Details

<p>List of Figures ix</p> <p>Notes on Contributors xi</p> <p>Introduction: What Is Crime Fiction? 1<br /> <i>Charles J. Rzepka</i></p> <p><b>Part I History, Criticism, Culture 11</b></p> <p>1 From The Newgate Calendar to Sherlock Holmes 13<br /> <i>Heather Worthington</i></p> <p>2 From Sherlock Holmes to the Present 28<br /> <i>Lee Horsley</i></p> <p>3 Criticism and Theory 43<br /> <i>Heta Pyrhönen</i></p> <p>4 Crime and the Mass Media 57<br /> <i>Alain Silver and James Ursini</i></p> <p>5 Crime Fiction and the Literary Canon 76<br /> <i>Joel Black</i></p> <p><b>Part II Genre of a Thousand Faces 91</b></p> <p>6 The Newgate Novel and the Police Casebook 93<br /> <i>Lauren Gillingham</i></p> <p>7 From Sensation to the Strand 105<br /> <i>Christopher Pittard</i></p> <p>8 The “Classical” Model of the Golden Age 117<br /> <i>Susan Rowland</i></p> <p>9 Early American Crime Fiction: Origins to Urban Gothic 128<br /> <i>Alexander Moudrov</i></p> <p>10 The “Hard-boiled” Genre 140<br /> <i>Andrew Pepper</i></p> <p>11 The Pursuit of Crime: Characters in Crime Fiction 152<br /> <i>Carl Malmgren</i></p> <p>12 Crime, Forensics, and Modern Science 164<br /> <i>Sarah Dauncey</i></p> <p>13 The Police Novel 175<br /> <i>Peter Messent</i></p> <p>14 Noir and the Psycho Thriller 187<br /> <i>Philip Simpson</i></p> <p>15 True Crime 198<br /> <i>David Schmid</i></p> <p>16 Gangs and Mobs 210<br /> <i>Jonathan Munby</i></p> <p>17 Historical Crime and Detection 222<br /> <i>Ray B. Browne</i></p> <p>18 Crime and the Spy Genre 233<br /> <i>David Seed</i></p> <p>19 Crime and the Gothic 245<br /> <i>Catherine Spooner</i></p> <p>20 Feminist Crime Fiction and Female Sleuths 258<br /> <i>Adrienne E. Gavin</i></p> <p>21 African-American Detection and Crime Fiction 270<br /> <i>Frankie Bailey</i></p> <p>22 Ethnic Postcolonial Crime and Detection (Anglophone) 283<br /> <i>Ed Christian</i></p> <p>23 Crime Writing in Other Languages 296<br /> Sue Neale</p> <p>24 Postmodern and Metaphysical Detection 308<br /> <i>Patricia Merivale</i></p> <p>25 Crime and Detective Literature for Young Readers 321<br /> <i>Christopher Routledge</i></p> <p>26 Crime in Comics and the Graphic Novel 332<br /> <i>Arthur Fried</i></p> <p>27 Criminal Investigation on Film 344<br /> <i>Philippa Gates</i></p> <p><b>Part III Artists at Work 357</b></p> <p><b>Fiction 359</b></p> <p>28 William Godwin (1756–1836) 361<br /> <i>Philip Shaw</i></p> <p>29 Edgar Allan Poe (1809–1849) 369<br /> <i>Maurice S. Lee</i></p> <p>30 Wilkie Collins (1824–1889) 381<br /> <i>Andrew Mangham</i></p> <p>31 Arthur Conan Doyle (1859–1930) 390<br /> <i>John A. Hodgson</i></p> <p>32 Raymond Chandler (1888–1959) 403<br /> <i>Leroy Lad Panek</i></p> <p>33 Agatha Christie (1890–1976) 415<br /> <i>Merja Makinen</i></p> <p>34 James M. Cain (1892–1977) 427<br /> <i>William Marling</i></p> <p>35 Dorothy L. Sayers (1893–1957) 438<br /> <i>Esme Miskimmin</i></p> <p>36 Dashiell Hammett (1894–1961) 450<br /> <i>Jasmine Yong Hall</i></p> <p>37 Jorge Luis Borges (1899–1986) 462<br /> <i>Alicia Borinsky</i></p> <p>38 Chester Himes (1909–1984) 475<br /> <i>Stephen Soitos</i></p> <p>39 David Goodis (1917–1967) 487<br /> <i>David Schmid</i></p> <p>40 P. D. James (1920–) 495<br /> <i>Louise Harrington</i></p> <p>41 Patricia Highsmith (1921–1995) 503<br /> <i>Bran Nicol</i></p> <p>42 Elmore Leonard (1925–) 510<br /> <i>Charles J. Rzepka</i></p> <p>43 Sara Paretsky (1947–) 523<br /> <i>Malcah Effron</i></p> <p>44 Walter Mosley (1952–) 531<br /> <i>John Gruesser</i></p> <p><b>Film 539</b></p> <p>45 Alfred Hitchcock (1899–1980) 541<br /> <i>Nick Haeffner</i></p> <p>46 Martin Scorsese (1942–) 553<br /> <i>Mark Desmond Nicholls</i></p> <p>47 John Woo (1946–) 562<br /> <i>Karen Fang</i></p> <p>Conclusion 570<br /> <i>Charles J. Rzepka and Lee Horsley</i></p> <p>References 574</p> <p>Index 599</p>

