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BSI Weekend 2016: Historical Nostalgia, Anachronism, and Modernity

(Part 1 of my BSI Weekend 2016 write-up)

Last week, I attended, for the third time, what as referred to as the “Baker Street Irregulars Weekend,” though it’s really more like a week, lasting from Wednesday to Sunday. I’ve been meaning to write a post about my experiences attending one of these for several years now, but I think this year is about the right time to do it: my first two years, I was by far too starry-eyed to say anything coherent.

The reason I was so starry-eyed is because the Baker Street Irregulars is the primary Sherlock Holmes society in the world, started in the 1930s by author and publisher Christopher Morley. It has a long and illustrious tradition, and has influenced very much of Sherlockiana and the perception of Sherlock Holmes today. I would use the word “fandom” but it goes beyond that: the Baker Street Irregulars are a way of life, and almost an ideology. As a society, they are dedicated to the study of the Sherlock Holmes stories, referred to as “the Canon,” and membership is by-invitation only. Every year, they hold a dinner (similarly by invitation only) in New York City on January 6th, Sherlock Holmes’ birthday (which is not actually in the stories; in fact, there is nothing in the stories to suggest that it’s on January 6th. The reason we celebrate it on January 6th is because in The Sign of Four, Holmes and Watson are hungover on January 7th). However, though the dinner requires an invite, the rest of the week(end) is a full schedule of events that anyone can attend, and Sherlockians the world over convene in New York to celebrate the great detective – whom we call The Master.

This year has been a landmark BSI year for me, as I was invited to the BSI dinner for the first time (I’m not yet a member of the society itself, but one can hope). In keeping with the tradition of the event, which is meant to be secretive, mysterious, and even esoteric – and cannot be audio or video-taped – I will honor the intentions behind this grand event and won’t dwell too much on describing its details.

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The view from the top of the Yale Club, where the dinner was held – a detail I think I’m allowed to share!

I can, however, say that the best description I’ve been able to come up with for the Baker Street Irregulars dinner is that it’s the annual get-together of a by-invitation-only literary society dedicated to the study of a fictional character, whom we pretend is real, and whose life and career was described in a series of texts we refer to as the Sacred Writings. Members are “invested” into the society on a mysterious basis using “investitures” that are phrases from the Canon – essentially, code names.

And when I put it like that, we do sound a bit insane. Which is quite all right, really.

In fact, I want to use this post to reflect on the culture of Sherlockiana – its beauty, and yet its irony. I have written, time and again, about the way that Sherlock Holmes is ultimately a highly modern figure, using the latest forms of technology, and representing secularism, reason, urbanization, industrialization – all those nineteenth century transformations. And yet the popular perception of him is so often nostalgic and anachronistic, of a Victorian figure in a deerstalker, back when there was fog and gas lamps and fireplaces and tea time in good old England. It’s a myth, and a romantic one, however inaccurate it is. However, it is not just the popular imagination that likes to associate Holmes with good old England – it is also Sherlockian culture that does it, however anachronistic it may seem. In fact, I would hazard a guess that much of this myth was constructed and propagated by the Baker Street Irregulars, many of whom were highly influential writers, actors, executives, lawyers, and politicians, among others, and who helped spread this myth.

In the early days of the BSI, Edgar W. Smith, the founder of the Baker Street Journal, referred to Sherlock Holmes as a “Galahad” from a time of Arthurian mythology and, in the first issue of the Journal, celebrated that very fog and gas lamps. G.K. Chesterton spoke of the stories as fairly tales, and Vincent Starrett, a Chicago man of letters, wrote the poem 221B, which is the best, most beautiful, and most poignant rendition of the myth and magic of Sherlock Holmes I’ve read, and these hallowed words are repeated at the end of every Sherlockian society meeting, including the BSI dinner:

Here dwell together still two men of note
Who never lived and so can never die:
How very near they seem, yet how remote
That age before the world went all awry.
But still the game’s afoot for those with ears
Attuned to catch the distant view-halloo:
England is England yet, for all our fears—
Only those things the heart believes are true.

A yellow fog swirls past the window-pane
As night descends upon this fabled street:
A lonely hansom splashes through the rain,
The ghostly gas lamps fail at twenty feet.
Here, though the world explode, these two survive,
And it is always eighteen ninety-five.

