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Relevant bibliographies by topics / Noir fiction, American

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Academic literature on the topic 'Noir fiction, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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Journal articles on the topic "Noir fiction, American"

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Portilho, Carla. "A Japanese-American Sam Spade: The Metaphysical Detective in Death in Little Tokyo, by Dale Furutani." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 39–51. http://dx.doi.org/10.1515/abcsj-2017-0003.

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AbstractThe aim of this essay is to discuss the legacy of the roman noir in contemporary detective fiction produced outside the hegemonic center of power, here represented by the novel Death in Little Tokyo (1996), written by Japanese-American author Dale Furutani. Starting from the concept of the metaphysical detective (Haycraft 76; Holquist 153-156), characterized by deep questioning about narrative, interpretation, subjectivity, the nature of reality and the limits of knowledge, this article proposes a discussion about how these literary works, which at first sight represent a traditionally Anglo-American genre, constitute narratives that aim to rescue the memory, history and culture of marginalized communities. Typical of late modernity detective fiction, the metaphysical detective has none of the positivistic detective’s certainties, as he does not share in his Cartesian notion of totality, being presented instead as a successor of the hardboiled detective of the roman noir. In this article I intend to analyze the paths chosen by the author and discuss how his re-reading of the roman noir dialogues with the texts of hegemonic noire detective fiction, inscribing them in literary tradition and subverting them at the same time.

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Hollister, Lucas. "The Green and the Black: Ecological Awareness and the Darkness of Noir." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1012–27. http://dx.doi.org/10.1632/pmla.2019.134.5.1012.

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Ecocritical thought presents serious challenges for political readings of crime fiction and noir, notably in French and American cultural contexts, and these challenges merit a broad examination. How does the Anthropocene change our relation to the frames of intelligibility and the definitions of violence found in crime fictions? The scalar problems introduced by the cosmological perspectives of ecological awareness suggest the need to redraw the frontiers of noir, to imagine new green-black readings that transform our understanding of what counts in and as a noir novel.

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Rademacher, Virginia Newhall. "Trump and the Resurgence of American Noir." Persona Studies 2, no. 2 (December 7, 2016): 90–103. http://dx.doi.org/10.21153/ps2016vol2no2art617.

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This essay examines the political persona of Donald Trump as mediated by the imagery of hardboiled detective fiction and film noir. By evoking and distorting noir’s challenge to the status quo, its suspicion of systems of power and questioning of dominant norms, Trump has fashioned his political persona in ways that deliberately revise the popular conception of the hardboiled hero as brash-talking rebel at the margins of a corrupt system. Reading Trump’s persona through the mediating function of noir exposes how Trump’s rhetoric plays on, and benefits from, a theme of citizen estrangement while simultaneously reinforcing political expediency and self-interested power. Moreover, it is not only Trump who uses noir imagery provocatively to shape his political image. The media have also participated in crafting images of Trump as either entertaining disruptor or more darkly destabilising. As responses to crises of capitalism, corruption, and social fracture, noir narratives provide critical ways of investigating periods of disequilibrium and their resurfacing in the present. Analysing the production, expression, and reception of Trump’s political persona through the historical and discursive structures of noir underscores the salience of the study of persona to reveal underlying fissures in current American politics and society.

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Cafiero, Deborah. "‘Hard-Boiled’ Detectives in Spain and Mexico: The Ethical Reorientation of a Genre." Crime Fiction Studies 2, no. 2 (September 2021): 154–70. http://dx.doi.org/10.3366/cfs.2021.0044.

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Hard-boiled’ fiction arose in the early decades of the twentieth century, uncovering connections among crime, wealth and power, and exposing moral fissures within U.S. capitalism. After French publisher Gallimard marketed translations of American crime fiction as noir, international writers started adjusting the ethical framework of the original authors as part of their ‘glocal’ adaptation of a global genre to local circumstances. The present article pushes past ‘glocal’ analysis of noir to propose a ‘transnational’ relationship, adapting Paul Giles’ definition of ‘transnational’ practice in which international authors reflect the genre back upon its American roots in order to illuminate the ‘silences, absences and blindspots’ in the original ethical stance. The ‘misreading’ of noir also permits a ‘misrecognition’ of local circumstances, exposing moral fissures throughout different societies. This article shows how series by Manuel Vázquez Montalbán and Paco Ignacio Taibo II reveal ethical blindspots in American models by situating the detective within an emotional history of place (Barcelona for Vázquez Montalbán, Mexico City for Taibo II). Although these detectives ultimately cannot determine or perform the role of ethical citizen, their emotional-geographical bonds open up a critique of American ideals and pave the way for a reimagining of the ethical in the twenty-first century.

