Oedipus could not fulfill his destiny without first killing King Laius on the road to Thebes. Medea would not be in the position in which she is placed in Corinth — an outcast about to be cast out by a nervous Creon all too aware of her abilities as a sorceress — had her reputation as the mastermind behind King Pelias’s death not preceded her. So it should come as no surprise to anyone who reads that crimes continue not only to fascinate writers but also to serve as the backbone for much of their prose.

What a crime does in a piece of literature is two-fold. First, it serves as a throughline for the story to follow: the crime must be investig-ated and solved within the twists and turns of the plot. But secondly and perhaps more importantly, the crime also acts as a skeleton for the body of the tale that the writer wishes to tell. On this skeleton, the writer can hang as much or as little as she likes. She can keep the skeleton down to the bones alone and tell a story that moves smoothly, concisely, and without deviation or decoration to its revelation and conclusion. Or she can hang upon the skeleton the muscles, tissues, veins, organs, and blood of such diverse elements of storytelling as theme, exploration of character, life and literary symbols, subplots, etc., as well as the specific crime-oriented story elements of clues, red herrings, suspense, and a list of time-honored motifs peculiar to mysteries: the hermetically sealed death chamber (or locked room), the most obvious place, the trail of false clues left by the real killer, the fixed idea, and on and on. Thus, her characters can march hand-in-hand in the direction of an ineluctable conclusion, or they can become sidetracked by the myriad possibilities offered to them through means of an expanded storyline and a more complicated structure.