Dorothy L. Sayers

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Dorothy L. Sayers
Born	13 June 1893 Oxford, England
Died	17 December 1957 Witham, Essex, England
Occupation	Novelist, Playwright, Essayist, Translator, Copywriter, Poet
Genres	crime fiction
Literary movement	Golden Age of Detective Fiction

Dorothy Leigh Sayers (IPA: usually pronounced /ˈseɪɜrz/, although Sayers herself preferred /ˈsɛːrz/ and encouraged the use of her middle initial to facilitate this pronunciation^[1]) (Oxford, 13 June 1893–Witham, 17 December 1957) was a renowned British author, translator and Christian humanist. She was also a student of classical and modern languages. She is best known for her mysteries, a series of novels and short stories set between World War I and World War II that feature English aristocrat and amateur sleuth Lord Peter Wimsey. However, Sayers herself considered her translation of Dante's Divina Commedia to be her best work. She is also known for her plays and essays.

Contents 1 Biography 1.1 Childhood, youth and education 1.2 Motherhood 1.3 Marriage and later life 2 Career 2.1 Poetry, teaching, and advertisements 2.2 Detective fiction 2.3 Translations 2.4 Other Christian and academic work 3 Criticism of Sayers 3.1 Criticism of background material in her novels 3.2 Criticism of major characters 3.3 Alleged Racism and Anti-Semitism in Sayers' writing 4 Legacy 4.1 Her characters in others' works 4.2 Sayers in others' works 5 Bibliography 5.1 Poetry 5.2 Lord Peter Wimsey novels and short stories 5.3 Other crime fiction 5.4 Dante translations and commentaries 5.5 Essays and non-fiction 5.6 Unpublished work 5.7 Letters 6 External links 7 Notes 8 References and scholarship

[edit] Biography

[edit] Childhood, youth and education

Sayers, who was an only child, was born at the Head Master's House, Christ Church Cathedral, Oxford, on 13 June 1893, where her father, the Rev. Henry Sayers, M.A., was chaplain of Christ Church and headmaster of the Choir School (when she was six he started teaching her Latin).^[2] She grew up in the tiny village of Christ Church in Cambridgeshire, after her father was given the "living" there as clergyman. After she had left home for the Godolphin School,^[3] a boarding school, her father moved to the much more luxurious living of Bluntisham, also in Cambridgeshire, where the church graveyard features the surnames of several characters in what some call her best mystery, The Nine Tailors. The sheer size and elegance of the Regency Rectory she called home is worthy of her description of Duke's Denver, Lord Wimsey's family seat, while the proximity of the River Great Ouse explains her detailed knowledge of a massive flood around the village described in her Fenchurch mystery.

In 1912, she won a scholarship to Somerville College, Oxford,^[4] studying modern languages and medieval literature. She finished with first-class honours in 1916. Although women could not be awarded degrees at that time, Sayers was among the first to receive a degree when the situation changed a few years later, and in 1920 she graduated MA. Her personal experience of Oxford academic life is evident in her novel Gaudy Night.

Dorothy's father was from a line from Littlehampton, West Sussex, and her mother (Helen Mary Leigh - hence the 'L' in Dorothy's full name) was born at The Chestnuts, Millbrook, Southamptonshire, to Frederick Leigh, a solicitor, whose family roots were in the Isle of Wight. Helen's sister Amy married Henry Richard Shrimpton, and is mentioned below.

Great Britain in the 1920s was in a time of social change and upheaval. The massive mobilization of able-bodied men in World War I had sent many women into the paid workforce. While the men returning from war expected to return to their old positions, the women who enjoyed self-sufficiency were not ready to leave. In addition, many women had to be self-supporting due to family left disabled or dead by the war. Legally, some women were first able to vote in 1918, although full suffrage was not granted until the Representation of the People Act of 1928.

[edit] Motherhood

At age 29, Sayers fell in love with novelist John Cournos, the first intense romance of her life. He wanted her to ignore social mores and live with him without marriage. She wanted to marry and have children. After a year of agony between 1921 and 1922, she learned that Cournos had claimed to be against marriage only to test her devotion, and she broke off with him.

