【推理小说杂谈】从诺克斯十诫看推理小说(11)
20世纪20年代的英国还是帝国主义，文化并不多元，而且在20世纪20年代的流行小说中出现的中国人有着眯着眼睛、天性狡诈、诡计多端、吸食鸦片等等特征……在古典侦探小说中，非同寻常的邪恶，尤其是明显带有异域色彩的非同寻常的邪恶，在古典侦探小说中并无用处，毕竟，这场游戏要在最后一章之前模糊善恶之间的界限。而中国人在外表上看就是再清楚不过的恶人。
Making the Detective Story American可以看出这里的解释也是引述诺克斯1929年发表的文章并稍加修改，同上面的意思是一样的，只不过百科上删去了“我承认这一诫只是从过往的经验中得出的”和后面的解释。
上个世纪初的西方人对中国确实存在着很多误解，埃勒里·奎因在《中国橘子之谜》中误将中华民国写成“中花民国”，此作对中国民国时期的描写也和现实多有出入；在《“西方之星”历险记》中，波洛是这么看待中国人的：“你对迷信不恐惧吗？你不怕这对东方双胞胎一相遇就会引出个中国人，然后一施法术，就飞回中国了吗？”中国人靠施展法术就能冯虚御风腾云驾雾，阿加莎·克里斯蒂这一短篇正是当时欧美推理小说家对中国人了解程度的最好说明。故而偏见是存在的，而蔑称也是存在的。
这两位作者大家都熟悉著名推理小说家克里斯蒂安娜·布兰德在《Fog of Doubt》（即《伦敦迷雾》）中的序言表达了对东方世界的不解并强调了侦探小说应具备真实性的观点：
This book was of the genre of the “classic” detective story— Dorothy Sayers disapproved of their being called “thrillers” or indeed anything but “detective stories”. The Detection Club over which she imposed her reign for so long, actually laid down certain rules. One of these was: “there shall be no Chinamen.” By this was meant that scenes and characters should be “real”; the Mysterious East, unknown poisons, anything that was not possible, credible, acceptable to the standards of every day life—all that was out. Except for murder of course; but the murder had to be reasonably accounted for, in a recognizable setting, with a cast of comprehensible people; and there had to be a detective and detecting. [3]
Making the Detective Story American可以看出这里的解释也是引述诺克斯1929年发表的文章并稍加修改，同上面的意思是一样的，只不过百科上删去了“我承认这一诫只是从过往的经验中得出的”和后面的解释。
上个世纪初的西方人对中国确实存在着很多误解，埃勒里·奎因在《中国橘子之谜》中误将中华民国写成“中花民国”，此作对中国民国时期的描写也和现实多有出入；在《“西方之星”历险记》中，波洛是这么看待中国人的：“你对迷信不恐惧吗？你不怕这对东方双胞胎一相遇就会引出个中国人，然后一施法术，就飞回中国了吗？”中国人靠施展法术就能冯虚御风腾云驾雾，阿加莎·克里斯蒂这一短篇正是当时欧美推理小说家对中国人了解程度的最好说明。故而偏见是存在的，而蔑称也是存在的。
这两位作者大家都熟悉著名推理小说家克里斯蒂安娜·布兰德在《Fog of Doubt》（即《伦敦迷雾》）中的序言表达了对东方世界的不解并强调了侦探小说应具备真实性的观点：
This book was of the genre of the “classic” detective story— Dorothy Sayers disapproved of their being called “thrillers” or indeed anything but “detective stories”. The Detection Club over which she imposed her reign for so long, actually laid down certain rules. One of these was: “there shall be no Chinamen.” By this was meant that scenes and characters should be “real”; the Mysterious East, unknown poisons, anything that was not possible, credible, acceptable to the standards of every day life—all that was out. Except for murder of course; but the murder had to be reasonably accounted for, in a recognizable setting, with a cast of comprehensible people; and there had to be a detective and detecting. [3]
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