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Luna Sellés, Carmen. "Moronga, by Horacio Castellanos Moya, and the Divergence of Latin American Noir." Forum for Modern Language Studies 56, no. 3 (July 1, 2020): 347–63. http://dx.doi.org/10.1093/fmls/cqaa022.

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Abstract Taking Moronga (2018), by Salvadorian author Horacio Castellanos Moya, as a point of departure, this article focuses on the reinterpretation of mainstream crime fiction in Latin American terms. This new approach is made from both formal and thematic perspectives. Moronga is structurally fragmented; the traditional detective figure has disappeared, and the plot does not revolve around a single crime but denounces a society at large which is characterized by paranoid surveillance. The reinterpretation of the crime fiction genre in Latin American terms has opened up two different strands of noir: firstly, the so-called ‘post-neopolicial’ where crime is a mere backdrop to formal experimentation, and secondly, what Ricardo Piglia refers to as ‘ficción paranoica’ [paranoiac fiction]. Moronga is a good example of both these strands, making it an appropriate case study to analyse the ways in which Hispanic literature deviates from classic Anglophone crime fiction (particularly the North American hardboiled tradition).

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Steenberg, Lindsay. "The Fall and Television Noir." Television & New Media 18, no. 1 (September 19, 2016): 58–75. http://dx.doi.org/10.1177/1527476416664185.

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This article analyzes the Belfast-set BBC series The Fall (2013–) as an illustrative example of television noir. It aims to use noir scholarship to investigate The Fall’s complex gender politics and genre position, and, more significantly, to use The Fall to illuminate the complex ways in which noir currently operates across Anglo-American television and culture. The Fall is self-conscious, if not self-reflexive, in its mobilization of noir to aspire to the cinematic. This article argues that the series, and others like it, use noir as a legitimation strategy, often to excuse prurient stories of sexualized violence. The act of labeling something noir, particularly a visual fiction, is a way of insisting on its status as art. I conclude that the system of noir (and its associations with art and authenticity) is unable to contain the excesses of the serial killer mythology and Gothic inflection of its postfeminist investigator.

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Kokotovic, Misha. "Neoliberal Noir: Contemporary Central American Crime Fiction as Social Criticism." Clues: A Journal of Detection 24, no. 3 (March 1, 2006): 15–29. http://dx.doi.org/10.3200/clus.24.3.15-29.

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Gutiérrez, José Ismael. "Ross MacDonald y la "Hollywood novel"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (February 2, 2018): 435–54. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018291702.

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La novela negra ha revelado una versatilidad que le ha permitido establecer una relación de ósmosis con otros géneros. Uno de ellos es la conocida como «novela de Hollywood». En la narrativa de Ross MacDonald, uno de los maestros de la novela negra norteamericana, se producen abundantes cruces entre las historias de detectives herederas de la ficción hard-boiled y la novela que utiliza el mundo de Hollywood como trasfondo o tema principal de las tramas. El presente artículo trata de mostrar cómo ese diálogo intergenérico se traduce en la incorporación al relato de imágenes de naturaleza cinematográfica o que enfatizan el aspecto fílmico de la realidad que representan. Asimismo, las novelas y cuentos de MacDonald perfilan un universo, unos ambientes y unos personajes vinculados o cercanos a la industria del cine americano dominados por la pérdida de valores éticos, la delincuencia y el crimen. The noir novel has generated a versatility that has allowed it to establish a relationship of osmosis with other genres, with one of these being the so-called «Hollywood novel». In narrative of Ross MacDonald, one of the masters of the American noir novel, we can find abundant overlaps between the detective stories deriving from the hard-boiled fiction tradition and those novels that use the world of Hollywood as their fictional background or as main element in their plots. The present article attempts to show how this intergeneric dialogue is achieved by the incorporation of cinematographic images in the story or by others that emphasize the filmic aspect of the reality they represent. Likewise, MacDonald's novels and short stories define a universe, settings and characters linked to or in reflection of the American film industry and dominated by the loss of ethical values, delinquency and crime.