Her heart broken, Sayers rebounded by becoming involved with Bill White, an unemployed motor car salesman. After a brief, intense, and mainly sexual relationship, Sayers discovered that, in spite of contraception, she was pregnant. White reacted badly, storming out "in rage & misery" when Sayers admitted her pregnancy.

Fearing how her pregnancy might affect her parents, then in their 70s, Sayers opted to hide from friends and family. She continued to work until the beginning of her last trimester, at which point she pleaded exhaustion and took an extended leave. She went alone to a "mothers' hospital" under an assumed name, and the child, John Anthony, was born January 3, 1924, at Tuckton Lodge, Iford Lane, Southbourne, Southamptonshire. She remained with John for three weeks, nursing and caring for him.

Sayers was unable to return to her life or work with a child. Her aunt and cousin, Amy and Ivy Amy Shrimpton, were supporting themselves by fostering children. Sayers' mother had been to visit the Shrimptons and wrote a glowing account to Dorothy of the good job they did with their charges. Sayers wrote to Ivy, relating a sad story about "a friend" and inquiring about boarding fees and whether Ivy had room for an additional baby. After Ivy agreed to take the child, Sayers sent her another letter in an envelope marked "Strictly Confidential: Particulars about Baby"^[5] which revealed the child's parentage and swore her to silence. Neither Sayers' parents nor Aunt Amy were to know. Sayers' family learned of John Anthony's existence only after her death in 1957, when he was the only beneficiary under his mother's will. However, Sayers communicated regularly with her son by mail, and shortly before he died in 1984, John Anthony said that his mother "did the very best she could."^[6]

Ivy continued to raise 'John' to adulthood at her house "The Sidelings", Wooton Barton, Oxfordshire, but he became known by his second forename - abandoning the use of 'John' except for legal purposes - but preferred to be known as 'Tony' to friends and family. He assumed the surname of 'Fleming' after his mother married, although nothing formal was ever attempted to register that change. Tony regarded Ivy as his mother for all practical purposes, and when she died on 29 March 1951 at Horton General Hospital, Banbury, he undertook the burial arrangements.

In 1924-1925, Sayers wrote 11 letters to John Cournos about their unhappy relationship, her relationship with White, and her son. The letters are now housed at Harvard University. Both Sayers and Cournos would eventually fictionalize their experience: Sayers in Strong Poison, published in 1930, and Cournos in The Devil is an English Gentleman, published in 1932.

[edit] Marriage and later life

Two years later, by which time she had published her first two detective novels, Sayers married Captain Oswald Atherton "Mac" Fleming, a Scottish journalist whose professional name was "Atherton Fleming." They married on 8th April, 1926 at the Register Office in Holborn. Mac was divorced with two children, which in those days meant they could not have a church wedding. Despite this disappointment, her parents welcomed Mac into the fold. They lived in Dorothy's apartment at 24 Great James Street, St. Pancras, that she continued to hold for the rest of her life.

The marriage began very happily, with a strong partnership at home. Both were working a great deal - Mac as an author and journalist, Dorothy as an advertising copywriter and author. Over time, Mac's health worsened (largely due to his World War I service), and he became unable to work. As a result, his income dwindled while Sayers's fame continued to grow, and he began to feel eclipsed.

Although he never lived with them, Tony was told "Cousin Dorothy" and Fleming had adopted him when he was ten. (As the legal parent, Dorothy had no need to adopt him. Fleming had agreed to adopt her son when they married, but it was never officially done.) Sayers continued to provide for his upbringing, although she never publicly acknowledged him as her biological son.

Sayers was a good friend of C. S. Lewis and several of the other Inklings. On some occasions, Sayers joined Lewis at meetings of the Socratic Club. Lewis said he read The Man Born to be King every Easter, but he claimed to be unable to appreciate detective stories. J. R. R. Tolkien, however, read some of the Wimsey novels but scorned the later ones, such as Gaudy Night.

