Most every work of fiction has at the beginning a disclaimer that it is a work of fiction and should not be read as being about any real person. This is primarily for legal reasons since most fools and all non-fools can figure out that a work of fiction is fictive. However, sometimes a work of fiction touches on real things and this is when the disclaimers can become interesting.
My favorite disclaimer is at the beginning of the Lord Peter Wimsey mystery, Gaudy Night, by Dorothy L. Sayers. So you can see what I mean, I’m going to reproduce it interspersed with my commentary:
It would be idle to deny that the City and University of Oxford (in aeternum floreant) do actually exist, and contain a number of colleges and other buildings, some of which are mentioned by name in this book. It is therefore the more necessary to affirm emphatically that none of the characters which I have placed upon this public stage has any counterpart in real life. In particular, Shrewsbury College, with its dons, students and scouts, is entirely imaginary; nor are the distressing events described as taking place within its walls founded upon any events that have ever occurred anywhere. Detective-story writers are obliged by their disagreeable profession to invent startling and unpleasant incidents and people, and are (I presume) at liberty to imagine what might happen if such incidents and people were to intrude upon the life of an innocent and well-ordered community; but in so doing they must not be supposed to suggest that any such disturbance ever has occurred or is ever likely to occur in any community in real life.
I really love the first sentence. Sometimes one can invent whole universities and cities, as I did in The Dean Died Over Winter Break, but even when one does it can be necessary to put them inside of larger places that are real.
It’s a delicate balance but intruding somewhat upon real places can be extremely interesting. I think that Ms. Sayers is quite right that murder mysteries are especially interesting when examining murders in places that they shouldn’t be. Technically that’s everywhere, but there are places that are, in this fallen world, more conducive to murder than others. And it’s the places which are least conducive to it that can be the most interesting.
Certain apologies are, however, due from me: first, to the University of Oxford, for having presented it with a Chancellor and Vice-Chancellor of my own manufacture and with a college of 150 women students, in excess of the limit ordained by statute. Next, and with deep humility, to Balliol College—not only for having saddled it with so wayward an alumnus as Peter Wimsey, but also for my monstrous impertinence in having erected Shrewsbury College upon its spacious and sacred cricket-ground. To New College, also to Christ Church, and especially to Queen’s, I apologize for the follies of certain young gentlemen, to Brasenose for the facetiousness of a middle-aged one, and to Magdalen for the embarrassing situation in which I have placed an imaginary pro-Proctor. The Corporation Dump, on the other hand, is, or was, a fact, and no apology for it is due from me.
I can relate to the initial apology since in the course of writing my own mysteries I’ve had to saddle certain diocese with Bishops of my own manufacture. It’s all in good fun and I think that everyone understands the unreality of the thing, but I also understand the impulse to apologize. There is a certain reality, however thin, to the characters in novels. There’s a tension, there, which I think cannot be fully resolved and is just one of the penalties of living in a fallen world.
To the Principal and Fellows of my own college of Somerville, I tender my thanks for help generously given in questions of proctorial rules and general college discipline—though they are not to be held responsible for details of my discipline in Shrewsbury College, many of which I have invented to suit my own purpose.
This is a real advantage to making up a place, even when modeled on a real place—it is so much more convenient to be able to make up details to suit one’s story. On the other hand there’s great value in getting things right where one can.
As I’ve been working on Wedding Flowers Will Do for a Funeral, I’ve been asking some priests and religious questions about religious life (especially with regard to the Liturgy of the Hours (Divine Office, or the prayers priests and religious say throughout the day). There’s a real pleasure—at least I find as a reader—to being able to learn real things in the course of having fun. (Though, of course, one must be careful because the novelist never labels which things are real and which changed to suit the story; however, it’s often a good starting point for further research and a decent novelist will be careful to change things in ways that at least preserve the spirit if not the details of the thing he’s changed.)
Persons curious in chronology may, if they like, work out from what they already know of the Wimsey family that the action of the book takes place in 1935; but if they do, they must not be querulously indignant because the King’s Jubilee is not mentioned, or because I have arranged the weather and the moon’s changes to suit my own fancy. For, however realistic the background, the novelist’s only native country is Cloud-Cuckooland, where they do but jest, poison in jest: no offence in the world.
I find this entire section quite interesting. Consulting detectives, such as Sherlock Holmes, Lord Peter Wimsey, or my own Brother Thomas, are unrealistic. For reasons I think largely owing to the limited creativity of murderers, they simply don’t exist in practice. They exist, then in a world much like ours but a little different. It is, in a sense, a world where creative people are less timid. But it is not this world. It follows, then, that one would arrange things such as the weather, the changes of the moon, and even some current events to suit one’s story. It does, after all, take place in a different world.
The final line is very curious. It’s borrowed from Hamlet, prince of the Danes, in the second scene of the third act of the Shakespearean play The Tragedy of Hamlet, Prince of Denmark. It’s something that Hamlet says in response to the King asking, “Have you heard the argument? Is there no offense in ’t?” Hamlet replies, “No, no, they do but jest. Poison in jest. No offense i’ th’ world.”
It’s a great line, and I assume that Ms. Sayers was changing the meaning when she borrowed the line. But it is very curious that in the original this was a lie that Hamlet told the King, his uncle who replaced his father as king after secretly murdering him, because the play was designed to cause great offense to the King and his wife, Hamlet’s mother. In fact, it was intended to cause them to reveal their guilt.
But it does ring quite true that the novelist’s only native country is Cloud-Cuckooland. Coordinating events affected by many living people is too complicated for a mere mortal.
Only tangentially related to the last line but interesting: it’s a few lines later that the King asks Hamlet what he calls the play and Hamlet replies, “The Mousetrap”. That’s the name of the murder mystery play written by Agatha Christie which opened 1952 and has been running continuously to this day. It is by far the longest initial run of any play in history, with over 25,000 performances in the same theater.
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