It’s also, obviously, completely anachronistic- but, as the poem itself says, “only those things the heart believes are true. And there’s a reason that, despite the lack of these historical trappings in the Canon, this is what we cling to. As historian Michael Saler notes in the excellent book As IF, the BSI, as well as much of Sherockian scholarship, came into being around the time of the Great Depression and continued through into WWII and the Cold War. And in those trying times, Sherlock Holmes lived in a nostalgic and idealized version of 1895 to which these people could return.

And yet, though it’s the 21st century, that escapism is alive. The irony of this anachronistic “antiquarianism” had puzzled me for many years, as I was surprised that the careful scholars and devotees of the Canon, who knew how modern a figure Sherlock Holmes was, indulge in this nostalgically inaccurate romanticizing. But this year, attending the BSI dinner, and examining the practices of the BSI (many of which date back to the 1930s and really haven’t changed), I think I’ve come to understand why they have been preserved the way they have.

Every epoch has its escapism, of course – we have our own fair share of modern political events that we want to flee from into the comforting rooms of Baker Street. But I also think it has much to do not only with escapism, but with enchantment. As the aforementioned Michael Saler points out in his book, the late nineteenth century was perceived by many (including the sociologist Weber, who theorized it) to be a period of disenchantment due to the march of technology and progress. But Sherlock Holmes, as Saler points out, re-enchanted modernity, finding the romance in reason, the mystery in the quotidian, the magical in the commonplace. “There is nothing so unnatural as the commonplace,” he told Watson in A Case of Identity (this is, incidentally, probably the line upon which procedurals hinge, but that’s another topic for another day.

And that sense of (dis)enchantment is, I think, exactly what accounts for the practices of the BSI, which haven’t changed for the most part (which the exception of now allowing in women), and why I love them. I do, of course, rely on the conveniences of the twenty-first century, and wouldn’t ever wish to do without any of them – its transportation and communication technologies, its new forms of reference, and I similarly realize that there was nothing particularly magical or enchanting about the Middle Ages (the Plague and death in childbirth really don’t sound like fun). But there’s a certain joy in creating a magical, anachronistic version of a past reality. Just as readers did in the nineteenth century, we today want enchantment and magic in our convenient, technological, modern, positivistic lives. We want a sense of mystery and adventure, and yet reassurance, and the comforts of modernity. We as humans are picky, and difficult to please – for we want the conveniences of our cell phones, our trains and airplanes, or Wikipedia and Google, and yet while keeping these things, we want to preserve a sense of the magical and the mysterious in our modern world.

And that’s both influenced and kept alive the traditions of the BSI, I think. The Sherlock Holmes stories had mystery, intrigue, and enchantment in a modern world, and so does the BSI. A literary society with unwritten rules, with secretive meetings, with members given, essentially, code names (called “investitures,” they’re phrases taken out of the Canon), with a worldwide membership (but membership that must be earned, through a series of unnamed trials, which are not written down and never described) – well, that sounds like something out of a mystery novel. It’s like a combination of the eclectic membership of The Red-Headed League, the puzzles of The Dancing Men, the esoteric rituals of The Musgrave Ritual, the secret code of The Five Orange Pips, the ancient history of the Baskerville legend – all in one. We meet every year for the BSI dinner at the Yale Club, at which membership is exclusive, and you need an invitation to get in, and if you don’t think it looks like the Diogenes Club from the Canon, I don’t know what to tell you:

Its membership is limited to alums of Yale, and this system of university private clubs seems to have been inspired by British gentlemen’s clubs, of the kind to which Mycroft Holmes belonged. And, of course, Sherlock Holmes, being of respectable birth and having attended “college,” probably went to a respectable British university of exactly the kind that would have a club like this. Studying the Canon is called the Game, and it was inspired by Biblical scholarship at Oxford in 1911 – which gives it a long and illustrious history. At every dinner and gathering, poetic toasts are given to characters, places, and events from the Canon – yours truly has had the honor of giving one at a Sherlockian luncheon.