Mac Fleming died June 9, 1950, at Sunnyside Cottage, and nearly a decade later, Dorothy died suddenly of a stroke 17 December 1957 at the same place. She had purchased numbers 20-24 Newland Street Witham (subsequently known as Sunnyside) in 1925 for her mother to live, following the death of her father, but she occupied it herself following the death of her mother on 27 July 1929 at The County Hospital, Colchester. Mac was buried in Ipswich, whilst Dorothy was cremated and her ashes buried beneath the tower of St Anne's Church, Soho, where she had been a churchwarden for many years. Tony died 26 November 1984 at age 60, in St. Francis's Hospital, Miami Beach, Dade, Florida.

[edit] Career

[edit] Poetry, teaching, and advertisements

Dorothy Sayers' first book, of poetry, was published in 1916 as Op. I by Blackwell Publishing in Oxford. Later Sayers worked for Blackwell's and then as a teacher in several locations including Normandy, France, just before World War I began.

Sayers' longest employment was from 1922-1931 as a copywriter at S. H. Benson's advertising agency in London. This was located on the Victoria Embankment overlooking the Thames; Benson's subsequently became Ogilvy & Mather. Sayers was quite successful as an advertiser. Her collaboration with artist John Gilroy resulted in "The Mustard Club" for Colman's Mustard and the Guinness "Zoo" advertisements, variations of which still appear today. One famous example was the Toucan, his bill arching under a glass of Guinness, with Sayers' jingle:

“

If he can say as you can Guinness is good for you How grand to be a Toucan Just think what Toucan do

”

Sayers is also credited with coining the phrase "It pays to advertise." She used the advertising industry as the setting of Murder Must Advertise.

[edit] Detective fiction

Sayers began working out the plot of her first novel sometime in 1920–1921. The seeds of the plot for Whose Body? can be seen in a letter Sayers wrote on January 22, 1921:

"My detective story begins brightly, with a fat lady found dead in her bath with nothing on but her pince-nez. Now why did she wear pince-nez in her bath? If you can guess, you will be in a position to lay hands upon the murderer, but he's a very cool and cunning fellow..." (p.101, Reynolds)

Lord Peter Wimsey burst upon the world of detective fiction with an explosive "Oh, damn!" and continued to engage readers in ten novels and two sets of short stories; the final novel ended with a very different "Oh, damn!". Sayers once commented that Lord Peter was a mixture of Fred Astaire and Bertie Wooster, which is most evident in the first five novels. However, it is evident through Lord Peter's development as a round character that he existed in Sayers' mind as a living, breathing, fully human entity. Sayers introduced detective novelist Harriet Vane in Strong Poison. Sayers remarked more than once that she had developed the "husky voiced, dark-eyed" Harriet to put an end to Lord Peter via matrimony. But in the course of writing Gaudy Night, Sayers imbued Lord Peter and Harriet with so much life that she was never able to, as she put it, "see Lord Peter exit the stage."

Sayers did not content herself with writing pure detective stories; she explored the toll on World War I veterans in The Unpleasantness at the Bellona Club, discussed the ethics of advertising in Murder Must Advertise, and advocated women's education (a then-controversial subject) in Gaudy Night.

Sayers' Christian and academic interests also shine through in her detective stories. In The Nine Tailors, one of her most well-known detective novels, the plot takes place largely in and around an old church dating back to the Middle Ages, and the writer's familiarity with and affection for such a milieu is very evident. Change ringing of bells also forms an important part of the novel. In Have His Carcase, the Playfair cipher and the principles of cryptanalysis are explained. Her short story Absolutely Elsewhere refers to the fact that (in the language of modern physics) the only perfect alibi for a crime is to be outside its light cone, while The Fascinating Problem of Uncle Meleager's Will contains a literary crossword puzzle.

Sayers also wrote a number of short stories about Montague Egg, a wine salesman who solves mysteries.