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Jones, Manina. "Canadian Noir: Consumer Culture, Colonial Nationalism and the Cardinal Series." Forum for Modern Language Studies 56, no. 3 (July 1, 2020): 280–94. http://dx.doi.org/10.1093/fmls/cqaa021.

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Abstract Giles Blunt’s Cardinal police-procedural novels and their recent television adaptations evidence the noir genre’s sombre aesthetic, focus on a morally tainted hero, are preoccupied with seemingly irrational violence, and fixate on unresolved past injustices. In doing so, they reflect Canada’s aesthetic and ethical relationship to questions of national and transnational culture, colonial territoriality, and the moral principles at stake in the representation of violence. This Canadian ‘re-branding’ of noir features is haunted by deep-seated historical dissension and the present-day repercussions that are at the heart of the country’s national identity. Focusing on the first season of Cardinal (2017) and the novel from which it was adapted, Forty Words for Sorrow (2002), this essay examines the series’ stylish – if conflicted – reworking of noir’s roots in American crime fiction and film, and its use of contemporary Nordic influences, which work to salvage a form of Canadian cultural authenticity from the cultural dominance of US television and film crime dramas.

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Menéndez Otero, Carlos. "Politics, Place and Religion in Irish American Noir Fiction. An Interview with Dennis Lehane." Estudios Irlandeses, no. 7 (March 15, 2012): 109–12. http://dx.doi.org/10.24162/ei2012-1941.

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Dissertations / Theses on the topic "Noir fiction, American"

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Wyllie, Barbara Elizabeth. "A study of the work of Vladimir Nabokov in the context of contemporary American fiction and film." Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326244.

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Turner, William Blackmore. "Pulping the Black Atlantic : race, genre and commodification in the detective fiction of Chester Himes." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/pulping-the-black-atlanticrace-genre-and-commodification-in-the-detective-fiction-of-chester-himes(5d2272b6-f9e7-437e-be67-82bebc96abdb).html.

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The career path of African American novelist Chester Himes is often characterised as a u-turn. Himes grew to recognition in the 1940s as a writer of the Popular Front, and a pioneer of the era's black 'protest' fiction. However, after falling out of domestic favour in the early 1950s, Himes emigrated to Paris, where he would go on to publish eight Harlem-set detective novels (1957-1969) for Gallimard's La Série Noire. Himes's 'black' noir fiction brought him critical and commercial success amongst a white European readership, and would later gain a cult status amongst an African American readership in the late 1960s and early 1970s. Himes's post-'protest' career has been variously characterised as a commercialist 'selling out'; an embracing of black 'folk' populism; and an encounter with Black Atlantic modernism. This thesis analyses the Harlem Cycle novels in relation to Himes's career, and wider debates regarding postwar African American literature and race relations.Fundamentally, I argue that a move into commercial formula fiction did not curtail Himes's critical interest in issues of power, exploitation, and racial inequality. Rather, it refocused his literary 'protest' to representational politics itself, and popular culture's ability to inscribe racial identity, resistance and exploitation. On the one hand, Himes's Harlem fiction meets a formulaic and commercial demand for images of 'pathological' black urban criminality. However, Himes, operating 'behind enemy lines', uses the texts to dramatise this very dynamic. Himes's pulp novels depict a heightened Harlem that is thematically 'pulped' by a logic of capitalist exploitation, and a fetishistic dominant of racial difference. In doing so, Himes's formula fiction makes visible certain anti-progressive shifts in the analysis and representation of postwar race relations. My methodology mirrors the multiple operations of the texts, placing Himes's detective fiction in relation to a diverse and interdisciplinary range of sources: literary, historical, and theoretical. Using archival material, I look in detail at Himes's public image and contemporary reception as a Série Noire writer, his professional correspondence with French and U.S. literary agents, and his private thoughts and later reflections regarding his career. This methodology attempts to get to grips with a literary triangulation between Himes's progressive authorial intentions, the demands placed upon him as a Série Noire writer, and the wider ideological shifts of the postwar era. By exploring these different historical, geographical and literary contexts, this thesis offers a wide-reaching analysis of how cultural and racial meanings are produced and negotiated within a commodity form.

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Guzman-Medrano, Gael. "Post-Revolutionary Post-Modernism: Central American Detective Fiction by the Turn of the 21st Century." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/917.

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Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region. Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.

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Heeb, Nick. "The Lucky Clover." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522146192847002.

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Sanyal, Sudipto. "An Uncertain Poetics of the Intoxicated Narrative: Drugs, Detection, Denouement." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367932599.

