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CRIME FILES
Holmes and the Ripper
Versus Narratives
Lucyna Krawczyk-Żywko
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Crime Files
Series Editor
Clive Bloom
Middlesex University
London, UK
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Since its invention in the nineteenth century, detective fiction has never
been more popular. In novels, short stories and films, on the radio, on
television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine
criminals are the very stuff of modern imagination, and their creators a
mainstay of popular consciousness. Crime Files is a ground-breaking series
offering scholars, students and discerning readers a comprehensive set of
guides to the world of crime and detective fiction. Every aspect of crime
writing, from detective fiction to the gangster movie, true-crime exposé,
police procedural and post-colonial investigation, is explored through
clear and informative texts offering comprehensive coverage and theoretical sophistication.
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Lucyna Krawczyk-Ż ywko
Holmes and the
Ripper
Versus Narratives
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Contents
1 Sherlock Holmes Versus Jack the Ripper 1
2 Enter Holmes and Jack 23
3 Parallel Culture-Texts 45
4 The Versus Storyworld 73
5 Palimpsestuous Holmes 95
6 Polymorphous Jack117
7 (Mis)Remembering Secondary Characters137
8 Neo-Casting or Decentring the Great Detective161
9 Detective Doyle181
Appendix201
Index207
vii
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Abbreviations1
3GAB
3GAR
3STU
ABBE
BERY
BLAC
BLAN
BLUE
BOSC
BRUC
CARD
CHAS
COPP
CREE
CROO
DANC
DEVI
DYIN
EMPT
ENGR
FINA
FIVE
The Adventure of the Three Gables
The Adventure of the Three Garridebs
The Adventure of the Three Students
The Adventure of the Abbey Grange
The Adventure of the Beryl Coronet
The Adventure of Black Peter
The Adventure of the Blanched Soldier
The Adventure of the Blue Carbuncle
The Boscombe Valley Mystery
The Adventure of the Bruce-Partington Plans
The Adventure of the Cardboard Box
The Adventure of Charles Augustus Milverton
The Adventure of the Copper Beeches
The Adventure of the Creeping Man
The Adventure of the Crooked Man
The Adventure of the Dancing Men
The Adventure of the Devil’s Foot
The Adventure of the Dying Detective
The Adventure of the Empty House
The Adventure of the Engineer’s Thumb
The Adventure of the Final Problem
The Five Orange Pips
1
Since the 60 Sherlock Holmes texts are widely available in print and digital form, when
quoting them throughout the book I follow Jay Finley Christ’s abbreviation system in use
since 1947.
ix
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x
ABBREVIATIONS
GLOR
GOLD
GREE
HOUN
IDEN
ILLU
LADY
LAST
LION
MAZA
MISS
MUSG
NAVA
NOBL
NORW
PRIO
REDC
REDH
REIG
RESI
RETI
SCAN
SECO
SHOS
SIGN
SILV
SIXN
SOLI
SPEC
STOC
STUD
SUSS
THOR
TWIS
VALL
VEIL
WIST
YELL
The Adventure of the Gloria Scott
The Adventure of the Golden Pince-Nez
The Adventure of the Greek Interpreter
The Hound of the Baskervilles
A Case of Identity
The Adventure of the Illustrious Client
The Disappearance of Lady Frances Carfax
His Last Bow
The Adventure of the Lion’s Mane
The Adventure of the Mazarin Stone
The Adventure of the Missing Three-Quarter
The Adventure of the Musgrave Ritual
The Adventure of the Naval Treaty
The Adventure of the Noble Bachelor
The Adventure of the Norwood Builder
The Adventure of the Priory School
The Adventure of the Red Circle
The Red-Headed League
The Adventure of the Reigate Squire
The Adventure of the Resident Patient
The Adventure of the Retired Colourman
A Scandal in Bohemia
The Adventure of the Second Stain
The Adventure of Shoscombe Old Place
The Sign of Four
The Adventure of Silver Blaze
The Adventure of the Six Napoleons
The Adventure of the Solitary Cyclist
The Adventure of the Speckled Band
The Adventure of the Stockbroker’s Clerk
A Study in Scarlet
The Adventure of the Sussex Vampire
The Problem of Thor Bridge
The Man with the Twisted Lip
The Valley of Fear
The Adventure of the Veiled Lodger
The Adventure of Wisteria Lodge
The Adventure of the Yellow Face
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CHAPTER 1
Sherlock Holmes Versus Jack the Ripper
Sherlock Holmes and Jack the Ripper entered the Victorian era almost
simultaneously albeit via different means: a literary text published in an
1887 Christmas edition of a popular journal and a letter following a series
of murders in the East End in the autumn of 1888, respectively. They are
doubles representing opposites—a detective and a criminal, authority and
anarchy, reason and madness, logic and instinct, composure and passion,
order and chaos, morality and immorality, social justice and social taboos—
and yet both have become not only icons of the late-Victorian London,
but narrative-generating transfictional characters. Even though Holmes
was not the first famous literary sleuth, it is him that is perceived as the
archetypal detective; similarly, the Ripper, an avatar of the Whitechapel
murderer who was neither the first serial killer nor the one that claimed the
largest number of victims, is perceived as the archetypal serial killer and
Victorian villain. It was probably inevitable for the unquenchable fascination with these characters to be expressed in the narratives that pit the
illustrious detective against the infamous criminal, which are the subject of
this book.
