»Artists and writers always engage with and respond to other writers. That’s how art gets made. And that’s why it’s a good thing for culture, for literature, and for Doyle himself that it looks like Holmes will finally be completely free to be used, abused, and celebrated by everybody, free of charge.«
Sherlock Holmes has broken free of the clutches of his captors, says Noah Berlatsky. His view on the copyright case of the great detective you can read at The Atlantic.
»If the sheer number of Leonard adaptations is remarkable, what is more remarkable still is how few of them are any good. No one was more aware of, or blunt about, this disappointing onscreen record than Leonard himself.«
The Elmore Leonard Paradox: Why so many screen adaptations of the work of America’s most cinematic novelist are so bad—and what makes the exceptions, like TV’s Justified, so good. An essay by Christopher Orr at The Atlantic.
»Despite the way his career ended, Burns did much inspire both real-life and fictional investigators. Conversely, Burns himself was held up to the standards of fiction, with Sherlock Holmes being the primary yardstick. Burns never quite lived up to Holmes (who never had to deal with holding an official position or go before a Senate hearing), but America’s willingness to brand him as the Great Detective’s Yankee equal serves as a testament not only to this country’s constant search for celebrity heroes, but also how badly humans want reality to mirror fiction—not the other way around.«
Real detective: Benjamin Welton about William J. Burns, an Irish-American sleuth who bore more than a passing resemblance to Arthur Conan Doyle himself. His portrait at The Atlantic.