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Goshorn, John. "The Happiest Place on Earth - The Microbudget Model as a Means to an American National Cinema." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5224.

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The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels - aesthetic, narrative, technical, and industrial - while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience.
ID: 031001279; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Error in paging: p. iv followed by 1 unnumbered page that is followed by p. ii-vi.; Title from PDF title page (viewed February 25, 2013).; Adviser: Ula Stockl.; Co-adviser: Andrew Gay.; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 250).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema

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Howard, David G. "The hard-boiled detective personal relationships and the pursuit of redemption /." Connect to resource online, 2010. http://hdl.handle.net/1805/2189.

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Robert Rebein, Jonathan Eller, William Touponce. Includes vitae. Includes bibliographical references (leaves 84-86).

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Sutra, Christian. "Ecrire la femme afro-américaine : identité et lyrisme dans les oeuvres de fiction de Gayl Jones et de Toni Morrison." Bordeaux 3, 1993. http://www.theses.fr/1993BOR30027.

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Gayl jones et toni morrison nous donnent une autre representation dans la fiction des femmes noires. Elles questionnent les stereotypes en relisant l'histoire americaine dans le mouvement de la memoire ; elles exposent vie publique et vies privees en creant d'autres heroines, des origines a nos jours : leurs heroines sont les femmes noires "arretees", "immobilisees" ou "emergentes". Si gayl jones montre la douleur des femmes noires, toni morrison suggere la possibilite pour ces femmes, dans le risque du saut depenser autrement et de reconstruire un nouveau narcissisme pour la femme afro-americaine. C'est dans l'ambition d'une autre ecriture de la fiction qu'elles ecrivent et chantent la femme noire, tout a la fois heritieres de la culture orale afro-americaine et novatrices. Dans le lyrisme des blues, leur concentration et leur poesie, les heroines de gayl jones se racontent et se creent. Toni morrison, elle, transcrit la vie afro-americaine dans le roman polyvocal post-moderne. Son choix sera celui de l'ecriture metaphorique et du realisme magique. Mais comme celles de gayl jones, ses histoires et fables adressees a un lecteur auditeur nous fascinent en nous instruisant
Gayl jones and toni morrison convey a completely different representation of afro-american women in american letters. The long-accepted american stereotypes related to sex and gender are challenged by them through their revisionary treatment of american history in the public and private lives of their heroines. (re) membering for them is at once a necessary and complex process of getting at the truth concerning african-american women. These writers present portraits of "arrested" or "emerging" black women beginning with the period of the "peculiar institution" through to presentday america. Gayl jones insists on the psychological and physical damage suffered by black women whereas toni morrison suggests in her narratives the potential for building a new jubjectivity which involves risk but offers the means to explore the redemptive possibilities of female coalescence. Both authors have inaugurated new forms of writing which incorporate their black oral tradition. Taking their inspiration from the blues -their lyricism, sheer strength, concentration and poetic qualities- gayl jones' heroines sing who they are and where they come from. Toni morrison writes her fiction using a highly metaphorical prose which comes close to the magic realism of garcia marquez

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Hartsell, Bradley. "Projecting Culture Through Literary Exportation: How Imitation in Scandinavian Crime Fiction Reveals Regional Mores." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3323.

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This thesis reexamines the beginnings of Swedish hardboiled crime literature, in part tracking its lineage to American culture and unpacking Swedish identity. Following the introduction, the second chapter asserts how this genre began as a form of escapism, specifically in Maj Sjöwall and Per Wahlöö’s Roseanna. The third chapter compares predecessor Raymond Chandler’s The Big Sleep with Roseanna, and how Sweden’s greater gender tolerance significantly outshining America’s is reflected in literature. The fourth chapter examines how Henning Mankell’s novels fail to fully accept Sweden’s complicity in neo-Nazism as an active component of Swedish identity. The final chapter reveals Helene Tursten’s Detective Inspector Huss engaging with gender and racial relations in unique ways, while also releasing the suppressive qualities found in the Swedish identity post-war. Therefore, this thesis will better contextualize the onset of the genre, and how its lineage reflects the fruits and the damages alike in the Swedish identity.

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Lamfers, Jordan Scott. ""A dame to kill for" or "a slut-- worth dying for" : women in the noir of Frank Miller." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3545.