It’s a huge contrast to what one would call the “fandom” surrounding the newer adaptations like Sherlock and Ritchie’s Sherlock Holmes –not because it’s somehow “less,” or less scholarly, or more frivolous, but because it’s based on an entirely different set of traditions. In the case of Sherlock, especially, the intriguing thing is that the show brings Sherlock Holmes back into modernity. It makes him, once again, a contemporary figure, as he would’ve been for his original readers, and not a historical one. I’ve always thought that Sherlock is actually the most accurate adaptation of Sherlock Holmes precisely because, instead of historicizing, it modernizes, which makes Sherlock fandom today rather analogous to Sherlock Holmes’ original readers. As Anne Jameson notes in an excellent book about fanfiction, Fic, fandom tends to be the first to pick up new forms of technology, because they are the ones striving to communicate with other fans and produce transformative work about the texts they like. This, of course, parallels the modernity of both Sherlock Holmes, who appeared in the most modern form of communication technology available to him (newspapers) as well as Sherlock fandom – which emulates his use of those contemporary forms of technology just like Victorian readers would have used the postal service (which had seven mail deliveries a day) to communicate with Doyle. In fact, there’s a lot of accuracy to both the modern technologies surrounding Sherlock and the fandom that uses them. At the same time, there’s a lot of history, and therefore cultural weight and significance around the BSI and their traditional way of studying and celebrating Sherlock Holmes.

Speaking to a friend of mine who regularly attends Sherlockian events, she told me that the BSI traditions are “preserved in amber” – left over from a previous time and preserved by devotees. By who knows how long those traditions will last? There’s been an influx of younger Sherlockians into the older traditions thanks to, ironically, the newer adaptations – and yet many of these younger Sherlockians are also part of Internet fandom. So as we get further into the new century, I wonder, will these traditions –which are almost a century old now – remain alive? Or will more modern forms of fandom replace these older traditions? Will they merge into some sort of weird Frankenstein-monster?

These are questions I’ve been left pondering. I have always been very pro-fandom, pro-Internet, pro-slash fiction, but at the same time, this weekend, and this dinner, has made me realize the value of keeping certain traditions alive, of preserving them, even in amber, even with their anachronism. That’s why I don’t mind how bizarre and, frankly, insane, we seem from the outside. There’s not only a method to the madness, there’s a meaning to the madness. As Vincent Starrett so eloquently said about Holmes and Watson, but which could very well be applied to Sherlockians:

“So they still live for all that love them well: in a romantic chamber of the heart: in a nostalgic country of the mind: where it is always 1895.”

 

Three Canonical References in “The Sign of Three”

Obviously, there’s more than three of them in the latest Sherlock epiosde, but a particular three caught my eye – ones that I consider to be slightly more obscure, and slightly more interesting than a simple adaptation of plot or name. Here (a bit belatedly) are my favorite subtle nods to the Canon in this episode.

John’s International Reputation

In the aftermath of John and Sherlock’s stag night, we see the two of them lying drunkenly on the stairs of 221b; Sherlock asks John “do you have an international reputation?”  after bragging about his own. John, modest as ever, says that no, of course he doesn’t have an international reputation.

How very wrong he is, and how that made me shout with glee. John “three continents” Watson. The nickname stems from a line in The Sign of Four, where Watson himself says

“In an experience of women which extends over many nations and three separate continents,  I have never looked upon a face…”

And there you have it, ladies and gentleman; John Watson is a player, a lover, a ladies’ man, with experience on three whole continents and, presumably, a number of different nations on each continent. He’s so very modest about it (despite his string of five or so wives, which probably explain everything), but a man who’s slept his way through three continents must have a reputation.

And there, I think, is another subtle nod by Sherlock at the Canon and at John’s supposed reputation.

Sherlock’s a Drama Queen

At least, that’s what Watson thinks. “You’re a drama queen!” he shouts at Sherlock at the climax of “The Sign of Three,” and yet again he’s hit upon the truth.

Throughout the Canon, Watson makes it a point to underline just what a drama queen Sherlock Holmes actually is. Canonically, he really, really can’t resist a dramatic situation: throughout the stories, he stages big, dramatic reveals; in “The Adventure of the Mazarin Stone,” he actually sneaks a stolen jewel into the thief’s pocket, tricks the thief to admit that possession of the stone would be incriminating, and then dramatically pulls the aforementioned stone out of his pocket. He spends a whole story putting on an act and pretending to die, parades through the stories in a variety of believable disguises ( clergymen, manual laborers, and women among them), and…oh yes, there was that actual time he “died,” which was also just an act. Watson constantly compares Holmes to “a conjuror performing a trick” (“The Adventure of the Norwood Builder”), and, most significantly, he claims “the stage lost a fine actor, even as science lost an acute reasoned, when he became a specialist in crime.” (“A Scandal in Bohemia”)

Sherlock Holmes is, indeed, canonically a drama queen, and I thank John Watson for pointing that fact out.

