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Books on the topic 'Crime Fiction Genre'

Author: Grafiati

Published: 11 December 2022

Last updated: 26 January 2023

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1

Les couleurs du noir: Biographie d'un genre. Paris: Chêne, 1989.

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2

Allan, Poe Edgar. A Classic Crime Collection. London: Simon and Schuster, 2015.

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3

Death of a prodigal. London: Collins Crime, 1995.

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4

Solana, Carlos. Relatos cortos de terror. Madrid, Spain: M. E., 1997.

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5

Allan, Poe Edgar. El corazón delator. Buenos Aires: Guadal, 2004.

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6

1954-, Darrach Lisa A., ed. The Tell-tale heart. Buffalo, N.Y: Discis Knowledge Research, 1992.

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7

Allan, Poe Edgar. The Tell-Tale Heart. Mankato, MN: Creative Education, 2011.

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8

Allan, Poe Edgar. Le système du Dr Goudron et du Pr Plume: Et autres histoires extraordinaires. Paris: Librio, 2006.

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9

Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction. Boston: Bedford/St. Martin's, 2015.

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10

Brown, Charles Brockden. Wieland, and, Memoirs of Carwin the biloquist. New York: Barnes & Noble, 2008.

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11

Wieland, or, The transformation: An American tale. Mineola, N.Y: Dover Publications, 2010.

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12

Jay, Fliegelman, and Brown Charles Brockden 1771-1810, eds. Wieland; and Memoirs of Carwin the biloquist. New York, N.Y., U.S.A: Penguin Books, 1991.

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13

Wieland, or, The transformation: An American tale. New York: Anchor Books, 1989.

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14

1951-, Barnard Philip, and Shapiro Stephen 1964-, eds. Wieland, or, the transformation: An American tale, with related texts. Indianapolis: Hackett Pub. Co., 2009.

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15

1942-, Elliott Emory, and Brown Charles Brockden 1771-1810, eds. Wieland, or the transformation: And Memoirs of Carwin the biloquist. Oxford: Oxford University Press, 2009.

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16

Allan, Poe Edgar. The Masque of the Red Death and Other Stories. London: Penguin Books, 2009.

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17

1809-1849, Poe Edgar Allan, ed. The Raven and the Monkey's Paw: Classics of Horror and Suspense from the Modern Library. New York: Modern Library, 1998.

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18

Allan, Poe Edgar. Cuentos I. 6th ed. Mexico: Alianza, 1992.

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19

Allan, Poe Edgar. In the Shadow of the Master: Classic Tales by Edgar Allan Poe. New York: William Morrow, 2009.

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20

Allan, Poe Edgar. Da shi de shen ying: Aidege Ailun Po jing dian xiao shuo ji. Taibei Shi: Lian pu chu ban, 2009.

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21

Allan, Poe Edgar. In the Shadow of the Master. New York: HarperCollins e-books, 2008.

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22

Allan, Poe Edgar. Mystery Writers of America presents In the shadow of the master: Classic tales. New York: Harper, 2010.

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23

Charles, Baudelaire, Perosa Sergio, and Mondadori, eds. Racconti. Milano: Oscar Mondadori, 2011.

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24

Allan, Poe Edgar. Selected Poems & Tales. New York: Barnes & Noble, 2004.

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25

Brian, Docherty, ed. American crime fiction: Studies in the genre. Basingstoke: Macmillan, 1988.

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26

American crime fiction: Studies in the genre. New York: St. Martin's Press, 1988.

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27

Docherty, Brian. American Crime Fiction: Studies in the Genre. Palgrave Macmillan, 1988.

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28

American Crime Fiction: Studies in the Genre. Palgrave Macmillan, 1988.

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29

Lawn, Jennifer. Genre Fiction since 1950. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0033.

