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"Detective and mystery stories, English History and criticism."
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The Cambridge Companion to Crime Fiction
The Cambridge Companion to Crime Fiction covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the detective fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in eighteenth-century literature, French and Victorian fiction, women and black detectives, crime on film and TV, police fiction and postmodernist uses of the detective form. The collection, by an international team of established specialists, offers students invaluable reference material including a chronology and guides to further reading. The volume aims to ensure that its readers will be grounded in the history of crime fiction and its critical reception.
eBook
The crime fiction handbook
The Crime Fiction Handbook presents a comprehensive introduction to the origins, development, and cultural significance of the crime fiction genre, focusing mainly on American British, and Scandinavian texts.
* Provides an accessible and well-written introduction to the genre of crime fiction
* Moves with ease between a general overview of the genre and useful theoretical approaches
* Includes a close analysis of the key texts in the crime fiction tradition
* Identifies what makes crime fiction of such cultural importance and illuminates the social and political anxieties at its heart.
* Shows the similarities and differences between British, American, and Scandinavian crime fiction traditions
eBook
The detective and the artist : painters, poets and writers in crime fiction, 1840s-1970s
\"The Detective and the Artist: Painters, Poets and Writers in Crime Fiction, 1840s-1970s focuses upon the distinctive role that artists have played in detective fiction--as detectives, as villains, and victims, and as bystanders. Detectives may use various methods--ratiocinative, scientific, or hard-boiled--but they always unravel the threads that the villains have woven into deceptive covers for their crimes\"-- Provided by publisher.
Book
Spies and Holy Wars
Illuminating a powerful intersection between popular culture and global politics,Spies and Holy Warsdraws on a sampling of more than eight hundred British and American thrillers that are propelled by the theme ofjihad-an Islamic holy war or crusade against the West. Published over the past century, the books in this expansive study encompass spy novels and crime fiction, illustrating new connections between these genres and Western imperialism.
Demonstrating the social implications of the popularity of such books, Reeva Spector Simon covers how the Middle Eastern villain evolved from being the malleable victim before World War II to the international, techno-savvy figure in today's crime novels. She explores the impact of James Bond, pulp fiction, and comic books and also analyzes the ways in which world events shaped the genre, particularly in recent years. Worldwide terrorism and economic domination prevail as the most common sources of narrative tension in these works, while military \"tech novels\" restored the prestige of the American hero in the wake of post-Vietnam skepticism. Moving beyond stereotypes, Simon examines the relationships between publishing trends, political trends, and popular culture at large-giving voice to the previously unexamined truths that emerge from these provocative page-turners.
eBook
The Thriller and Northern Ireland since 1969
For the past 30 years, the so-called 'Troubles' thriller has been the dominant fictional mode for representing Northern Ireland, leading to the charge that the crudity of this popular genre appropriately reflects the social degradation of the North. Aaron Kelly challenges both these judgments, showing that the historical questions raised by setting a thriller in Northern Ireland disrupt the conventions of the crime novel and allow for a new understanding of both the genre and the country. Two essays on crime fiction by Walter Benjamin and Berthold Brecht appear here for the first time in English translation. By demonstrating the relevance of these theorists as well as other key European thinkers such as Antonio Gramsci, Louis Althusser, and Slavoj Zizek to his interdisciplinary study of Irish culture and the crime novel, Kelly refutes the idea that Northern Ireland is a stagnate anomaly that has been bypassed by European history and remained impervious to cultural transformation. On the contrary, Kelly's examination of authors such as Jack Higgins, Tom Clancy, Gerald Seymour, Colin Bateman, and Eoin McNamee shows that profound historical change and complexity have characterized both Northern Ireland and the thriller form.
Contents: Introduction: 'You didn't need a reason to kill people, not here': narrative, the north, and historical agency; 'The green unpleasant land': the political unconscious of the British 'Troubles' thriller; 'And what do you call it?': the thriller and the problematics of home in Northern Irish writing; 'New languages would have to be invented': representations of Belfast and urban space; 'A man could get lost': constructions of gender; 'It's not for the likes of us to philosophize': the pleasure and politics of thrills, or, towards a political aesthetics; Appendices; Bibliography; Index.
Aaron Kelly is a Lecturer in Modern and Contemporary Literature in English at the University of Edinburgh, UK.
eBook
A Counter-History of Crime Fiction
This book takes a look at the evolution of crime fiction. Considering 'criminography' as a system of inter-related sub-genres, it explores the connections between modes of literature such as revenge tragedies, the gothic and anarchist fiction, while taking into account the influence of pseudo-sciences such as mesmerism and criminal anthropology.
eBook