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2023 | OriginalPaper | Chapter

4. An Unseen Hook and an Invisible Line: Father Brown

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Abstract

G. K. Chesterton’s Father Brown is persistently figured as visually handicapped. Sometimes he cannot see what is happening because he is so short; he blinks excessively; he wears glasses. However, the fundamental condition of a Father Brown story is the importance of the unseen. The stories are obsessed with Celts and Gaels who apprehend things through a second sight which defies rational explanation, and in ‘The Mourner of Marne’ Father Brown is even prepared to believe that God has miraculously intervened to stop someone seeing. There is also a recurrent central device on which many of the Father Brown stories depend: people are lured to look in one direction to distract their gaze from somewhere else. It is in his ability to ignore surface evidence and detect visual misdirection that Father Brown’s method really lies, and he uses a lens of faith to do it.

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Footnotes
1
Trilby features several times in Ngaio Marsh: Photo-Finish, Alleyn says Montague Reece is ‘Almost too good to be true. Like something out of Trilby (17); in her Tied up in Tinsel, Colonel Forrester says, ‘I saw Beerbohm Tree in Trilby … He died backwards over a table. It was awfully good’ (439); in Vintage Murder Bradley Vernon explains that ‘I was with Tree and afterwards with Du Maurier’ (352) and in Artists in Crime Cedric Malmsley ‘was almost an illustration for Trilby (598). Margery Allingham remembers the author of Trilby in Traitor’s Purse when Aubrey ‘had taken Amanda’s hand and was swinging it backwards and forwards in the careless inarticulate fashion which Gerald du Maurier used to use so effectively in so many of his scenes’ (49) and the stage adaptation of the book in Death of a Ghost in the Potters’ living room ‘The Chianti bottle and Roman shawl school of decoration now suggested less of the vie de Bohème than the set for an amateur production of Trilby (110).
 
Literature
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go back to reference ———. Traitor’s Purse [1941]. London: J. M. Dent, 1985. ———. Traitor’s Purse [1941]. London: J. M. Dent, 1985.
go back to reference Chesterton, G. K. The Complete Father Brown Stories [1992]. Ware: Wordsworth, 2006. Chesterton, G. K. The Complete Father Brown Stories [1992]. Ware: Wordsworth, 2006.
go back to reference Christie, Agatha. Partners in Crime [1929]. London: HarperCollins, 2001. Christie, Agatha. Partners in Crime [1929]. London: HarperCollins, 2001.
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go back to reference Edwards, Martin. The Life of Crime. London: Collins Crime Club, 2022 Edwards, Martin. The Life of Crime. London: Collins Crime Club, 2022
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go back to reference ———. Photo-Finish [1980]. London: HarperCollins, 2009b. ———. Photo-Finish [1980]. London: HarperCollins, 2009b.
go back to reference ———. Tied up in Tinsel [1971]. London: HarperCollins, 2009c. ———. Tied up in Tinsel [1971]. London: HarperCollins, 2009c.
go back to reference ———. Vintage Murder [1937]. London: HarperCollins, 2009d. ———. Vintage Murder [1937]. London: HarperCollins, 2009d.
go back to reference Schwartz, Omer. ‘The Social Role of Understanding in G. K. Chesterton’s Detective Fiction’, Philosophy and Literature 43.1 (April 2019): 54–70. Schwartz, Omer. ‘The Social Role of Understanding in G. K. Chesterton’s Detective Fiction’, Philosophy and Literature 43.1 (April 2019): 54–70.
Metadata
Title
An Unseen Hook and an Invisible Line: Father Brown
Author
Lisa Hopkins
Copyright Year
2023
DOI
https://doi.org/10.1007/978-3-031-29849-3_4