[edit] Translations

Sayers herself considered her translation of Dante's Divina Commedia to be her best work. The baldly titled Hell appeared in 1949, as one of the recently introduced series of Penguin Classics. Purgatory followed in 1955. Unfinished at her death, the third volume (Paradise) was completed by Barbara Reynolds in 1962.

On a line-by-line basis, Sayers' translation can seem idiosyncratic. For example, the famous line usually rendered "Abandon hope, all ye who enter here" turns, in the Sayers translation, into "Lay down all hope, you who go in by me." As the Italian reads "Lasciate ogni speranza, o voi ch'intrate", both the traditional and Sayers' translation add to the source text in an effort to preserve the original length: "here" is added in the first case, and "by me" in the second. It can be argued that Sayers' translation is actually more accurate, in that the original intimates to "abandon all hope". Also, the addition of "by me" draws from the previous lines of the canto: "Per me si va ne la città dolente;/ per me si va ne l'etterno dolore;/ per me si va tra la perduta gente." (Longfellow: "Through me the way is to the city dolent;/ through me the way is to the eternal dole;/ through me the way is to the people lost.")

The idiosyncratic character of Sayer's translation results from her decision to preserve the original Italian terza rima rhyme scheme, so that her "go in by me" rhymes with "made to be" two lines earlier, and "unsearchably" two lines before that. Umberto Eco in his book Mouse or Rat? suggests that, of the various English translations, Sayers "does the best in at least partially preserving the hendecasyllables and the rhyme."^[7]

Sayers' translation of the Divina Commedia is also notable for extensive notes at the end of each canto, explaining the theological meaning of what she calls "a great Christian allegory."^[8] Her translation has remained popular: in spite of publishing new translations by Mark Musa and Robin Kirkpatrick, as of 2008 Penguin Books was still publishing the Sayers edition.^[9]

In the introduction to her translation of The Song of Roland, Sayers expressed an outspoken feeling of attraction and love for

"(...) That new-washed world of clear sun and glittering colour which we call the Middle Age (as though it were middle-aged) but which has perhaps a better right than the blown rose of the Renaissance to be called the Age of Re-birth".

She praised "Roland" for being a purely Christian myth, in contrast to such epics as Beowulf in which she found a strong Pagan content.

[edit] Other Christian and academic work

Sayers' most notable religious book is probably The Mind of the Maker (1941) which explores at length the analogy between a human Creator (especially a writer of novels and plays) and the doctrine of The Trinity in creation. She suggests that any human creation of significance involves the Idea, the Energy (roughly: the process of writing and that actual 'incarnation' as a material object) and the Power (roughly: the process of reading/hearing and the effect it has on the audience) and that this "trinity" has useful analogies with the theological Trinity of Father, Son and Holy Spirit.

In addition to the ingenious thinking in working out this analogy, the book contains striking examples drawn from her own experiences as a writer and elegant criticisms of writers when the balance between Idea, Energy and Power is not, in her view, adequate.^[10] She defends strongly the view that literary creatures have a nature of their own, vehemently replying to a well-wisher who wanted Lord Peter to "end up a convinced Christian". "From what I know of him, nothing is more unlikely ... Peter is not the Ideal Man" ^[11]

Her very influential essay The Lost Tools of Learning has been used by many schools in the US as a basis for the classical education movement, reviving the medieval trivium subjects (grammar, logic and rhetoric) as tools to enable the analysis and mastery of every other subject.

Sayers also wrote three volumes of commentaries about Dante, religious essays, and several plays, of which The Man Born to be King may be the best known.

Her religious works did so well at presenting the orthodox Anglican position that in 1943 the Archbishop of Canterbury offered her a Lambeth doctorate in divinity, which she declined. In 1950, however, she accepted an honorary doctorate of letters from the University of Durham.