As cultural constructs, Holmes and the Ripper have been developing
alongside each other, and their stories run parallel. Both have been adapted
and rewritten, both have been studied at length, and thousands of volumes have been devoted to describing them. The former is called “the
Switzerland AG 2024
L. Krawczyk-Żywko, Holmes and the Ripper, Crime Files,
https://doi.org/10.1007/978-3-031-53184-2_1
1
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L. KRAWCZYK-ŻYWKO
(super)man of action” (Cannadine 2014: 35) and “the superman of our
dreams” (McLuhan 1997: 32), the latter is described as “part folk hero,
part bogeyman” (Daniel 2008: 140); Holmes is “a hero of the urban
jungle” (Taylor 2012: 101), Jack is “the ultimate urban legend” (Wood
2016: 4); if one is “the unchallenged Great Detective” (Jameson 1995:
31), the other is “the Great Unknown” (Deborah Cameron and Elizabeth
Frazer qtd. in Whittington-Egan 2015: 395); if one has become “a synonym for” and the “apotheosis of the detective” (Stephen Knight qtd. in
Hadley 2010: 62; Worthington 2005: 173), the other has become “the
operative icon of terror” (Harlan Ellison qtd. in Caputi 2004: 3) and “the
perfect screen monster” (Smith 2016: 116); the late-Victorian sleuth is “a
formula that can work in any era” (Val Sturgess qtd. in Porter 2012: 178),
while the late-Victorian serial killer is “a pervasive and particularly all-­
embracing metaphor” (Caputi 2004: 2) and “the avatar of ‘civilized violence’” (Coville and Lucanio 2008: 155); Doyle called Holmes his “most
notorious character” (qtd. in Klinger 2005: xl), and the Ripper is seen as
“a collage-creature” (Alan Moore and Dave Sim qtd. in Pietrzak-Franger
2010: 160) and “a monster of our own making” (Warwick and Willis
2007: 3). Interestingly, both have been labelled “a floating signifier”—the
detective with an additional quantifier, “free-” (Curtis 2001: 259;
Kleinecke-Bates 2014: 107).
The character Doyle created quickly became larger than life, larger than
his creator, too—Michael Saler writes about the “fetishization” and “the
cult of Holmes” (2012: 107). Pretending that both tenants of 221B Baker
Street were real and Doyle was merely Watson’s literary agent received the
name of “The Grand Game”. A parallel can be found among those who
keep trying to establish the identity of the Whitechapel murderer and
engage in the “hunt the Ripper game”, which can be described by two
rules of thumb: “First select your Ripper, and then twist your facts and
features to suit” (Whittington-Egan 2015: 14). Thus, whereas the fictional detective is treated as a real being, the Whitechapel killer is being
fictionalised. In fact, both “games” are contemporary to both characters:
when Doyle let Holmes disappear into the Reichenbach Fall, some readers
wore black armbands, symbols of mourning after someone close, and
before the Autumn of Terror—as the period of the “Jack the Ripper”
murders is called—ended, there had been tens of possible suspects, including “an army doctor with sunstroke who had been too heavily influenced
by Dr Jekyll and Mr Hyde” or “a ‘scientific humanitarian’ who was killing
prostitutes in order to improve the world” (Flanders 2011: 424). This
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1
SHERLOCK HOLMES VERSUS JACK THE RIPPER
3
initial list is merely a tip of the iceberg, or the snowball that turned into an
avalanche, with C.J. Morley’s catalogue of people ever accused of being
Jack the Ripper including nearly 300 names (Begg and Bennett 2013:
210; see also Flanders 2011: 424 or Beadle 2008: 111). Such a plethora
of possible candidates offered over the years generates almost limitless
possibilities for the creators of popular culture. Jack the Ripper and
Sherlock Holmes are listed among other “malleable and responsive” characters, such as Robin Hood, King Arthur, Count Dracula, or Batman,
who “give our creative consciousness an enormous amount of raw material to play with and inspire the imagination accordingly” (Begg and
Bennett 2013: 282). What may initially seem an unexpected equating of
the 1888 murderer and Arthur Conan Doyle’s detective is, in fact, justified, as is the verb “exist” in the context of the latter: both characters share
a comparable cultural afterlife.
What distinguishes the killer dubbed Jack the Ripper from other
nineteenth-­century serial killers, for example, Vincenz Verzini and Gruyo
(Gray 2010: 28), or even the fictional Sweeney Todd, is not being caught.
