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Lemay, 'The Psychology of "The Murders in the Rue Morgue"', American Literature, 54 (May 1982) 165-88, esp. p. 170. See Knight, Form and Ideology, p. 42. Such a view is argued in D. B. Stauffer, 'Poe as Phrenologist: The Example of Monsieur Dupin', in R. P. ), Papers on Poe (Springfield, Ohio: Chantry Music Press, 1972) pp. 113-25. See Raymond Williams, Keywords: A Vocabulary of Culture and Society (London: Fontana, 1976) p. 234. , p. 235. For this concept, see Boaventura de Sousa Santos, 'Da sociologia da ciencia a politica cientifica', Revista critica de ciencias sociais (Coimbra) 1 Oune 1978) 11-56, which contains a critique of Robert Merton, Science and Democratic Social Order (1942).

There can be no correspondence when the actual writing can be shown to be other to itself, as it is in the two quotations. In any case, the distinction between appear- 42 American Crime Fiction ance and reality is a false one. Where the signifier relates to the signified the appearann is one with reality, and where it does not the Op invariably discovers the connection that brings them together. In a prose committed to the description of surfaces there is no inner reality. This raises the question of what the Op can know, for to him knowledge is equivalent to the penetration of appearances, but if there are only appearances then there is nothing for him to know.

The film is famous now not for its writing but for the elaborate camera-eye technique employed by the actordirector Robert Montgomery. Marlowe is played by the voice (and occasional reflected image) of Robert Montgomery and by the lens of the camera, so that the viewer becomes the detective. The effect of this audience identification with the camera is a ponderous return to the puzzle format of the parlour detective fiction Chandler so disliked. The audience is told at the beginning: You'll see it as I saw it.

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