Roman Nikolayevich Kim Summary

Roman Nikolayevich Kim and the Strange Plot of his Mystery Novellas 1. Introduction
Yulian Semyonov’s (1931-1993) Petrovka, 38 (1963) is the only one Russian work in Hayakawa Pocket Mystery, which is a representative foreign mystery series of Japan, at the present moment. However, there was his predecessor, whose spy and detective stories were read worldwide. Roman Nikolayevich Kim (1899-1967) “appeared as a detective and spy novel writer after the war,” and “two million copies of this popular in the 50-60’s writer of political mystery were published (and are being printed to this day).” His works were translated into various languages and introduced to the world. In these analogies he was “to a certain extent Yulian Semyonov in those
For example, 37 titles were published in Nick Carter series in a year on average. However, Sir Arthur criticizes it, saying that "I can make three pieces of such a story in a day." Another day, the teacher asks him why some cases Watson mentioned in the stories have not been written yet and insists: “You should write several hundred of other stories about Sherlock Holms.” But Sir Arthur says: “My Holms is not Nick Carter. Besides, I have no intention to open a factory.” Actually, the “murder” relates to this. Later, Sir Arthur receives a letter from an American publisher who claims that Holms is already the common property of all mankind and they have the right to publish, hiring some writers, the stories not yet written. Doyle resents all these remarks: “This will be the real murder of Sherlock Holms.” In a word, what Holms' "Death" means is the increase of detective mystery and its deterioration under the great detective’s
For example, in “Japanese-Soviet literature symposium” held in Moscow (1965) Kim made a speech that “the sincere obligation of writers all over the world is to counter the cartelisation of literature and to concentrate power to oppose the creation of the hero like James Bond.” There is a sequel that he uttered this with forked tongue “to bring out dashing opinion from the Japanese side.” But if we read his works, it becomes clear that this negative view on spy-detective fiction is not so frivolous. In a novella Who has Kidnapped Punnakan? (1963), which we will discuss later, one main character says: “Works of mass production writer like Fleming and Aarons” are wrongly instilling “the images of agents from the other side of 'iron curtain'.” And in another novella The School of Ghosts (1965) that depicts the spy training institution one student tells: “How much would the spy novel writers be shocked, if they looked into our notebooks. It’s so unlike their