The arrest of Peter Sutcliffe, a twentieth-century serial killer nicknamed
the “Yorkshire Ripper”, was called “a simulacrum … of how it would have
been if Jack the Ripper had been ‘buckled’ and put in the dock”
(Whittington-Egan 2015: 397). The “existence” of the Ripper bears more
similarities to the legendary London Monster or Spring Heeled Jack and
has been embellished with various legendary attributes (see Daniel 2008;
Gray 2010: 106–111); he is even said to belong “not only to the criminologist, but also to folklore” (Geoffrey Fletcher qtd. in Bloom 2007:
97). Numerous scholars have commented on Jack the Ripper’s fictionality
as a process that facilitates the assigning of various identities to him
(Kleinecke-Bates 2014; Pietrzak-Franger 2010; Wood 2016). This diversity makes him “a shorthand for a whole ragbag of half-facts and inferences” (Worsley 2014: 187), “a definitional paradox: he is both labelled
and disembodied, both historical figure and discursive presence, both representation and reality” (Lonsdale 2002: 98), and his story is “an enigmatic thriller that continually reverberates and reconstructs itself over
time” (Walkowitz 1992: 201). Clive Bloom summarised it as follows:
Jack the Ripper is a name for both a necessary fiction and a fact missing its
history. Here fiction and history meet and mutate so that the Ripper can be
searched for by ‘historians’ of crime at the very same moment that he can
appear in a Batman comic. Separable from his origins, the Ripper is a strange
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4
L. KRAWCZYK-ŻYWKO
historicized fiction, a designation for a type of murderer and his scenario
(for the game is to give ‘Jack’ his real name and collapse fiction into biography), while also being a structural necessity for a type of fictional genre: the
author of the ‘Dear Boss’ letter, etc. The Ripper is never quite the same
person as the slayer of several prostitutes. (Bloom 2007: 96)
The mythologisation of the Whitechapel killer had run parallel to the
dehumanisation of the victims and the process seems to have been completed within a quarter of the century after the murders, by the publication of The Lodger (1913) by Marie Belloc Lowndes (Coville and Lucanio
2008: 21). Such rhetoric permeated not only the dominant 1888 discourse, but also the studies of the case, as delineated by Rebecca Frost
(2018). Numerous accounts of the 1888 murders attempt at contextualising and explaining the killer, whereas in others his image has been “sanitised” and “[h]is history is packaged as a bit of harmless fun: only a
spoilsport would be tactless enough to point out that it is a story of misogyny and sadism” (Deborah Cameron qtd. in Schmid 2005: 36). Hallie
Rubenhold’s The Five (2019) challenged the common assumption that all
the victims were prostitutes, and I posit that the process of re-­humanisation
of those women started slowly but steadily around the centenary of their
deaths (Krawczyk-Żywko 2023).
Donald Rumbelow noted that “[n]obody can stop the ‘legend’ of Jack
the Ripper from finally triumphing over the[-] facts. Indeed, it can be
argued that it has already done so” (2013: 355). Recent attempts at reversing that, aimed at both academic and wider audiences (Gray 2018;
Rubenhold 2019), are steps in the right direction, though it will take
some time before they are adequately reflected in popular culture. The
latter’s fascination with the figure of Whitechapel killer has been propelled
by two main factors: “In the first place, there is the straightforward appeal
of the appalling puzzle. Secondly, there is the gas-lit, Holmesian period
atmosphere, which invests the entire affair, and which, viewed from a
comfortable distance, casts a romantic afterglow that softens the starker
outlines” (Whittington-Egan 2015: 18). And whereas there is “no canonical authority for the Ripper episode, although it certainly occurred during
Holmes’ active career as an investigator” (Holroyd 1967: 15), the proliferation of the versus narratives over the years, which we are about to
explore, is its remarkable testimony.
Similarly to other true crime adaptations, the versus narratives pose
some ethical dilemmas. What are the responsibilities of the authors of such
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SHERLOCK HOLMES VERSUS JACK THE RIPPER
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works? Are their consumers complicit in the exploitation of the victims?
Does problematising these narratives make me complicit in perpetuating
the myth of the Whitechapel killer? The popularity of the versus format
may be puzzling, but exploring a past crime, even for entertainment, does
not necessitate celebrating or glorifying the killer. It cannot be denied that
true crime as a genre has been driven by the perpetrators and tends to be
replete with graphic images; however, it also contains reflections on crime
and evil, the importance of retribution, and may be subversive or even
therapeutic (Browder 2006). True crime novels are said to be in demand
due to the readers’ “desire to see criminals punished” and “a fast-paced,
adrenaline filled story with satisfying conclusions” (Elizabeth Fraser qtd.
in Lyons 2015: 21–22), but there is an ethical dimension to adaptations
as well, if we perceive them as “an invitation to listen better” to what is
being adapted (Leitch 2023: 29). With Doyle’s detective chasing the
Ripper, numerous versus texts provide fictional solutions to the historic
crimes and include a form of punishment for the killer, to some extent
debunking the myth of the Whitechapel murderer. Arguably, some of
them may narrow or even blur the divide between a Holmes fan and the
Ripper afficionado, possibly questioning the authority of the creator or the
integrity of the consumer; problematic as it is, this blurring may be perceived as one of the defining features of versus narratives as a form. While
these texts offer no compensation to the victims, they testify to a cultural
need to tackle the unsolved historic mystery.