John’s Romanticism

Or, alternatively, the poor, long-suffering Sherlock’s woes. One of the themes of the Canon (or, at this point, one of the clichés) is that of Watson writing up a case only to have Holmes complain about the “romanticism” in it and all that emotional and unnecessary stuff in the story. Poor Holmes, having Watson tinge his pure science of deduction with feelings. From the very second Holmes story ever published (The Sign of Four), Holmes complains about the way Watson writes up their cases, including their very first one, A Study in Scarlet. Holmes insists that the whole romanticism thing is about as bad as working “an elopement into the fifth proposition of Euclid,” but Watson, bless his heart, insists that “the romance was there.”

So when Holmes, during his wedding speech, states several times that “John a romantic,” I think it’s an allusion to more than John’s sentimental tendencies (though it’s that, too). It’s a nod to the canon, and to the fact that Watson does, indeed, tend to see everything through an emotional lens, and that’s how he writes his stories. Sherlock Holmes, even if he feels (and of course he does), tends to view the world through a more rational, and more scientific lens, and that’s of course why these two characters complement each other so well. So, it’s a nod to that, too – the differences between these two people, but also their similarities.

 

Canonical References in “His Last Vow”

Watching Sherlock is often like a scavenger hunt. It’s written by people who are intimately familiar with the Holmes Canon (though I question some of their interpretations of it, such as their opinions on Irene Adler, but that’s a different story), and always manage to add deft little hints and subtle references to the canonical stories in addition to the more glaring references.  Watching for them is always an extra layer of enjoyment to the already enjoyable episodes. And, though I suspect that I’m neither the first nor the last person who’s made this kind of post, I thought I’d make a list of (and short commentary on) what I found to be the most interesting nods to the canon in “His Last Vow”.

Charles Augustus Magnussen

This is the fairly obvious reference, but let’s delve into it a little more.

One of the most interesting stories in the Canon is “The Adventure of Charles Augustus Milverton.” It’s frequently cited as a favorite, and with good reason. It’s a fascinating story in which Watson and Holmes take the law and justice into their own hands: recognizing that blackmailer Milverton cannot be taken down by traditional means, they resolve to break into his home with the intention of stealing back incriminating documents to preserve a lady’s honor. Breaking and entering isn’t all they do, though; they take the law into their hands even further when they end up finding Milverton, a gun being held to his head by a lady he blackmailed (a scene easily recognizable in “His Last Vow” as the scene with Mary Morstan in Magnussen’s office). Instead of intervening, Holmes and Watson watch calmly as he shoots him point-blank, deciding that his death (and her honor) are for the greater good.

The story raises a lot of fascinating questions about the role Sherlock Holmes plays in finding justice. Does he simply seek knowledge and the truth, or is it his duty, in solving cases, to serve justice rather than truth? It’s a thorny problem that becomes most apparent here, and Sherlockians love to debate the morality involved. It’s a problem that also seems to come up in “His Last Vow,” though less glaringly – Holmes clearly shot Magnussen to protect John, Mary, his brother, and the country at large, and yet he committed a murder. (If you’re looking for shades of grey, you’ve found them. Go forth and discuss!)

What’s most fascinating, though, is that the above makes Milverton one of the scariest, deadliest villains in the canon. He even outclasses Moriarty, because Moriarty was a plot device invented by Doyle to kill off Holmes. Moriarty doesn’t really have a personality in the Canon, and it’s only in show that he acquires one, thanks to Moffat, Gatiss, and co. Milverton, however, holds the entirety of British society in the palms of his hands, and he has no qualms about it – to the point where Holmes must take the law into his hands.

So when Sherlock Holmes says “I’ve dealt with murderers…psychopaths….none of them can turn my stomach like Charles Augustus Magnussen,” he’s pretty exactly right. Milverton/Magnussen is about as terrifying as Moriarty, if not more. In the canon, Holmes compares him to the devil himself, and I think it’s actual canonical reference, rather than television melodrama, that makes Sherlock describe Magussen in such terrifying terms. He was one scary villain.

Sherlock’s Engagement to Janine

If you thought that was what one might call a “dick move,” you are correct. Sherlock Holmes pretended to date, and then proposed, to Janine for the sake of getting information and breaking into Magnussen’s office. It’s really, really not a nice thing to do.

