Metaphysical detective stories and other literary mysteries
In metaphysical detective fiction, the work of a sleuth serves as a metaphor for the human experience. The process of gathering evidence and following the trail of clues is meant to represent our attempts to make sense of the world or find meaning in our lives. The ostensible mystery plot is secondary to raising the question of the possibility of acquiring reliable knowledge or grasping the nature of reality; in fact, in the paradigmatic works of this current, the central mystery is very often revealed to be essentially unsolvable.
As a literary genre, the metaphysical detective story is closely associated with postmodernism (despite having some much earlier antecedents). One characteristically postmodern feature of works in this category is skepticism toward grand claims about the power of human reason. As a result, they frequently replace the traditional figure of a detective as an intellectual genius with a perfect grasp on facts (exemplified by Sherlock Holmes) with an ineffectual and progressively lost “anti-detective” who misperceives the events, misinterprets the crucial clues, and ultimately fails to solve the crime.
Another postmodern feature of the genre is the intertextual play with prior artistic conventions – in this case, the conventions of traditional detective stories. Many metaphysical detective works reference narrative staples of classic crime fiction, but only to parody or subvert them in unexpected ways. Of course, the most striking example of this is the withholding of narrative closure or explanation (and the consolation or catharsis that comes with it), since the enjoyment of a traditional detective story is all about the reader’s anticipation of a neat resolution to the mystery. Some postmodern detective narratives also include metafictional elements, with their sleuth characters becoming self-aware of their role as interpreters struggling to decipher the “text” of their reality.
While the bulk of this list can be said to represent the “metaphysical detective canon” as recognized by academics and critics studying the genre, not every book included fully fits the definition sketched above. Some of the titles would be better described as highly unconventional or “weird” mysteries; they do play with and subvert genre rules, but not always for recognizably “metaphysical” reasons. Others are simply “highly literary” detective novels, with refined prose and a philosophical edge but no skeptical postmodern slant.
Foucault's Pendulum
by Umberto Eco
(1989)
5 figs out of 5
The Erasers
by Alain Robbe-Grillet
(1953)
4.5 figs out of 5
The Voyeur
by Alain Robbe-Grillet
(1955)
4.5 figs out of 5
Ibn-Hakam al-Bokhari, Murdered in His Labyrinth
by Jorge Luis Borges
(1951)
4.5 figs out of 5
Gun, With Occasional Music
by Jonathan Lethem
(1994)
4.5 figs out of 5
The Day of the Owl
by Leonardo Sciascia
(1961)
3.5 figs out of 5
To Each His Own
by Leonardo Sciascia
(1966)
3.5 figs out of 5
A Void
by Georges Perec
(1969)
3 figs out of 5
53 days
by Georges Perec
(1981)
3 figs out of 5
The Pledge
by Friedrich Dürrenmatt
(1958)
3 figs out of 5
Suspicion
by Friedrich Dürrenmatt
(1951)
3 figs out of 5
The Judge and His Hangman
by Friedrich Dürrenmatt
(1950)
3 figs out of 5
Finch
by Jeff VanderMeer
(2009)
3 figs out of 5
Last Days
by Brian Evenson
(2009)
Originally published as a novella The Brotherhood of Mutilation
3 figs out of 5
The Investigation
by Stanisław Lem
(1958)
3 figs out of 5
The Chain of Chance
by Stanisław Lem
(1976)
3 figs out of 5
Hawksmoor
by Peter Ackroyd
(1985)
3 figs out of 5
The Black Book
by Orhan Pamuk
(1990)
3 figs out of 5
That Awful Mess on Via Merulana
by Carlo Emilio Gadda
(1957)
2.5 figs out of 5
The Manual of Detection
by Jedediah Berry
(2009)
2.5 figs out of 5
Night Train
by Martin Amis
(1997)
2.5 figs out of 5
The Gone World
by Tom Sweterlitsch
(2018)
2.5 figs out of 5
The Face on the Cutting-Room Floor
by Cameron McCabe
(1937)
2.5 figs out of 5
If on a winter's night a traveler
by Italo Calvino
(1979)
2 figs out of 5
Falling Angel
by William Hjortsberg
(1978)
2 figs out of 5
The Ruined Map
by Kōbō Abe
(1967)
2 figs out of 5
The Curious Incident of the Dog in the Night-Time
by Mark Haddon
(2003)
2 figs out of 5
Passing Time
by Michel Butor
(1956)
2 figs out of 5
Cosmos
by Witold Gombrowicz
(1965)
2 figs out of 5
The Edge of the Horizon
by Antonio Tabucchi
(1986)
1.5 figs out of 5
Six Problems for Don Isidro Parodi
by H. Bustos Domecq (Jorge Luis Borges and Adolfo Bioy-Casares)
(1972)
1.5 figs out of 5
Mysteries of Winterthurn
by Joyce Carol Oates
(1984)
1.5 figs out of 5
Infinite Ground
by Martin MacInnes
(2016)
1.5 figs out of 5
Gerald's Party
by Robert Coover
(1986)
1.5 figs out of 5
Noir
by Robert Coover
(2010)
1.5 figs out of 5
A Maggot
by John Fowles
(1985)
1.5 figs out of 5
Death in the Andes
by Mario Vargas Llosa
(1993)
1.5 figs out of 5
Who Killed Palomino Molero?
by Mario Vargas Llosa
(1986)
1.5 figs out of 5
The Quincunx
by Charles Palliser
(1989)
1 figs out of 5
Blood on the Dining Room Floor
by Gertrude Stein
(1933)
1 figs out of 5
House of Leaves
by Mark Z. Danielewski
(2000)
1 figs out of 5
Ilustrado
by Miguel Syjuco
(2008)
1 figs out of 5
Death in a Delphi Seminar
by Norman N. Holland
(1995)
1 figs out of 5
Claire DeWitt and the City of the Dead
by Sara Gran
(2011)
1 figs out of 5
The Lime Works
by Thomas Bernhard
(1973)
1 figs out of 5