[edit] Criticism of Sayers

[edit] Criticism of background material in her novels

The literary and academic themes in Sayers' novels have not appealed to all readers. A savage attack on Sayers' writing ability came from the prominent American critic and man of letters Edmund Wilson in a well-known 1945 article in The New Yorker called Who Cares Who Killed Roger Ackroyd?^[12] He briefly writes about her famous novel The Nine Tailors, saying "I set out to read [it] in the hope of tasting some novel excitement, and I declare that it seems to me one of the dullest books I have ever encountered in any field. The first part is all about bell-ringing as it is practised in English churches and contains a lot of information of the kind that you might expect to find in an encyclopedia article on campanology. I skipped a good deal of this, and found myself skipping, also, a large section of the conversations between conventional English village characters...." Wilson continues "I had often heard people say that Dorothy Sayers wrote well... but, really, she does not write very well: it is simply that she is more consciously literary than most of the other detective-story writers and that she thus attracts attention in a field which is mostly on a sub-literary level."

[edit] Criticism of major characters

Lord Peter Wimsey and Harriet Vane, the two main characters in Sayers' novels, have also been criticised. Wimsey has been criticized for being too perfect; over time the various talents he displays grow too numerous to be believed. Edmund Wilson also expressed his distaste for Lord Peter in his criticism of The Nine Tailors: "There was also a dreadful stock English nobleman of the casual and debonair kind, with the embarrassing name of Lord Peter Wimsey, and, although he was the focal character in the novel... I had to skip a good deal of him, too."^[12]

Wimsey is rich, well-educated, charming, and brave, as well as an accomplished musician, an exceptional athlete, and a notable lover. His only flaws are what other characters regard as silly prattling, a nervous disorder (shell-shock) and a fear of responsibility. The latter two both originate from his service in World War I.

The character Harriet Vane, featured in four novels, has been criticized for being a mere stand-in for the author. Vane, like Sayers, was educated at Oxford (unusual for a woman at the time) and is a mystery writer. Vane initially meets Wimsey when she is tried for poisoning her lover (Strong Poison); he insists on participating in the defense preparations for her re-trial, where he falls for her but she rejects him. In Have His Carcase she collaborates with Wimsey to solve a murder but still rejects his proposals of marriage. She eventually accepts (Gaudy Night) and marries him (Busman's Honeymoon). After Sayers' affairs with Cournos and White were revealed, the comparisons between Sayers and Vane became more emphatic (neither Sayers' affairs with Cournos or White were publicly known during her lifetime).

Many of the themes and settings of Sayers' novels, particularly those involving Harriet Vane, seem to reflect Sayers' own concerns and experiences.^[13] However, McGregor and Lewis suggest that Vane and Wimsey's discussions about mystery in story versus real life—within the context of a mystery story—merely reflect Sayers' sense of fun.

[edit] Alleged Racism and Anti-Semitism in Sayers' writing

The characters in Sayers' novels reflect the culture of their time, and some of them express explicit racist, or anti-Semitic views. In particular, the portrayal of Jews in Sayers' fictional work has been criticized by some for being stereotypical. In Gaudy Night, one of the characters (Padgett, the porter) even says "Wot this country wants is a 'Itler." However, another character (Miss Barton) writes a book attacking the Nazi doctrine of Kinder, Kirche, Küche, which restricted women's roles to family activities, and in many ways the whole of Gaudy Night can be read as an attack on that doctrine, having been described as "the first feminist mystery novel."^[14] Though confronting to the modern reader, the views expressed by characters in the novel must thus be taken as a reflection of the 1930s English society in which the novel was set, rather than as the author's own view. Some critics consider Sayers to be subtly criticizing misogyny, anti-Semitism, racism, and class distinctions in her novels. Even Lord Peter Wimsey does not necessarily reflect Sayers' own point of view: in Unnatural Death the author briefly criticises her detective for condemning another character's "greediness" with "the unconconscious brutality of one who never lacked for money".