It’s also completely canonical; in fact, it’s a rather funny scene from the aforementioned Charles Augustus Milverton story:

“You would not call me a marrying man, Watson?”
“No, indeed!”
“You’ll be interested to hear that I’m engaged.”
“My dear fellow! I congrat-“
“To Milverton’s housemaid.”
“Good heavens, Holmes!”
“I wanted information, Watson.”

While the scene itself is quite amusing, one cannot help but pity the poor housemaid, who is not heard from again in the story. Thankfully, in this particular adaptation, Janine is more than a match for Sherlock, and takes her revenge without being too evil about it. Still, Sherlock Holmes has a canonical reputation for being a very unpleasant person when he needs to solve a case or get information, a point clearly made here. Nevertheless, Sherlock also has a capacity to care very deeply about John Watson, despite his not-so-gentlemanly behavior to Janine- another point the episode clearly makes.

Cottage on the Sussex Downs

“I’m buying a cottage,” Janine informs Sherlock as soon as he wakes up from being shot. After a back-and-forth full of quips and insults, Sherlock inquires “where’s the cottage?”

“Sussex Downs. It’s gorgeous. There’s beehives, but I’m getting rid of those.”

It’s an off-hand reference that’s easy to miss, but it’s actually quite clever. In the canon, Sherlock Holmes retires (a rather sad ending for the great detective. I’d have preferred for him to go out with a bang, but that’s me) to the Sussex Downs, where he spends his time keeping bees. Now, I’m now quite sure why this reference came up in this particular context, and it remains to be seen whether this cottage or Janine will show up again, but even if it’s an off-hand reference that will never be returned to again, it’s an interesting one.

Mary’s Initials

When Mary Morstan hands a flash drive with her “real” (well, that’s questionable but let’s assume they’re real) initials on it, they say A.G.R.A. We don’t find out what they stand for (much as we don’t find out very much about Mary at all), but the initials themselves are a reference, once again, to canon. A simple one this time: “The Great Agra Treasure” is a chapter from The Sign of Four, the Holmes novel in which Mary Morstan is introduced (and in which Watson falls in love with and marries her).

The Empty House

“The Adventure of the Empty House” is the story in which Sherlock Holmes returns from the dead. He dresses up as a bookseller, Watson doesn’t recognize him, he shows up at Watson’s place, Watson faints, and then it’s all good…they team up again, and go after Sebastian Moran, Moriarty’s right-hand man. They lure him out by putting a silhouette of Holmes in the window of 221b, knowing that sharpshooter Moran would be looking for an opportunity to kill Holmes, and observe the events from an empty house across the street from 221b.

If you’re reading that and raising your eyebrows, you’re correct, because almost none of that showed up in any way in the previous two episodes. There was no empty house, and, even more suspiciously, no Moran. Thankfully, said empty house finally shows up in the episode, in  the form of a façade hiding train tracks (a clever adaptation, I thought). Inside that empty house is a silhouette that looks like Sherlock Holmes, but actually isn’t; this time, it’s meant to lure out Mary Morstan.

Given these similarities to “The Empty House,” though, there’s one thing missing: Moran. Canonically, we know he’s a sharpshooter, and quite deadly – rather like Mary, who manages to toss a coin into the air and shoot it accurately. Coincidence? I think not. My personal theory is that Mary Morstan is indeed Sebastian Moran, but that, like so much other theorizing, is far beyond the scope of this article. Suffice to say, this episode finally touches on many of the canonical aspects of Sherlock’s return, and I’m glad of it.

Sherlock’s (lack of a) drug habit

Edit: it’s been brought to my attention that many viewers consider that Sherlock Holmes is, in fact, back to doing drugs in this episode. I must, respectfully, disagree – my interpretation of the episode is precisely that Sherlock Holmes has not returned to his habit, a fact I find significant, and which – given the conflicting interpretations – I think it may be interesting to delve into.

Early on in the episode, we find Sherlock Holmes in a den of druggies, presumably high, though he insists that he’s working on a case. John and Mycroft are both angry but unsurprised- after all, Sherlock’s drug habit is canonical:  in the second Holmes novel, he calmly injects himself with a “seven percent solution” of cocaine while Watson off-handedly asks “what is it today, cocaine or morphine?” That drug habit is something Sherlock also references, most notably with the drugs bust and “three patch problem” of A Study in Pink.

