles once regarded as “difficult” become familiar to audiences?
In Perplexing Plots, David Bordwell reveals how crime fiction, plays, and films made unconventional narrative mainstream. He shows that since the nineteenth century, detective stories and suspense thrillers have allowed ambitious storytellers to experiment with narrative. Tales of crime and mystery became a training ground where audiences learned to appreciate artifice. These genres demand a sophisticated awareness of storytelling conventions: they play games with narrative form and toy with audience expectations. Bordwell examines how writers and directors have pushed, pulled, and collaborated with their audiences to change popular storytelling. He explores the plot engineering of figures such as Raymond Chandler, Agatha Christie, Dashiell Hammett, Patricia Highsmith, Alfred Hitchcock, Dorothy Sayers, and Quentin Tarantino, and traces how mainstream storytellers and modernist experimenters influenced one another’s work. A sweeping, kaleidoscopic account written in a lively, conversational style, Perplexing Plots offers an ambitious new understanding of how movies, literature, theater, and popular culture have evolved over the past century.
Table of Contents:
Acknowledgments
Introduction: Mass Art as Experimental Storytelling
Part I
1. The Art Novel Meets 1910s Formalism
2. Making Confusion Satisfactory: Modernism and Other Mysteries
3. Churn and Consolidation: The 1940s and After
Part II
4. The Golden Age Puzzle Plot: The Taste of the Construction
5. Before the Fact: The Psychological Thriller
6. Dark and Full of Blood: Hard-Boiled Detection
7. The 1940s: Mysteries in Crossover Culture
8. The 1940s: The Problem of Other Minds, or Just One
Part III
9. The Great Detective Rewritten: Erle Stanley Gardner and Rex Stout
10. Viewpoints, Narrow and Expansive: Patricia Highsmith and Ed McBain
11. Donald Westlake and the Richard Stark Machine
12. Tarantino, Twists, and the Persistence of Puzzles
13. Gone Girls: The New Domestic Thriller
Conclusion: The Power of Limits
Notes
Index
About the Author :
David Bordwell is the Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin–Madison. His many books include, most recently, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (2017), as well as the widely used textbook Film Art: An Introduction (twelfth edition, 2020). He cohosts the “Observations on Film Art” series of video essays on the Criterion Channel.
Review :
David Bordwell has a brain I envy, one that makes connections and associations about books, film, and the arts that are breathtakingly unorthodox and exactly correct. I learned so much from reading Perplexing Plots about how crime narratives are situated in the larger literary and cinema spheres, and rejoiced in how much pleasure Bordwell's criticism provided, once more and always.
My favorite of David Bordwell’s many important books, this is an engrossing tour of crime and mystery storytelling in literature high and low, with asides on film, theater, and other media. I’m in awe of its encyclopedic reach, erudition, analytic brilliance, clarity, and wit. It’s wonderfully instructive and fun.
Perplexing Plots is the most illuminating study of narrative technique that I’ve read. David Bordwell’s investigation of popular storytelling benefits from his exceptional breadth of knowledge and analytic skills. But what is especially impressive is his ability to present information and insights so persuasively—and so readably. An admirable achievement.
Bordwell's is the first-ever-historical poetics of cross-media storytelling in which inventions and conventions, the new and the old, the brainy and the brainless are considered not as successive stages of, as Mandelstam called it, a "boring bearded development," but as complementary components of a creative symbiosis.
Perplexing Plots is a must. Rare is scholasticism this engaging — you’ll put it down with more than a handful of authors to discover, not to mention the movies adapted from them.
Bordwell’s work is exceptionally well-researched and offers fascinating examinations of plot devices, patterns, and structure in crime fiction. This book is sure to be enjoyed by fans of crime fiction and film noir.
[Bordwell's] voluminous work on film underpins his sensitivity to questions of narrative voice, points of view and misdirection in novel-writing. Better yet, his writing radiates an enthusiasm that will please both genre fans and literary scholars. The book is readable and very entertaining.
An engaging study of how twentieth- and twenty-first-century storytellers across literature, film, radio, and stage have coaxed audiences along as collaborators in the narrative process . . . reading Perplexing Plots is a hell of a lot of fun.
[A] terrific book.
Perplexing Plots is unfailingly rich and fascinating, and Bordwell’s exegeses on popular narrative will be central to studies of the concept far into the future.
Wildly illuminating.
A highly recommended title.
Like the great detectives he writes about, Bordwell shows off his encyclopedic knowledge and his dazzling analytic powers, laying out his case with an abundance of evidence. . . . Highly recommended.
Bordwell, America’s finest film scholar, has connected the dots between movies and popular detective stories . . . for a thrilling X-ray of genre.
Highly recommended.
[A] brilliant book . . . Bordwell has been one of the great exponents of precise formal analysis for whom methods of narration are never to be taken for granted. His writing is at once impeccably scholarly and acutely sensitive to the human use of stories and the part they play in people’s lives . . . I was exhilarated by Bordwell’s multiple demonstrations of the pleasures of deflection and distraction, shapely detours and sidewise turns, in the service of what he calls the “playful experience of form.”
A deeply researched dive into the history of crime fiction on the page and on the screen. It’s a perfect capper to a career that revelled in the intricate, puzzle-like nature of film construction—the way that shots, cuts, sounds, and images clue us in to deeper patterns of meaning.
Weaving cultural history and textual analysis into an account that's as engaging and revealing as the popular fiction he investigates, Bordwell displays the full measure of research and erudition that were his hallmarks.
