A Companion to Crime Fiction

Copyright © 2010 Blackwell Publishing Ltd except for editorial material and organization © 2010 Charles J. Rzepka and Lee Horsley

A Companion to Crime Fiction

Editor(s): Charles J. Rzepka, Lee Horsley

Published Online: 30 APR 2010

Print ISBN: 9781405167659

Online ISBN: 9781444317916

DOI: 10.1002/9781444317916

About this Book

Product Information

About The Product

A Companionto Crime Fiction presents the definitive guide to this popular genre from its origins in the eighteenth century to the present day

  • A collection of forty-seven newly commissioned essays from a team of leading scholars across the globe make this Companion the definitive guide to crime fiction
  • Follows the development of the genre from its origins in the eighteenth century through to its phenomenal present day popularity
  • Features  full-length critical essays on the most significant authors and film-makers, from Arthur Conan Doyle and Dashiell Hammett to Alfred Hitchcock and Martin Scorsese exploring the ways in which they have shaped and influenced the field
  • Includes extensive references to the most up-to-date scholarship, and a comprehensive bibliography

Table of contents

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      Front Matter (pages i–xviii)

    1. Introduction: What Is Crime Fiction? (pages 1–9)

      Charles J. Rzepka

  3. Part I: History, Criticism, Culture

    1. Chapter 1

      From The Newgate Calendar to Sherlock Holmes (pages 11–27)

      Heather Worthington

    2. Chapter 2

      From Sherlock Holmes to the Present (pages 28–42)

      Lee Horsley

    3. Chapter 3

      Criticism and Theory (pages 43–56)

      Heta Pyrhönen

    4. Chapter 4

      Crime and the Mass Media (pages 57–75)

      Alain Silver and James Ursini

    5. Chapter 5

      Crime Fiction and the Literary Canon (pages 76–89)

      Joel Black

  4. Part II: Genre of a Thousand Faces

    1. Chapter 6

      The Newgate Novel and the Police Casebook (pages 91–104)

      Lauren Gillingham

    2. Chapter 7

      From Sensation to the Strand (pages 105–116)

      Christopher Pittard

    3. Chapter 8

      The “Classical” Model of the Golden Age (pages 117–127)

      Susan Rowland

    4. Chapter 9

      Early American Crime Fiction: Origins to Urban Gothic (pages 128–139)

      Alexander Moudrov

    5. Chapter 10

      The “Hard-boiled” Genre (pages 140–151)

      Andrew Pepper

    6. Chapter 11

      The Pursuit of Crime: Characters in Crime Fiction (pages 152–163)

      Carl Malmgren

    7. Chapter 12

      Crime, Forensics, and Modern Science (pages 164–174)

      Sarah Dauncey

    8. Chapter 13

      The Police Novel (pages 175–186)

      Peter Messent

    9. Chapter 14

      Noir and the Psycho Thriller (pages 187–197)

      Philip Simpson

    10. Chapter 15

      True Crime (pages 198–209)

      David Schmid

    11. Chapter 16

      Gangs and Mobs (pages 210–221)

      Jonathan Munby

    12. Chapter 17

      Historical Crime and Detection (pages 222–232)

      Ray B. Browne

    13. Chapter 18

      Crime and the Spy Genre (pages 233–244)

      David Seed

    14. Chapter 19

      Crime and the Gothic (pages 245–257)

      Catherine Spooner

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      Chapter 20

      Feminist Crime Fiction and Female Sleuths (pages 258–269)

      Adrienne E. Gavin

    16. Chapter 21

      African-American Detection and Crime Fiction (pages 270–282)

      Frankie Bailey

    17. Chapter 22

      Ethnic Postcolonial Crime and Detection (Anglophone) (pages 283–295)

      Ed Christian

    18. Chapter 23

      Crime Writing in Other Languages (pages 296–307)

      Sue Neale

    19. Chapter 24

      Postmodern and Metaphysical Detection (pages 308–320)

      Patricia Merivale

    20. Chapter 25

      Crime and Detective Literature for Young Readers (pages 321–331)

      Christopher Routledge

    21. Chapter 26

      Crime in Comics and the Graphic Novel (pages 332–343)

      Arthur Fried

    22. Chapter 27

      Criminal Investigation on Film (pages 344–355)

      Philippa Gates

  5. Part III: Artists at Work - Fiction

    1. Chapter 28

      William Godwin (1756–1836) (pages 357–368)

      Philip Shaw

    2. Chapter 29

      Edgar Allan Poe (1809–1849) (pages 369–380)

      Maurice S. Lee

    3. Chapter 30

      Wilkie Collins (1824–1889) (pages 381–389)

      Andrew Mangham

    4. Chapter 31

      Arthur Conan Doyle (1859–1930) (pages 390–402)

      John A. Hodgson

    5. Chapter 32

      Raymond Chandler (1888–1959) (pages 403–414)

      Leroy Lad Panek

    6. Chapter 33

      Agatha Christie (1890–1976) (pages 415–426)

      Merja Makinen

    7. Chapter 34

      James M. Cain (1892–1977) (pages 427–437)

      William Marling

    8. Chapter 35

      Dorothy L. Sayers (1893–1957) (pages 438–449)

      Esme Miskimmin

    9. Chapter 36

      Dashiell Hammett (1894–1961) (pages 450–461)

      Jasmine Yong Hall

    10. Chapter 37

      Jorge Luis Borges (1899–1986) (pages 462–474)

      Alicia Borinsky

    11. Chapter 38

      Chester Himes (1909–1984) (pages 475–486)

      Stephen Soitos

    12. Chapter 39

      David Goodis (1917–1967) (pages 487–494)

      David Schmid

    13. Chapter 40

      P. D. James (1920–) (pages 495–502)

      Louise Harrington

    14. Chapter 41

      Patricia Highsmith (1921–1995) (pages 503–509)

      Bran Nicol

    15. Chapter 42

      Elmore Leonard (1925–) (pages 510–522)

      Charles J. Rzepka

    16. Chapter 43

      Sara Paretsky (1947–) (pages 523–530)

      Malcah Effron

    17. Chapter 44

      Walter Mosley (1952–) (pages 531–538)

      John Gruesser

  6. Part III: Artists at Work - Film

    1. Chapter 45

      Alfred Hitchcock (1899–1980) (pages 537–552)

      Nick Haeffner

    2. Chapter 46

      Martin Scorsese (1942–) (pages 553–561)

      Mark Desmond Nicholls

    3. Chapter 47

      John Woo (1946–) (pages 562–569)

      Karen Fang

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      Conclusion (pages 570–573)

      Charles J. Rzepka and Lee Horsley

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      References (pages 574–598)

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      Index (pages 599–629)

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