Since my past few
blogs have talked about being selective in what I read, I thought this might be
a good time to reprint a post from February 22, 2016 that talks about why I
read some cozy mysteries (loosely defined) and not others.
The
Case of the Foolish Protagonist
Why do so many female cozy mystery writers insist on demeaning their
own sex by creating a protagonist who does rash things that put her in danger?
That’s the fastest way to make me abandon the story. Yes, some females are
foolish, and so are some males. But don’t glorify that foolishness by making it
the preeminent characteristic of a protagonist I’m supposed to admire.
As a teenager, I was an avid mystery fan. I read detective stories
like Ellery Queen and Nero Wolfe and police procedurals like the 87th
Precinct books by Ed McBain. And at a time when money was tight in my family, I
even had a subscription to the Ellery
Queen Mystery Magazine. But my all-time favorite mystery writer was—and
is—Agatha Christie.
I like puzzles, not chases. Whodunits, not thrillers. P.D. James, not
John Grisham. And for me, the best mysteries include the characters’ psychology
as part of the puzzle.
That’s one of the reasons I like Agatha Christie so much. The solution
arises inevitably out of the murderer’s inner character, and sometimes out of
the victim’s character as well. Even if I know who did it from the beginning
(as I do now that I have read each book several times), I always enjoy that
exploration.
But none of the books I enjoy have a protagonist who does stupid
things.
Ellery Queen and Nero Wolfe and Hercule Poirot all fall into their
mysteries naturally. Because they are professional detectives/private eyes,
people bring cases to them. And because they are professionals, they rarely
take unnecessary risks. The Miss Marple books start differently. Her
involvement in so many murders is an epic coincidence. But once you get beyond
that, the rest of the story follows naturally from the situation and the
characters.
More importantly for my point, like the detectives mentioned above,
Miss Marple doesn’t take unnecessary risks. She listens and silently analyzes
the case, comparing the characters involved in the murder to other people she
has known, but then she tells her conclusions to the police and lets them take
it the rest of the way. She seems such a sweet—although cynical—old lady, that
the murderer never realizes she is a danger to him.
Cozies with foolish protagonists may be popular in the short run, but
they will never last the way Agatha Christie’s works have.
And I’m glad about that.