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This chapter discusses the history of genre fiction in New Zealand since 1950. Crime writers such as Vanda Symon and Paul Cleave exploit the phenomenon of ‘glocalization’ by locating an international genre in distinctively local settings. Others, like Nalini Singh and Phillip Mann, embrace the alternative worlds of science fiction and fantasy without any sense that a local referent is necessary or desirable. The chapter first considers how New Zealand crime writers add distinctively Kiwi twists to their work before turning to crime thrillers by Paul Thomas and others. It also examines fiction featuring female detectives, including those written by Vanda Symon, as well as genre hybrids such as historical crime and domestic fiction. Finally, it analyses examples of literary noir by Charlotte Grimshaw, Carl Nixon, and Chad Taylor and political dystopias from C. K. Stead to Bernard Beckett.

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30

Margaret Atwood: Crime Fiction Writer - The Reworking of a Popular Genre. Taylor & Francis Group, 2016.

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31

Shead, Jackie. Margaret Atwood : Crime Fiction Writer: The Reworking of a Popular Genre. Taylor & Francis Group, 2016.

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32

Shead, Jackie. Margaret Atwood : Crime Fiction Writer: The Reworking of a Popular Genre. Taylor & Francis Group, 2016.

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33

Shead, Jackie. Margaret Atwood : Crime Fiction Writer: The Reworking of a Popular Genre. Taylor & Francis Group, 2016.

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34

Shead, Jackie. Margaret Atwood : Crime Fiction Writer: The Reworking of a Popular Genre. Taylor & Francis Group, 2016.

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35

Prideaux, Desirée. Sleuthing Miss Marple: Gender, Genre, and Agency in Agatha Christie's Crime Fiction. Liverpool University Press, 2022.

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36

Sussex, L. Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre. Palgrave Macmillan, 2010.

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37

Sussex, L. Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre. Palgrave Macmillan, 2010.

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38

Sussex, L. Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre. Palgrave Macmillan, 2016.

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39

Child, Lee, and John D. [from old catalog] MacDonald. Deep Blue Goodby : : Introducing the Inspiration Behind a Genre: Travis Mcgee, from the Grandmaster of American Crime Fiction. Transworld Publishers Limited, 2013.

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40

Gulddal, Jesper, Alistair Rolls, and Stewart King, eds. Criminal Moves. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620580.001.0001.

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This book offers a major intervention into contemporary theoretical debates about crime fiction. Academic studies in the genre have historically been encumbered by a set of restrictive preconceptions, largely drawn from attitudes to popular fiction: that the genre does not warrant detailed critical analysis; that genre norms and conventions matter more than textual individuality; and that comparative or transnational perspectives are secondary to the study of the core British-American canon. This study challenges the distinction between literary and popular fiction and proposes that crime fiction, far from being static and staid, must be seen as a genre constantly violating its own boundaries. Centred on three axes of mobility, the essays present new, mobile reading practices that realize the genre’s full textual complexity, without being limited by the authoritative self-interpretations that crime narratives tend to provide. The book demonstrates how we can venture beyond the restrictive notions of ‘genre’, ‘formula’, ‘popular’ or ‘lowbrow’ to develop instead a concept of genre that acknowledges its mobility. Finally, it establishes a global and transnational perspective that challenges the centrality of the British-American tradition and recognizes that the global history of crime fiction is characterized, not by the existence of parallel, national traditions, but rather by processes of appropriation and transculturation.

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41

Sloniowski, Jeannette, and Marilyn Rose. Popular Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0028.

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This chapter examines the history of popular fiction in Canada. In Canada, popular culture reflects not only Canadian experience but also cultural anxieties as they have permeated and shaped the national imaginary since the days of settlement. The most significant component of that national imaginary in relation to popular narrative is probably what might be called an evolving Gothic sensibility. Gothicism refers to the portrayal of strange or frightening experiences in mysterious and daunting places and spaces. The chapter considers a number of earlier Canadian novels that stand out in the Canadian popular imagination, including L. M. Montgomery's Anne of Green Gables (1908), Margaret Laurence's The Diviners (1974). It also discusses genre fiction in the modern and contemporary periods, such as Harlequin Enterprises (founded Winnipeg 1949) and women's romances, crime fiction, fantasy, and speculative fiction, notably William Gibson's cyberpunk novel Neuromancer (1984).

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42

Death of a Prodigal. Magna Large Print Books, 2001.