My academic gaze on the versus narratives is filtered through several
lenses. Forging connections between true crime and crime fiction as well
as neo-Victorian and adaptation studies allows me to look at these texts as
a network and interrogate two towering late-Victorian figures. Prioritising
inter- and transtextuality over socio-political contexts, I depart from the
established paths and strictly linear developments, possibly complicating
the critique of the cultural afterlife of the Whitechapel killer. True crime
adaptation, notably of the 1888 murders, has been and will be popular,
and although I believe we will never know a definitive answer to the question about the killer’s identity, we may obtain some insight into our
engagement with the case. Building upon contributions in the previously
mentioned fields, my study investigates how the versus network transforms the cultural memory of the Whitechapel murders. I use two loaded
terms throughout the book: Ripperature and Ripperology, referring to fictional and nonfictional writings about the Whitechapel murders. They
reflect how killer-oriented both fields have been and though it might be
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L. KRAWCZYK-ŻYWKO
time to expand the critical debate around them, redefine or replace them,
it is beyond the scope of this particular project. I use them both in historical contexts and as shortcuts. Bridging the gap between Holmesian pastiches and Ripperature as well as Sherlockology and Ripperology, this
book highlights the need for recontextualisation of these converging fields
in shaping the contemporary understandings of Whitechapel crimes,
which in turn may create an opportunity to better understand their myth.
The Versus Narratives
As characters and culture-texts, Sherlock Holmes and Jack the Ripper have
developed in parallel and, despite the sheer number of the versus narratives
created up to this point, have been examined extensively but separately.
They are perceived as archetypes, with their names denoting the utmost
skills in detection and crime, respectively. Sometimes allusions are made to
the Great Detective being, intentionally or not, on the trail of the Ripper,
for example, in Sherlock (“The Empty Hearse” 2013) or in Time After
Time (1979). Outside of the versus narratives, the detective is rarely compared to the killer; usually he is referenced as the only figure who could
enter Whitechapel in search of facts, as in Peep Show (“Jeremy in Love”
2003), or discover the identity of the Ripper, as in Elementary
(“Hemlock” 2015).
Studies analysing their joint appearances are sparse and mostly take the
form of overview chapters or articles devoted to particular titles (e.g.,
Burnip 2017; Coville and Lucanio 2008; Jaëck 2009); P.L. Anness (1992)
comments on the absence of the Ripper case in Holmes’s career, and Ann
Milne-Smith (2022) discusses the effect of both figures on the perception
of the police but treats them separately. Texts by Kate Lonsdale (2002),
Martin Willis (2007), and Helen Lavën (2013) constitute notable exceptions, with Willis reading Doyle’s stories of detection as a direct response
to the Whitechapel murders. This book, focusing on texts in which
Sherlock Holmes is fighting (or otherwise engaging) Jack the Ripper, is an
attempt to fill this gap. These narratives, started and popularised at the
beginning of the twentieth century as parts of a series of pastiches published mostly in mainland Europe, pit the archetypal detective against the
archetypal serial killer using established formulas as well as new narrative
and generic features, a combination that results in their mass appeal among
authors and audiences alike. On the one hand, there are some narrative
elements and formulas that have been associated with both of them, such
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SHERLOCK HOLMES VERSUS JACK THE RIPPER
7
as the setting or the portrayal of the police, and each of them separately,
for example, their visual signifiers; on the other hand, there are some
meta- and intertextual transformations, such as the medium, genre,
sequence of events, suspects, or character constellations, that is, their functions in and relationships across the plot. The last element includes titles
in which it is not the Great Detective but his companions or even enemies
who are working on the 1888 case. It is the relationship between the traditional and the novel that is at the core of the popularity of the versus
narratives among the producers and consumers of popular culture, or,
should we say, participatory culture, in which the distinction between the
two is so blurred that we may talk about prosumers, and where fanfiction
has found its proper place.
The Holmesian pastiches are fanfiction, and fanfiction, whether written
by acclaimed authors or beginning writers, stems from a particular canon
but establishes its own “fanon” that fills in the gaps left by the authors of
the original works. Fanon
produces hypothetical “What If?” narratives, thereby modifying and challenging the logically consistent storyworld of the canonical texts. This practice leads Lindgren-Leavenworth to propose that transmedia franchises
should be regarded as archontic texts, thereby suggesting that scholars
should grant equal status to unauthorized fan contributions and to the sanctioned creations of copyright holders. (Ryan and Thon 2014: 18; emphasis
in original)
Doyle’s canon may be—and is (Pearson 2015)—called a franchise in its
own right, and I treat the versus narratives as a dialogic network of transfictional and transmedial texts, informed by and reflective of broader
trends and phenomena, such as cultural memory, neo-Victorianism,
Ripperology, biofiction, as well as shifts within adaptation and crime studies. Holmes’s and the Ripper’s transmediality, nascent to the creation of
both, is understood not as being delivered across various channels to create a unified experience (Jenkins 2007) but as creating a transmedia character network (see Newell 2017; Poore 2017; McCaw 2019), expanding
and modifying representations of both characters (see Pearson 2019;
Thon 2019; Thon and Pearson 2022), whose shared storyworlds merge
to create a hybrid instance of transfictionality (see Richard Saint-Gelais in
Ryan 2017). The vast majority of primary sources are literary texts, which
is dictated not by arbitrary selection but by the prevalence of novels, short
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L. KRAWCZYK-ŻYWKO
stories, parodies, pastiches, and fanfiction among the versus titles; movies,
TV and radio shows, plays, video and board games are included as well.
