The House Without a Key
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Shaken by the murder of his uncle, a Bostonian aristocrat living in Hawai’i, John Quincy Winterslip travels to the islands to manage his estate and encourage his aunt Minerva to return home. Uncomfortable at first, he soon grows to appreciate both the natural beauty of life in the Pacific and the youthful attraction of a young woman he meets on his trip. Winterslip makes the decision to break off his engagement with Agatha and remains in Hawai’i to help with the investigation into his uncle’s death. As he grows familiar with the case, he comes to respect Chinese American detective Charlie Chan, an intelligent and honest man who dedicates himself to his work with passion and honor. The House Without a Key, the first in a series of six novels featuring Chan, rejuvenated Biggers’ career as a leading writer of popular fiction in the early twentieth century.
With a beautifully designed cover and professionally typeset manuscript, this edition of Earl Derr Biggers’ The House Without a Key is a classic of American detective fiction reimagined for modern readers.
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Earl Derr Biggers (1884-1933) was an American novelist and playwright. Born in Ohio, Biggers went on to graduate from Harvard University, where he was a member of The Harvard Lampoon, a humor publication for undergraduates. Following a brief career as a journalist, most significantly for Cleveland-based newspaper The Plain Dealer, Biggers turned to fiction, writing novels and plays for a popular audience. Many of his works have been adapted into film and theater productions, including the novel Seven Keys to Baldpate (1913), which was made into a Broadway stage play the same year it was published. Towards the end of his career, he produced a highly popular series of novels centered on Honolulu police detective Charlie Chan. Beginning with The House Without a Key (1925), Biggers intended his character as an alternative to Yellow Peril stereotypes prominent in the early twentieth century. His series of Charlie Chan novels inspired dozens of films in the United States and China, and has been recognized as an imperfect attempt to use popular media to depict Chinese Americans in a positive light.