Characters in Unnatural Death also display racist attitudes. For instance, a maid who refused to serve a person of colour voices many racist sentiments, but the overall story upholds the person of colour as a paragon of virtue (a minister, no less). Within the story, Miss Climpson, a sympathetic character, roundly condemns the maid's racism, although her own choice of language implies that she has (consciously or unconsciously) adopted some racist tendencies herself. Later in the book, the murderer tries to blame the crimes upon a non-existent gang composed of Blacks and Jews, and the book shows how some policemen initially take up the racist canard and how it is eagerly picked up by the popular press; in her essay The Other Six Deadly Sins, Sayers comments that to "foment grievance and to set men at variance is the trade by which agitators thrive and journalists make money."^[15] In the end, the alleged plot is shown to have been a red herring fabricated by the real culprit.

The 1923 novel Whose Body? involves several Jewish characters, notably the murder victim, Levy. Several other characters express anti-Semitic attitudes towards these Jews. The victim's butler, for example, states "I don’t hold with Hebrews as a rule." The medical students who dissect the victim's body refer to him by the highly racist term Sheeny. However, once again such views should be taken as a reflection of contemporary English society, and not as the author's own view. A more positive attitude is taken by one of Sayers's recurring (and sympathetic) characters, the Hon. Frederick Arbuthnot, who falls in love with the victim's daughter, to the cheerful acceptance of best man Lord Peter Wimsey. Both Arbuthnot and Wimsey are also shown to have positive contacts with Jews on a professional level.

Sayers herself had a number of personal and professional associations with Jewish people. Her original publisher was Jewish, and the Chief Rabbi was a frequent visitor at her salons. She had had an unsuccessful relationship with a Jewish man (novelist John Cournos), and Barbara Reynolds, her friend and biographer, suggests that Whose Body? was influenced by thoughts of how society would have treated her as the wife of a Jew.^[16]

Other biographers of Sayers have disagreed as to whether Sayers was anti-Semitic. In Sayers: A Biography,^[17] James Brabazon argues that Sayers was anti-Semitic. This is refuted by Carolyn G. Heilbrun in Dorothy L. Sayers: Biography Between the Lines.^[18] McGregor and Lewis argue in Conundrums for the Long Week-End that Sayers was not anti-Semitic but used popular British stereotypes of class and ethnicity. Anti-Semitism was common in Sayers' social class before the Second World War, and Sayers may not have regarded herself as anti-Semitic. In 1936, a translator wanted "to soften the thrusts against the Jews" in Whose Body?; Sayers, surprised, replied that the only characters "treated in a favorable light were the Jews!"^[19]

[edit] Legacy

Sayers' work was frequently parodied by her contemporaries (and sometimes by herself). McGregor and Lewis suggest that some of the character Harriet Vane's observations reveal Sayers poking fun at the mystery genre - even while adhering to various conventions herself.

[edit] Her characters in others' works

Jill Paton Walsh completed and published two novels about Peter Wimsey and Harriet Vane: Thrones, Dominations, based on Sayers's manuscript, left unfinished at her death; and A Presumption of Death, based on the "Wimsey Papers", letters ostensibly written by various Wimseys and published in The Spectator during World War II.

E. C. Bentley, the author of the early modern detective novel Trent's Last Case, a work which Sayers admired, wrote a parody entitled "Greedy Night" (1938).

Lord Peter Wimsey appears (together with Hercule Poirot and Father Brown) in C. Northcote Parkinson's comic novel Jeeves (after Jeeves, the gentleman's gentleman of the P.G. Wodehouse canon).

Lord Peter Wimsey makes a cameo appearance in Laurie R. King's A Letter of Mary, one of a series of books relating the further adventures of Sherlock Holmes, and his equally talented partner and spouse, Mary Russell.

Audrey Niffenegger, author of The Time Traveler's Wife, has claimed in interviews that her main characters, Henry and Clare, are loosely based on Sayers' Peter and Harriet.

[edit] Sayers in others' works

Sayers appears, with Agatha Christie, as a title character in Dorothy and Agatha [ISBN 0-451-40314-2], a murder mystery by Gaylord Larsen, in which a man is murdered in her dining room, and Sayers has to solve the crime.