However, since my main frame is transfictionality, work- and medium-­
specific aspects are addressed only when they affect the essence of characters (see Richardson 2010). The titles’ vast range, which includes
self-published stories, critically acclaimed novels, or Grand Game studies,
reflects their continued cultural appeal and constant expansion of the versus storyworld, and it should be noted that texts that do not impress artistically also “create images of the past which resonate with cultural memory”
(Erll 2008: 392). The list of primary sources includes 120 titles. Although
originally the French play Jack l’Éventreur by Gaston Marot and Louis
Péricaud (1889) did not name its detective Sherlock Holmes, I decided to
include it here due to its 2011 republication as a versus text. The versus
narratives that constitute my corpus are listed in the appendix chronologically, according to the date of the first publication, performance, or
broadcast.
Examining the versus narratives as a dialogic network brings its own
opportunities as well as challenges. Not including case studies may be at
odds with a more conventional approach to adaptations, but it was a conscious decision. Case studies are useful when analysing a single text but
their generalisable potential is limited as they are highly selective and
incomplete (Semenza 2018: 60–61; Elliott 2020: 9). Moreover, they
bring to the fore a hierarchical structure, and a hierarchy within the versus
network is something I want to contest, not advance. By discussing an
extensive range of texts in conversation with wider literary and cultural
trends, I demonstrate the essential yet thus far unacknowledged diversity
of the Holmes versus the Ripper formula.
Various binary oppositions that shape the narrative framework of the
analysed texts reflect the late-Victorian fascination with the Gothic concept of a double, with the 1880s and 1890s seen as the period of the
revival of duality (Miller 1985). The publication of R.L. Stevenson’s
Strange Case of Dr Jekyll and Mr Hyde (1886) predated the appearance of
Holmes and the Ripper, and its 1888 stage production coincided with the
Whitechapel murders, enhancing the Gothicisation and fictionalisation of
the killer. Doyle deployed the idea of a double while creating Professor
Moriarty, Holmes’s mirror image, and Bram Stoker’s vampiric count from
Dracula (1897) has been read as the Ripper’s “blood brother” (Davison
1997). What makes the Holmes versus the Ripper texts interesting is not
the mere development of the Gothic and late-Victorian theme of doubles
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SHERLOCK HOLMES VERSUS JACK THE RIPPER
9
or the juxtaposition of the two iconic characters but their hybrid adaptation combined with the clash of the “old” and the “new”. Whether called
“repetition with variation” and a “ritual combined with the piquancy of
surprise” (Hutcheon and O’Flynn 2013: 4) or “similarity and difference”
and an “interplay of expectation and surprise” (Sanders 2016: 34), it
describes the same practice. The writers, scriptwriters, and game designers
of the versus narratives rely on well-established patterns to create a new
version of the supposedly well-known story of the Whitechapel murders.
To succeed, they need both ingenuity and conventionality. The majority
deploy crime fiction conventions and spice them with their own concepts,
which is a basic recipe for a (successful) formulaic work (Cawelti 1976:
12). The appeal of the versus texts, however, stems from the fact that they
are further modifications, expansions—or, to put it simply, adaptations of
the titular characters. It is the constant repetition of Holmes and the
Ripper in their hybrid storyworld that enables the variation among the
secondary characters, and it is their changing constellation that reflects the
interdependencies of detective fiction, neo-Victorian fiction, and biofiction.
Perceiving characters as cultural rather than textual creatures (Gianfranco
Marrone in Bertetti 2014) has been an accepted approach for some time
now, as has their migration among texts (Umberto Eco in Parey and
Roblin 2015). Characters may shape the narrative around them (Wilkins
2022: 1), but their migration often begins not with an author/creator but
with the audience (Tucker 2015), and the study of transmediality reflects
that (Haugtvedt 2022; Tosca and Evans 2022). My approach to Holmes
and the Ripper is informed by two conceptions of characters and their
adaptations: Denson and Mayer’s distinction between series characters
and serial figures (2018) and Paul Davis’s concept of culture-texts as
deployed by Szwydky (2018, 2020).
