Writing
Rinehart wrote hundreds of short stories, poems, travelogues and articles. Many of her books and plays were adapted for movies, such as The Bat (1926), The Bat Whispers (1930), and The Bat (1959 remake). In 1933 RCA Victor released The Bat as one of the earliest talking book recordings.
While many of her books were best sellers, critics were most appreciative of her murder mysteries. Rinehart, in The Circular Staircase (1908), is credited with inventing the "Had-I-But-Known" school of mystery writing. In The Circular Staircase "a middle-aged spinster is persuaded by her niece and nephew to rent a country house for the summer. The gentle, peace-loving trio is plunged into a series of crimes solved with the help of the aunt." The Had-I-But-Known mystery novel is one where the principal character (frequently female) does things in connection with a crime that have the effect of prolonging the action of the novel. Ogden Nash parodied the school in his poem Don't Guess Let Me Tell You: "Sometimes the Had I But Known then what I know now I could have saved at least three lives by revealing to the Inspector the conversation I heard through that fortuitous hole in the floor."
The phrase "The butler did it", which has become a cliché, came from Rinehart's novel The Door, in which the butler actually did do it, although that exact phrase does not appear in the work. Tim Kelly adapted Rinehart's play into a musical, The Butler Did It, Singing. This play includes five lead female roles and five lead male roles.
Read more about this topic: Mary Roberts Rinehart
Famous quotes containing the word writing:
“A song is no song unless the circumstance is free and fine. If a singer sing from a sense of duty or from seeing no way to escape, I had rather have none. Those only can sleep who do not care to sleep; and those only write or speak best who do not too much respect the writing or the speaking.”
—Ralph Waldo Emerson (1803–1882)
“The human head is bigger than the globe. It conceives itself as containing more. It can think and rethink itself and ourselves from any desired point outside the gravitational pull of the earth. It starts by writing one thing and later reads itself as something else. The human head is monstrous.”
—Günther Grass (b. 1927)
“The writing of a poem is like a child throwing stones into a mineshaft. You compose first, then you listen for the reverberation.”
—James Fenton (b. 1949)