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43

Crime Fiction: An Introduction (Literary Genres). Continuum International Publishing Group, 2007.

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44

Crime Fiction: An Introduction (Literary Genres). Continuum International Publishing Group, 2008.

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45

Cavender, Gray, and Nancy Jurik. Crime, Criminology, and the Crime Genre. Edited by Paul Knepper and Anja Johansen. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199352333.013.16.

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For years, many criminologists have argued that the crime genre misrepresents crime and the criminal justice system, causing misperceptions among the public. However, other scholars have suggested that despite inaccuracies, the crime genre is actually far more reflective of the workings of the criminal justice system than previously thought. This essay traces the relationship of crime genre productions such as novels, film, and television to past and present criminal justice practices and trends. Focusing on three thematic linkage areas between the crime genre and criminal justice practice—science and technology, cultural diversity, and security/insecurity—it demonstrates both opposition and synchronicity in comparisons of the crime genre to real-world crime across time periods. The essay argues that the parallels as well as the divergences between fictional constructions and the “reality” found in criminological analyses can help scholars gain significant insight into the problems in each.

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46

Piccato, Pablo. A Historical Perspective on Crime Fiction in Mexico During the Middle Decades of the Twentieth Century. Edited by Paul Knepper and Anja Johansen. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199352333.013.18.

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Detective and murder stories emerged and had their moment of greatest popularity in Mexico in the 1940s and 1950s. Although this genre has been neglected in scholarship, this essay argues that it catered to a growing number of readers and authors eager to make sense of a Mexican reality seen as closely connected with the rest of the world. This article surveys this production during the middle decades of the twentieth century and argues that, despite great differences in their styles and themes, these narratives illustrate the critical engagement of Mexican readers with the state, particularly in relation to its inability to provide justice through police and judicial investigations. Better than any other cultural text or field of knowledge, this literature, along with the police news in newspapers, laid out the coordinates that readers in Mexico’s rapidly expanding urban centers had to follow in order to navigate that complex life-world.

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47

Beyer, Charlotte. “This Really Isn’t a Job for a Girl to Take on Alone”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039805.003.0012.

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This chapter undertakes a reappraisal of Sara Paretsky's 1982 crime novel Indemnity Only. It examines its critical engagement with genre and the diverse landscape of feminist criticism during the period of its publication, and discusses Paretsky's articulation of an evolving feminist position in genre fiction. As we enter the fourth wave of feminism and new feminist initiatives and campaigns take off, an assessment of the importance of second-wave feminist literature in the light of those developments is timely. A number of critics have discussed Paretsky's novel as an example of feminist appropriation of genre fiction. The chapter extends these readings by arguing for its centrality to second-wave feminist fiction, focusing on specific areas and thematic concerns that highlight the complex relationship between Paretsky's text and feminist criticism and illustrate the ongoing dialogue between activism and fiction.

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48

Cavender, Gray, and Nancy C. Jurik. Prime Suspect and Progressive Moral Fiction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037191.003.0007.

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This chapter discusses the strengths and limitations of Prime Suspect as a work of progressive moral fiction. It identifies ways that the conventions of the crime genre and the strictures of television work against the transformative potential of the series. It elaborates apparent flaws in the character of Jane Tennison: incidents of personality issues and unethical behavior that appear in the series. It suggests that Tennison's flaws can actually enhance debates about gender and justice. The chapter draws on the work of feminist critical race scholar Patricia Hill Collins (2000) in her work Black Feminist Thought to describe a “both/and” perspective for understanding Tennison's character. It compares Prime Suspect with other contemporary police procedural dramas. The chapter concludes with a discussion of the theoretical and pedagogical implications of Prime Suspect and the model of progressive moral fiction. It focuses on how the model can be used in the classroom to address the justice implications in Prime Suspect and media productions more generally.

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49

Crime Thriller: How to Write Detective, Noir, Caper & Heist, Gangster, & Police Procedural Thrillers. Independently Published, 2019.

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50

Life of Crime: Unravelling the Mysteries of Fiction's Favourite Genre. HarperCollins Publishers Limited, 2022.

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