However, Thoms contends that, “not content with engineering the structure of detective fiction… Poe proceeds to destabilize what he has wrought by challenging the apparent opposition between good detective and bad criminal” (142). Poe sets up a paradigm that would eventually become good detective versus bad criminal. It wasn’t until the introduction of C.Īuguste Dupin and the stories of “The Murders in the Rue Morgue,” “The Mystery of Marie Roget,” and “The Purloined Letter” that the features of detective fiction were solidified such as a seemingly perplexing crime, mystery, or violent murder, the baffled and bungling police, a wronged suspect, an eccentric and brilliant mastermind with keen skills of observation, an impressionable companion, sidekick, or narrator, and a clever an often unexpected solution in the denouement. And, throughout we will examine if this evidence presented by Thoms individually to see if they can be seen in other works by Poe that are not considered to be part of his detective fiction. Further Thoms explores Dupin as a reader and writer, answering if Poe’s detective fiction provides enough tension and intrigue to entice the audience to continue reading. Thoms presents evidence of a criminal side exposing Dupin as a duplicitous character capable of acts that can be perceived as unbecoming, responsible for all manner of transgressions. In the article “Poe’s Dupin and the Power of Detection” Peter Thoms examines the narrative formula of detective fiction that Poe develops in the stories of Dupin and its connection to the audience. However shadowy and manipulative, Dupin’s prowess to frame a narrative and skills of detection are unmatched. Auguste Dupin is a complex character and one who often walks the line between lawful and criminal investigative practices.
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