The basic difference between series characters and serial figures is that
the former develop within a given serial narrative, whereas the latter are
created through their adaptations. Shane Denson and Ruth Mayer define
a serial figure as “a type of stock character that became entrenched in the
popular-cultural imagination of the twentieth and twenty-first centuries
and whose career was shaped across a range of different media” and illustrate it with the examples of Frankenstein’s monster, Dracula, Sherlock
Holmes, Tarzan, Fu Manchu, Fantômas, Superman, and Batman; they
also point to “repetition and recognisability” as essential to serial figures in
their variations or revisions (2018: 65). More importantly, in the context
of the versus narratives, serial figures “have their ideal-typical existence in
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10
L. KRAWCZYK-ŻYWKO
series: as a series of varied repetitions, unfolding not within a homogenous
medial and diegetic space, but rather between or across such narrative
spaces”, they “lend themselves to transhistorical adaptation and appropriation” and “jump from medium to medium, they adapt to new conditions and make them their own, they mutate, they spread, but still they
remain discernable as themselves” (2018: 71, 74, 75; emphasis in original). Jack the Ripper is also a serial figure, and versus narratives definitely
are a series of transmedial and transfictional repetitions. Both Holmes and
the Ripper are also culture-texts, and creating a culture-text is not far from
constructing a serial figure through adaptation.
The term culture-text was coined by Paul Davis to distinguish between
an original text as created by an author and its cultural rendering; his
example was A Christmas Carol by Charles Dickens and its commonly
imagined version. Lisette Lopez Szwydky places it along Paul O’Flinn’s
statement on Mary Shelley’s novel: “There is no such thing as Frankenstein,
there are only Frankensteins, as the text is ceaselessly rewritten, reproduced, refilmed, and redesigned” (qtd. in Szwydky 2018: 132). She argues
that numerous adaptations owe more to other adaptations than the original text (Szwydky 2018, 2020), which I would link to Thomas Leitch’s
comment on such characters—or should we dub them serial figures—as
Dracula or Tarzan, which he calls “hybrid adaptations that depart from
their putative origins at any number of points, often choosing instead to
remain faithful to unauthorized later versions” (Leitch 2007: 208). Leitch
elaborates further, noting that “what adaptations adapt is not texts themselves but what Lawrence Venuti (2013: 181), speaking of translations,
has called ‘interpretants’: ideas about texts, readings of texts, interpretations of texts, summaries of texts, memories of texts” (2018: 73)—or,
what I would call, networks of texts. Although Szwydky mentions neither
Holmes nor Doyle, her observations may be applied to them as well: the
process of creation and subsequent recreation of the Great Detective by
Doyle himself was happening along numerous adaptations, parodies, and
pastiches, that is, along the (re)creations of this serial figure. The canonisation of Sherlock Holmes occurred thanks to his rewritings, and an analogous process occurred with the mythologisation of the figure of Jack the
Ripper. As noted by Kyle Meikle, adaptation and journalism are similar:
“Today’s news is tomorrow’s fish wrap—except those stories that are
picked up by actors, agents, authors, and award juries, leading to new
headlines, new lifelines, new stories the day after tomorrow” (Meikle
2018: 92). The Whitechapel killer’s story continues to be disseminated,
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SHERLOCK HOLMES VERSUS JACK THE RIPPER
11
and having been successfully combined with the Holmesian culture-text,
it keeps being rebooted as a versus narrative.
Exploring the versus narratives through the combined lens of adaptation and neo-Victorian studies does not diminish their crime and detective
fiction roots. After all, Holmes and the Ripper were created as a response
to earlier detective fiction and crime narratives, and thus as Victorian adaptations, and survived because their meeting became an appealing template:
“reality and art have combined to create a nightmare vision of Victorian
London, a city haunted by imaginary sleuths and actual murderers, a fantasy world in which the fictional Sherlock Holmes pursues the real Jack the
Ripper through foggy streets and narrow alleyways forever” (Arnold
2012: 215).
Themes and Structure
Before Holmes and the Ripper are discussed in the context of the versus
narratives, it is worth examining their beginnings and parallel popular-­
culture paths. Chapter 2 provides a detailed overview of the late-Victorian
beginnings of both figures. “Enter Holmes and Jack” starts with their first
appearances: Arthur Conan Doyle’s two Sherlock Holmes novels—A
Study in Scarlet (1887) and The Sign of Four (1891)—and the 1888 murders, focusing on the facts relating to the victims, the letters, and the
police. It proceeds to the serialisation of Sherlock Holmes in the Strand
and of the murder narrative in the press. A Study in Scarlet and The Sign
of Four did not achieve popularity—it was Doyle’s cooperation with the
Strand magazine that turned Holmes into a superstar detective.
Interestingly, Jack the Ripper and his crimes are also reminiscent of serial
publications (Warwick 2007), and the title that benefited most from disseminating them was the Star. Both the Star and the Strand were new on
the market, and their circulation increased each time a new East End murder happened and a new Sherlock Holmes story was published. Those
further episodes commenced the development of their protagonists.
Chapter 3 traces the transfictionality and transmediality of both figures.
“Parallel Culture-Texts” outlines Holmes’s and the Ripper’s appearances
on page, stage, and screen in their separate adaptations, appropriations,
pastiches, and parodies along the codification of their respective signifiers.
