Father Brown, as best I can tell is the second among the Great literary detectives, right after Sherlock Holmes. In some ways, Father Brown was a continuation of what Chesterton wrote in his classic Orthodoxy.
The intellectuals of Chesterton’s time viewed the orthodox Christian as superstitutious, weak-minded. Chesterton, in Orthodoxy asserted his vision of orthodoxy was something entirely different: It was conscious, sensible, winsome, and wise.
Two years after writing Orthodoxy, he rapped it in a Cossack, embodied it in the person of Father Brown, a physically unremarkable and humble priest, who uses his wisdom, common sense, and experience as a confessor to solve even the most baffling crimes.
It should be noted that contrary to what many people have said, Chesterton was not a Catholic at the time he wrote the first Father Brown stories from 1910-1914. That conversion wouldn’t happen until the 1920s. However, he already knew the priest who would facilitate his confession and Father John O’Connor was the basis of the character.
To enjoy Chesterton’s books, you have to appreciate a couple of things. First of all, many are unlik e any detective stories we read today. While there’s plot and action, the main focus is the puzzle, not character development. Outside of Brown, most of the characters remain very flat. Either they’re stereotypical Frenchmen, Calvinists, Rich Men, or Atheists. They’re there to provide their piece of the puzzle and then get on with it.
There’s also not any sense of danger or mayhem. There’s little violence onstage, although Chesterton can come up with some quite ghastly ways to kill a man. If you like your detective fiction hardboiled, well, I’ll be honest, this isn’t Pat Novak.
This is a battle of wits between you and Father Brown, and most of the time you’re going to lose quite badly. The plot unfolds to reveal the puzzle, Father Brown solves the puzzle and the story ends-often abruptly.
What carries the stories is Chesterton’s voice which I find delightful, even when reading a book one hundred years after the time. Chesterton uses his prose like a painter uses paint, true artistry that’s understandable to a modern reader.
Father Brown is an incredibly fun character, who when he speaks, he says something important. Brown was the first in a long line of unlikely detectives that would include heroes such as Charlie Chan and Inspector Columbo: the last person in the world that the criminal would be worried about finding them out. But somehow, he solves the case with a completely unexpected solution.
There are a total of twelve stories in the collection, each constituting a different mystery. Several were exceptional to me:
The Blue Cross: The first Father Brown story and perhaps his most iconic tale. When Chesterton originally published this short story in 1910, readers must have been shocked to see Father Brown emerge as the hero. As through the whole of the mystery, the focus had been on a police detective. But already, the makings of the great detective were in place. He would often hang back as a background figure until stepping forward to solve the case. When that first story was published in September, 1910, a literary star was born.
The Invisible Man: This was a fitting case, because it not only provided an extraordinarily surprising solution, but also an insight on how Father Brown surprised so many with his observations.
The Three Tools of Death: This is the first Father Brown story I heard an adaptation of, and after reading it, I appreciate it even more. The solution is a gigantic surprise. It’s also a reminder that many of the descriptions, Chesterton gives at the start of the story, he’s giving the readers what the popular view of a character is, not necessarily what the person is really like. You may leave the story with an entirely different view from popular opinion.
The Sign of the Broken Sword: This had to be my favorite in the collection. To give you an idea of how different these stories are from modern mysteries, the entire case takes place on an entirely different continent from where the mystery occurred, and no witnesses are actually questioned. The story centers around a simple enough riddle.
Where does a wise man hide a leaf? In the forest. But what does he do if there is no forest?
From there, the case proceeds to a startling conclusion, all without leaving a forest, an Ocean away from the scene of the crime.
On the negative side, I thought the Honour of Israel Gow was slightly absurd. I think Chesterton was trying to make a point about his perception of Calvinist legalism, but it fell a little flat. I also thought the solution in the Wrong Shape was not the right shape of Chesterton’s best Father Brown stories, but it was still passable.