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The Mystery of the Yellow Room
The Mystery of the Yellow Room (1908) is Gaston Leroux's masterpiece and during his lifetime his most successful book. It is one of the classics of early 20th-century detective fiction. At the heart of the novel is the enigma: how could a murder take place in a locked room, which shows no sign of being entered?
The novel is also about the rivalry to solve the case between the detective Frederick Larson, and a young investigative journalist, Rouletabille. Larson finds a suspect who is put on trial, only to have him cleared by Rouletabille, who reveals in the most dramatic fashion the identity of the real murderer.
The novel is also about the rivalry to solve the case between the detective Frederick Larson, and a young investigative journalist, Rouletabille. Larson finds a suspect who is put on trial, only to have him cleared by Rouletabille, who reveals in the most dramatic fashion the identity of the real murderer.
Book Details
- Publisher: Dedalus
- Publish Date: Mar 1st, 1998
- Pages: 236
- Language: English
- Edition: undefined - 0002
- Dimensions: 7.85in - 5.01in - 0.89in - 0.59lb
- EAN: 9781873982389
- Categories: • Mystery & Detective - General• Classics
About the Author
LeRoux, Gaston: - Gaston Louis Alfred Leroux (1868-1927) was a French journalist and author of detective fiction. In the English-speaking world, he is best known for writing the novel The Phantom of the Opera (Le Fantôme de l'Opera, 1910), which has been made into several film and stage productions of the same name, notably the 1925 film starring Lon Chaney, and Andrew Lloyd Webber's 1986 musical. His novel The Mystery of the Yellow Room is also one of the most famous locked-room mysteries ever.
Praise for this book
"I'd offer a reward of 500 if you can guess the solution to this crime."
..".a strictly fair-play, by-the-book murder conundrum, brilliant, logical and down-to-earth. It is what Leroux does with this honourable, limited format that makes it so rich and strange. Taking advantage of the mechanical artificiality and unreality of this fictive world where violent death evinces no stronger emotion than curiosity and makes hardly a ripple in the pool of everyday life, he makes the realistic narrative background as bizarre as the plot it frames. This is what we're not used to, and what, 90 years later, makes this as compelling and crazy a nightmare as the Surrealists ever dreamed."