It also considers the literary and cinematic tourism spawned by the former
and thanatourism that grew around the latter, as well as the development
of the fields of study called Sherlockology and Ripperology. By the end of
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L. KRAWCZYK-ŻYWKO
1888, a new form of writing had already appeared, later dubbed
Ripperature, that is, fictional and nonfictional writings devoted to the
murders: John Francis Brewer’s The Curse upon Mitre Square (October
1888, London) and The History of the Whitechapel Murders: A Full and
Authentic Narrative of the Above Murders, with Sketches (1888, New York),
both recently reprinted as The First Publications about Jack the Ripper
(Hammott 2018). Holmesian parodies and pastiches began as early as
1888, and their popularity is not waning. Both characters were equipped
with a costume triad—Jack the Ripper has his top hat, Gladstone bag and
cape, and Sherlock Holmes a deerstalker, pipe, and ulster—supplemented
with the Victorian London attributes of fog, cobbled streets, and gaslight.
They unmistakably signify both figures in textual and visual media and are
used as a part of the hyperreality built around them and available for
exploration in museums or various walks and tours. Moreover, many fans
and scholars published countless pages scrutinising the life of the Great
Detective or identifying the Whitechapel killer, and the chapter closes
delineating the parallel research paths of Sherlockology and Ripperology.
Chapter 4 maps “The Versus Storyworld” as a hybrid subgenre transcending narrative and generic boundaries on the one hand and preserving
the Gothicised Victorian setting on the other. A particular set of typical—
often mirroring—features has developed around each of the figures, which
allowed to construe story patterns and hybrid narrative structures with
rules of their own. The differences between the two formulas are easily
blurred and while their certain elements seem indispensable and repeated
in numerous iterations, others are used to surprise the audience. The most
relevant components of the versus narratives stem from Gothic and crime
fiction, two genres that should be analysed in tandem rather than separately. I propose a distinction between surface and structural versus
Gothicisms to delineate the most characteristic—and possibly appealing—
features of the versus storyworld. It incorporates fact and fiction, combines reality and representation, and, similarly to historical fictions on
page or screen, is concerned not with accuracy but with a feeling of
authenticity. Operating within two sets of formulas at the same time poses
a bigger challenge, but the close ties between formulaic stories and commercial success pose a temptation. Both characters have developed a large
following of their own—reflected in fanfiction and Ripperature—and the
converging narratives attract both groups whose cultural competence
allows for greater engagement and enjoyment of the texts.
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Chapters 5 and 6 unpack the versus depictions of the two titular figures.
Even though the Great Detective has been portrayed countless times in
various media, and some interpretations defined the character for a given
generation, he remains himself; yet because many of the illustrators and
actors have left a permanent trace on Doyle’s creation, the chapter about
him is entitled “Palimpsestuous Holmes”. The Ripper, on the other hand,
could have been almost anyone, he has had many faces, some of them hidden in the shadows, and will have many more; he has occupied numerous
bodies corresponding with numerous theories about his identity and
motives, and the chapter about him is entitled “Polymorphous Jack”.
Sherlock Holmes’s palimpsestuous nature was noted by Neil McCaw
(2011, 2013), Iris Kleinecke-Bates (2014), and Benjamin Poore (2017);
I called him a cultural chameleon (Krawczyk-Żywko 2016): malleable and
adjusting well to changing times, media, and readerly expectations. This
transposability, combined with the transtextuality and seriality of the figure, allows for his believable rewriting in almost any story arc. Disinterested
in or obsessed with Jack the Ripper, regardless of whether he succeeds or
fails in solving the case, the consulting detective remains himself—the creation by Doyle, equipped with a vast array of contradictory characteristics,
such as being logical and bohemian, helping the law enforcement but supporting social justice, and paired with a double—the consulting criminal,
Professor Moriarty. Even the concept of Holmes as the killer stops sounding outrageous when we look back to Edgar Allan Poe’s archetypal amateur gentleman detective, C. Auguste Dupin, and his similarity to the
Gothic villain: both seen as ingenious night creatures capable of designing
effective ploys (Cawelti 1976). Or, better still, back to Doylean canon and
Watson’s commentary on his dear friend’s ability to become an effective
criminal in The Sign of the Four.
Combining the concept of duality with the detective’s contradictory
characteristics, the versus narratives expand both late-Victorian and our
contemporary fascination with the figure of a double or doppelgänger.
Though the Whitechapel killer is perceived as faceless (Pietrzak-Franger
2010), it is his amorphousness (Bloom 2007), or actually polymorphousness (Walkowitz 1992), that constitutes a part of his continuous appeal as
a character. Similarly to Sherlock Holmes, Jack the Ripper is also malleable
and adjusts well to the changing theories about his identity, and the majority of the versus texts revolve around the puzzle of the identity. The killer
is given numerous faces and numerous personas, which, when treated as
particular episodes in the versus series, tempted me to deploy the televisual
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L. KRAWCZYK-ŻYWKO
trope of the Monster of the Week in their discussion. They range from
obvious to rather unusual: the former include popular references to conspiracy theories, representatives of ethnic or religious minorities, lower
classes, and the middle- and upper-middle class figures of a doctor or a
gentleman; the latter include Doylean characters that are more or less surprising, ranging from Moriarty to Watson (and, as discussed in Chap. 5, to
Holmes himself). They are more than means of diversification of the well-­
known cast, as they fit within the frames established at the outset of the
Ripper narrative.
