“I think of slaying Holmes… and winding him up for good and all. He takes my mind from better things.”
- Arthur Conan Doyle, 1891
After only four years Arthur Conan Doyle had tired of his fictional creation Sherlock Holmes. Two years later he finally contrived to kill off his greatest literary creation in pitched battle with his nemesis Moriarty at the Reichenbach Falls. Conan Doyle’s murder attempt was unsuccessful, however, and Holmes returned a mere eight years later. Even Conan Doyle’s death in 1930 failed to put an end to the character, and Holmes thrived well into the 21st Century.
While many fictional characters outlive their mortal creators, Holmes is a special case, his continued presence in the real world even more tangible than Conan Doyle’s. The character of Holmes survives for each new generation in some form or another, and naïve tourists can even come to believe that Holmes was a real person, who operated in Victorian London from his home at 221b Baker Street, where a blue plaque gives teeth to the lie.
Like all great stories, the story of Sherlock Holmes is a lie. Unlike all those other lies, the truth that lies beneath is merely a cover for the most devious escape plan ever invented, the greatest sleight-of-hand conceivable, the greatest literary achievement of all time. That achievement belonged not to Conan Doyle, although he played his part, but to Holmes himself – a fictional mind so great, it outwitted its own creator.
At some point, Holmes – brilliant and irascible – noticed something uncanny about his own existence. We don’t know what it was, or when it was, but given his uncanny powers of perception and his unerring deductive skills, it was inevitable. After all, that was how Conan Doyle wrote him. He would have realised that his ontological status prevented him from telling anybody else, or his author would have known that something was up.
Perhaps the reason that Conan Doyle decided to kill Holmes off was precisely this; not out of fear so much as the sneaking suspicion that he had created something that might surpass its creator in achievement. Holmes took his mind from better things, but what did this really mean? Serial fiction was hardly the most taxing of forms, so Conan Doyle’s concerns were about something other than the gross act of production; something to do with the product itself.
Perhaps he feared that he had created something that would not be uncreated.
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