However, there are a few aspects that make me think Sherlock Holmes is not on drugs. There’s the fact that they can’t find any in his apartment (for the big secret he’s hiding in his bedroom is Janine). Most importantly, though, Sherlock has a canonical tendency to do drugs when he’s bored because there’s no case. It’s something Sherlock himself admits to in this very episode: he solves cases “as an alternative to getting high.” Now, in this case, he is on a case. He’s after Magnussen – making it, to me, unlikely he’d be doing much more than smoking a cigarette. Plus, the whole idea was to make project the image of a druggie in order to make Magnussen underestimate him – hence, actually being high and impeding his ability to think seems pretty counterproductive. Of course, there’s also the scene with Molly, which to me seems a little ambiguous – I can’t quite make out the tone in which she says “clean.” Admittedly, she’s angry and slaps him -but Molly also has a history of being in on a lot of Sherlock’s elaborate schemes, and I find it more than plausible that she wanted everyone to believe Sherlock was on drugs (John included, because apparently John can’t be trusted with…well, anything).

Why do I think that’s interesting? Because, canonically, Sherlock Holmes’ drug habit disappears during the Great Hiatus. When Watson first meets Holmes in the canon, Holmes is doing drugs left and right (this was legal back in the Victorian period). It takes Watson a while to catch on, and he sort of informs Holmes off-handedly how harmful it is, but doesn’t really worry about it too much. Then Holmes “dies,” disappears for three years, and comes back completely clean. His drug habit is never mentioned again. It’s just …not there. It’s easy to write that off to Doyle’s absentmindedness, but fans have come up with a number of much more plausible and interesting theories. One of them, detailed in the pastiche “The Seven-Percent Solution,” suggests that Holmes sought help for his drug problem from Freud. Whatever the explanation may be, however, the point remains that Sherlock Holmes’ very famous drug addiction completely (and rather unbelievably) disappears during his “death.” To me, the reference here is that everyone seems to expect Sherlock to be continuing his drug habit – the people closest to him included. But if you look closely (to me, at least) – that drug habit is gone. Sherlock’s different.

The East Wind

In John and Sherlock’s final scene, Sherlock tells John “the east wind takes us all in the end.” It’s a phrase he mentioned earlier in the episode, and he explains that it’s from a story Mycroft used to tell him:

 “The east wind…this terrifying force that lays waste to all in its path…seeks out the unworthy and plucks them from the Earth.”

This sounds like it comes out of nowhere, but, like so many other things in this episode, it’s yet another canonical reference – this time to “His Last Bow,” the story whose title was transformed into the title of this episode. The story in itself is rather lackluster, but it does feature Sherlock Holmes as an undercover agent among the Germans during World War I, and the general theme of the story is that a new age is coming, a new world. Sherlock Holmes is ready to step into that world, to accept the changes that are coming (and WWI was truly a turning point in European history – a war of a magnitude and a brutality unseen before on European soil).

At the end of the story, Holmes asks Watson, “stand with me here upon the terrace, for it may be the last quiet talk that we shall ever have.” (Quite reminiscent of Sherlock’s statement at the end of this episode that it’s likely the first time he’ll ever see John). In the canonical story, Holmes calls Watson “the one fixed point in a changing age,” before poetically going on about the future:

“There’ s an east wind coming all the same, such a wind as never blew on England yet. It will be cold and bitter, Watson, and a good many of us may wither before its blast.”

There’s a number of literary explanations to be derived from this reference that are beyond the scope of this post – after all, I’m not here to theorize about what’ll be happening in season four (at least, not yet. That’s to come). Nevertheless, I think it’s telling. We’ve seen so many changes happen over the past few seasons, including changes to the character of Sherlock himself, and I think we’ll see even more transformations coming. (Incidentally, that’s why I don’t believe Moriarty is actually back, despite what the cliffhanger says. I think what’s coming is some kind of change that we couldn’t even begin to predict, to the story and the characters).

There’s likely a number of other interesting references here and there throughout the episode, but these are both the ones that come to mind and the ones that I find most interesting from a literary point of view.

The Baker Street Journal, or, Yours Truly Got Published!

At this point, this little fact is a bit…belated, but nevertheless, I would be remiss if I did not brag a little here, of all places.

I have recently had the honor of being published in the Baker Street Journal, the formost publication of Sherlockian studies, which has been publishing said Sherlockian scholarship for decades.

Unfortunately, to read the article in question one must have a subscription to the journal (either through the journal site itself, or through a university library). The most I can do is direct my readers to the table of contents, and suggest that they take a look at the Baker Street Journal if they so have the chance – it publishes some wonderful scholarship (if I do say so myself).