Sayers's god-daughter Barbara Reynolds has suggested that the character of Aunt Dot in Rose Macaulay's novel The Towers of Trebizond (1956) is based on Dorothy L. Sayers.^[20]

[edit] Bibliography

See also Plays of Dorothy L. Sayers

See also List of fictional books#Works invented by Dorothy L. Sayers

[edit] Poetry

• Op. I (1916) [3]
• Catholic Tales and Christian Songs (1918) [4]

[edit] Lord Peter Wimsey novels and short stories

• Whose Body? (1923)
• Clouds of Witness (1926)
• Unnatural Death (1927). From the papers held by the Marion Wade Centre, it is clear that Sayers' original title was The Singular Case of the Three Spinsters.
• The Unpleasantness at the Bellona Club (1928)
• Lord Peter Views the Body (1928) (12 short stories)
• Strong Poison (1930)
• Five Red Herrings (1931)
• Have His Carcase (1932)
• Hangman's Holiday (1933) (12 short stories, 4 including Lord Peter)
• Murder Must Advertise (1933)
• The Nine Tailors (1934)
• Gaudy Night (1935)
• Busman's Honeymoon (1937)
• In the Teeth of the Evidence (1939) (18 short stories, 4 including Lord Peter) (editions published after 1942 usually adds Talboys, the last story she wrote with Lord Peter)
• Thrones, Dominations (1998) (This Lord Peter novel was begun by Sayers in 1936, completed by Jill Paton Walsh and published in 1998.)

• Sayers also wrote the scenario for the film The Silent Passenger (1935), a Lord Peter story which was never published in book form, and whose script was altered greatly by the film company from her original.^[21].

[edit] Other crime fiction

• The Documents in the Case (1930) written with Robert Eustace
• The Floating Admiral (1931) (Written with members of The Detection Club, a chapter each)
• Ask a Policeman (1933) (Written with members of The Detection Club)
• Six against the Yard (1936) (Written with members of The Detection Club)
• The Sultry Tiger (1936) (Originally written under a pseudonym, republished in 1965)
• Double Death: a Murder Story (1939) (Written with members of The Detection Club)
• The Scoop and Behind the Screen (1983) (Originally published in The Listener (1931) and (1930), both written by members of The Detection Club)
• Crime on the Coast and No Flowers by Request (1984) (Written by members of The Detection Club, Sayers takes part in the second, originally published in Daily Sketch (1953)

[edit] Dante translations and commentaries

• The Divine Comedy, Part 1: Hell ISBN 0-14-044006-2
• The Divine Comedy, Part 2: Purgatory ISBN 0-14-044046-1
• The Divine Comedy, Part 3: Paradise (completed by Barbara Reynolds) ISBN 0-14-044105-0
• Introductory Papers on Dante: Volume 1: The Poet Alive in His Writings
• Further Papers on Dante Volume 2: His Heirs and His Ancestors
• The Poetry of Search and the Poetry of Statement Volume 3: On Dante and Other Writers

[edit] Essays and non-fiction

• The Mind of the Maker (1941) ISBN 0-8371-3372-6
• Unpopular Opinions (1947)
• Are Women Human? (two essays reprinted from Unpopular Opinions) ISBN 0-8028-2996-1
• Creed or Chaos?:Why Christians Must Choose Either Dogma or Disaster (Or, Why It Really Does Matter What You Believe) ISBN 0-918477-31-X
• The Man Born to be King, a cycle of 12 plays on the life of Jesus (1941)
• Sayers on Holmes ISBN 1-887726-08-X
• The Whimsical Christian ISBN 0-02-096430-7
• Les Origines du Roman Policier: A Wartime Wireless Talk to the French: The Original French Text with an English Translation (ed. and trans. Suzanne Bray, Hurstpierpoint: Dorothy L. Sayers Society, 2003) ISBN 0-9545636-0-3

[edit] Unpublished work

• Smith & Smith Removals: I

[edit] Letters

Five volumes of Sayers' letters have been published, edited by Barbara Reynolds.