"Including a helpful introduction by Rzepka and conclusion by both editors, the volume is a welcome addition to the impressive "Blackwell Companion to Literature and Culture" series and to scholarship on crime and detective literature. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals; general readers. " (Choice, 1July 2011) <p>"Whilst the editors admit that the collection is not entirely representative (there is no mention of Japanese manga, for instance, or any consideration of hybrids of crime and science fiction), this companion offers an encyclopaedic account of crime fiction and its generic cross-fertilisations, and is an essential guide for students and scholars alike." (Routledge ABES, 2011)</p> <p>"This substantial and informative book covers a wide variety of themes within the genre and also a long time span from the eighteenth century to the present . . . It will give all aficionados of the genre hours of enjoyment. It is indeed a trusty companion that will entertain and add to our knowledge." (Reference Reviews, 2011)</p> <p>"It will give all aficionados of the genre hours of enjoyment. It is indeed a trusty companion that will entertain and add to our knowledge." (Languages & Literature, 2011)<br /> <br /> "Several of the contributors praise books and authors long out of print. Hopefully, this companion will encourage readers and librarians to hunt them down and enjoy." (Book News, 1 March 2011)</p> <p>"In all, despite its shortcomings in terms of narratology and a few logical inconsistencies, Rzepka and Horsley's Companion to Crime Fiction offers a broad-ranging and well-argued introduction to this field of popular culture. Beginning students will certainly profit from its thematic diversity and wide historical reach." (Kult Online, 2011)</p> <p>"<i>A Companion to Crime Fiction</i> goes into enormous detail but is reasonably easy to read.  It is not an academic-styled book but a guide to how crime fiction has developed over time to accommodate an increasingly demanding audience/reader.  With essays from some of the most educated scholars in this field of research, the reader gains a greater understanding in terms of a general overview of the genre, individual authors and producers of film, the blurred lines between crime fiction and other genres and an in depth, well researched analysis of crime fiction itself." (<i>M/C Reviews</i>, November 2010)</p>

<b>Charles Rzepka</b> is Professor of English at Boston University, where he teaches and writes on British Romanticism, popular culture, and detective and crime fiction.   His publications include <i>The Self as Mind</i> (1986), <i>Sacramental Commodities</i> (1995), <i>Detective Fiction</i> (2005), and <i>Essays, Inventions, Interventions</i> (2010). <p><b>Lee Horsley</b> is Reader in Literature and Culture at Lancaster University, where she teaches two specialist crime courses. Her publications include <i>Political Fiction and the Historical Imagination</i> (1990), <i>Fictions of Power in English Literature</i> <i>1900-1950</i> (1995) <i>Twentieth-Century Crime Fiction</i> (2005), and an expanded paperback edition of the 2001 publication <i>The Noir Thriller</i> (2009).</p>

This cutting edge <i>Companion</i> brings together a series of forty-seven original essays from some of the world’s leading authorities to provide the definitive guide to crime fiction from its origins in the eighteenth century to its phenomenal present day popularity   <p>Part one of the volume follows the development of crime fiction over the last three centuries, examining the traditions and conventions of the genre, as well as its cultural and social contexts, before moving on, in part two, to explore the different types of genres and subgenres that have emerged. The final chapters profile twenty of the most significant crime writers and film makers – from William Godwin to Arthur Conan Doyle to Agatha Christie to Martin Scorsese – examining the ways in which they have shaped and influenced the field.</p>

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