Chapter 7 uncovers the versus representations of the often overlooked
but crucial characters—the victims and the historical detectives. “(Mis)
Remembering Secondary Characters” revolves around the concept of cultural memory, which, in the case of the Whitechapel murders, has been
dominated by their perpetrator. Based on the scarcity of facts and data,
what is remembered about them is undergirded by how it is remembered,
and it is the contemporary sensationalised and Gothicised media narratives
that dictated what is preserved about the autumn of 1888. Hyperreal from
the onset, they shaped the nascent Ripperature. The majority of the versus
narratives position the killer as the detective’s worthy opponent—cunning, evil, or mad he may be, but by managing to remain undetected, the
Ripper presents an exciting challenge, and for Holmes, there is nothing
more interesting and engaging than a puzzle of that proportion. Pitting
Sherlock Holmes against Jack the Ripper may be interpreted as more than
engaging with a Victorian whodunnit: dealing with the unsolved case, it
offers an escapist fictional excuse for a criminal history failure. However,
despite the apparent possibility of resolving the ambiguity of the historic
mystery, certain Doylean trappings make the majority of the versus narratives perpetuate the myth of Jack the Ripper as a proficient perpetrator of
inexplicable crimes, to a large extent due to the very character of Holmes.
His deductions depend as much on observational skills as on Victorian
stereotypes, which expand beyond suspects and include both victims and
the police force. Victims in detective fiction are often marginalised, treated
as narrative starting points, springboards for the main story—that of the
investigation, and it is feminist, queer, race, and ethnicity readings, as well
as victim studies, that recentre victims. Victorian and Golden Age stories
are noted for depicting a certain rivalry between the amateur sleuth and
the official forces, with the former in the superior position. Even though
both Sherlock Holmes and Agatha Christie’s Hercule Poirot often cooperate with Scotland Yard, the cliched portrayal of an inept policeman forms
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15
a perfect match for many 1888 newspaper reports of the inefficiencies of
the then police force.
Chapter 8 focuses on texts in which it is not Holmes, but other characters who work on the Ripper case. “Neo-Casting, or Decentring the Great
Detective” poses the question of whether this new/neo-casting is an indication of the neo-Victorian “voicing” and a reflection of changes within
crime and detective fiction or a way of diversifying an all-too-conventional
Holmesian pastiche. The hybrid register of the versus narratives allows for
varied rewritings of the Holmesian and Ripperesque streaks, shaping them
according to current literary trends. The most pertinent are the overlapping shifts within crime and historical fiction, of which neo-Victorianism is
a subgenre. They include a turn from the male-centric to feminist perspective, the emergence of a Young Adult audience, or the decentring of traditional and/or generic characters. Neo-Victorianism has been compared to
a contemporary filter superimposed on nineteenth-century perspectives—
it not only reflects our concerns, but also reinterprets and transforms the
way we remember the nineteenth century (Mitchell 2010). The broad but
authoritative definition states that neo-Victorian texts “must in some
respect be self-consciously engaged with the act of (re)interpretation, (re)
discovery and (re)vision concerning the Victorians” (Heilmann and
Llewellyn 2010: 4; emphasis in original). Drawing on Georges Letissier’s
concept of neo-characterisation (2015), I propose the term neo-­casting to
delineate the versus narratives that aim to decentre—and sometimes
demystify—the Great Detective in a neo-Victorian manner. They may be
subdivided into works (1) casting and (re)interpreting various Victorian
characters and thus engaging with the mash-up culture, (2) introducing
modern characters to (re)vision Victorian (stereo)types, and (3) relying on
recurring Doylean secondary characters and (re)discovering their constellation. The first category is small scale but thoroughly postmodern; the
second is larger and ad/redresses certain societal slights; it is the third that
comprises the longest list of titles and offers a form of re-­righting, or at
least a revived perspective on Doylean canon.
“Detective Doyle” is a coda Chap. 9, combining an overview of Doyle’s
knowledge of the Whitechapel case, his detective attempts at other historic
cases, and the way he is portrayed in the versus narratives in the context of
neo-Victorian biofiction. Jack the Ripper is absent from the Holmesian
canon, which has proven problematic for many critics. Clive Bloom (2008)
notes that there are two rewritings of the killer in The Hound of the
Baskervilles, I see references to the case in “The Adventure of the
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16
L. KRAWCZYK-ŻYWKO
Cardboard Box”, and Martin Willis (2007) reads Doyle’s detective stories
en masse as a response to the open Ripper narrative. Knowing that Doyle
was engaged in a few historic investigations, readers and writers keep wondering if he was capable of solving the 1888 case, reinterpreting it in the
versus narratives that depict him as a detective or as the killer. It may be
read as yet another example of the versus narratives’ engagement with the
mash-up culture, but its effect on the cultural memory of Doyle himself
should not be overlooked. Approaching versus narratives collectively as a
network informed by numerous trends, I invite you to the first extended
study of the Holmes versus the Ripper stories and a journey through their
character constellations.
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