• The Letters of Dorothy L. Sayers: 1899-1936: The Making of a Detective Novelist ISBN 0-312-14001-0
• The Letters of Dorothy L. Sayers: 1937-1943, From Novelist to Playwright ISBN 0-312-18127-2
• The Letters of Dorothy L. Sayers: 1944-1950, A Noble Daring ISBN 0-951-80051-5
• The Letters of Dorothy L. Sayers: 1951-1957, In the Midst of Life ISBN 0-951-80006-X
• The Letters of Dorothy L. Sayers: Child and Woman of Her Time ISBN 0-951-80007-8

[edit] External links

• Dorothy L. Sayers at the Internet Movie Database
• The Dorothy L. Sayers Society
• Dorothy L Sayers in Galloway—the scene of her novel Five Red Herrings (1931)

[edit] Notes

[edit] References and scholarship

• Op. I by Dorothy Sayers (poetry): http://digital.library.upenn.edu/women/sayers/opi/dls-opi.html
• The Lost Tools of Learning by Dorothy L. Sayers: http://www.gbt.org/text/sayers.html
• Brabazon, James, Dorothy L. Sayers: a Biography (1980; New York: Avon, 1982) ISBN 978-0-380-58990-6
• Brown, Janice, The Seven Deadly Sins in the Work of Dorothy L. Sayers (Kent, OH, & London: Kent State University Press, 1998) ISBN 0-87338-605-1
• Connelly, Kelly C. "From Detective Fiction to Detective Literature: Psychology in the Novels of Dorothy L. Sayers and Margaret Millar." CLUES: A Journal of Detection 25.3 (Spring 2007): 35-47
• Coomes, David, Dorothy L. Sayers: A Careless Rage for Life (1992; London: Chariot Victor Publishing, 1997) ISBN 978-0-7459-2241-6
• Dale, Alzine Stone, Maker and Craftsman: The Story of Dorothy L. Sayers (1993; backinprint.com, 2003) ISBN 978-0595266-03-6
• Dean, Christopher, ed., Encounters with Lord Peter (Hurstpierpoint: Dorothy L. Sayers Society, 1991) ISBN 0-9518000-0-0
• -- Studies in Sayers: Essays presented to Dr Barbara Reynolds on her 80th Birthday (Hurstpierpoint: Dorothy L. Sayers Society, 1991) ISBN 0-9518000-1-9
• Gorman, Anita G., and Leslie R. Mateer. "The Medium Is the Message: Busman's Honeymoon as Play, Novel, and Film." CLUES: A Journal of Detection 23.4 (Summer 2005): 54-62
• Kenney, Catherine, The Remarkable Case of Dorothy L. Sayers (1990; Kent, OH, & London: Kent State University Press, 1992) ISBN 0-87338-458-X
• Lennard, John, 'Of Purgatory and Yorkshire: Dorothy L. Sayers and Reginald Hill's Divine Comedy', in Of Modern Dragons and other essays on Genre Fiction (Tirril: Humanities-Ebooks, 2007), pp. 33-55. ISBN 978-1-84760-038-7
• McGregor, Robert Kuhn & Lewis, Ethan Conundrums for the Long Week-End : England, Dorothy L. Sayers, and Lord Peter Wimsey (Kent, OH, & London: Kent State University Press, 2000) ISBN 0-87338-665-5
• Reynolds, Barbara, Dorothy L. Sayers: Her Life and Soul (London: Hodder & Stoughton, 1993; rev. eds 1998, 2002) ISBN 0-340-72845-0
• Sørsdal, Randi, From Mystery to Manners: A Study of Five Detective Novels by Dorothy L. Sayers, Masters thesis, University of Bergen. [5]
• Young, Laurel. "Dorothy L. Sayers and the New Woman Detective Novel."CLUES: A Journal of Detection 23.4 (Summer 2005): 39-53

Persondata
NAME	Sayers, Dorothy Leigh
ALTERNATIVE NAMES
SHORT DESCRIPTION	British novelist
DATE OF BIRTH	1893-06-13
PLACE OF BIRTH	Oxford, England
DATE OF DEATH	1957-12-17
PLACE OF DEATH	Witham, England