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The depictions of women in film noir and neo-noir have long been objects of interest for feminist scholars. In this report, I extend this scholarship to examine Frank Miller's Sin city graphic novel series as a version of neo-noir that is both intimately connected to noir tradition and innovative in its approach, specifically in terms of his representation of women. Miller depicts his female characters in a variety of ways that reflect both the positive and negative imagery of women in classic noir and neo-noir; in doing so, he creates a new and complex vision of women in noir. This report uses three different characterizations of women in film noir--the spider woman, the femme moderne, and the angel--to explore the ways in which Miller's female characters can be understood to simultaneously uphold and challenge these conventions.
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Books on the topic "Noir fiction, American"

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Nice and Noir: Contemporary American crime fiction. Columbia: University of Missouri Press, 2002.

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Philadelphia noir. New York: Akashic, 2010.

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Lehane, Dennis. Boston noir. New York, USA: Akashic Books, 2009.

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Colbert, Curt. Seattle noir. New York: Akashic Books, 2009.

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Indian country noir. New York: Akashic Books, 2010.

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Tim, McLoughlin, ed. Brooklyn noir. Brooklyn, N.Y: Akashic Books, 2004.

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Supernatural noir. Milwaukie, OR: Dark Horse Books, 2011.

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Richmond noir. New York: Akashic Books, 2010.

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Lone Star noir. New York: Akashic Books, 2010.

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Oates, Joyce Carol. New Jersey noir. New York: Akashic Books, 2011.

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Book chapters on the topic "Noir fiction, American"

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Scheibel, Will. "Film Noir and Neo-Noir." In A History of American Crime Fiction, 313–25. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316442975.024.

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Trott, Sarah. "Chandler and the American War Writers." In War Noir, 64–91. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496808646.003.0003.

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Chapter three considers the relationship between detective fiction and war fiction and the impact of one style upon the other to create a ‘war noir’. Taking examples from renowned World War One novels, it will demonstrate that the same disillusionment and despair prevalent in the work of the renowned Lost Generation is equally prevalent in Chandler’s novels. Reading his novels as a convergence of the war novel and crime fiction, one can reconsider Chandler’s work as a legitimate representation of society and the trauma of war.

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Pepper, Andrew. "The American roman noir." In The Cambridge Companion to American Crime Fiction, 58–71. Cambridge University Press, 2010. http://dx.doi.org/10.1017/ccol9780521199377.006.

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Wachter-Grene, Kirin. "Cold Kink: Race and Sex in the African American Underworld." In Noir Affect, 78–98. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287802.003.0004.

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Iceberg Slim is the godfather of African American street lit, a genre of gritty pulp fiction informed by the black noir tradition made famous by Chester Himes in the 1950s. Slim’s work has been heralded by a massive Black readership for decades. However, it remains obscure to literary critics, likely due to its brutal misogyny. While this chapter does understand Pimp as misogynistic, it pushes on its scenes of violent sex. It interprets them as representing eroticized power exchange, a noir trademark and phenomena of interest to negative affect studies. The chapter focuses on the female characters, arguing they have considerable power to not only render Slim subordinate, but abject. And by embracing their own abjection as a site of pleasure and agency, the female characters are often able to dominate Slim because he underestimates the extent of their kinkiness—and that of his own.

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Mitchell, Lee Clark. "Noir fiction and the Western city." In The Cambridge Companion to the Literature of the American West, 103–18. Cambridge University Press, 2016. http://dx.doi.org/10.1017/cbo9781316155097.010.

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Soitos, Stephen. "African-American Detective Fiction: Surveying the Genre." In “Polar noir”: Reading African-American Detective Fiction, 11–17. Presses universitaires François-Rabelais, 2005. http://dx.doi.org/10.4000/books.pufr.5776.

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"Avant-propos — Foreword." In “Polar noir”: Reading African-American Detective Fiction, 5–6. Presses universitaires François-Rabelais, 2005. http://dx.doi.org/10.4000/books.pufr.5773.

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Condé, Mary. "The “almost bitter murmur” in Rudolph Fisher’s The Conjure Man Dies." In “Polar noir”: Reading African-American Detective Fiction, 19–28. Presses universitaires François-Rabelais, 2005. http://dx.doi.org/10.4000/books.pufr.5778.

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Bonnemère, Yves. "Ishmael Reed’s Use of Detective Novel Prototypes." In “Polar noir”: Reading African-American Detective Fiction, 29–37. Presses universitaires François-Rabelais, 2005. http://dx.doi.org/10.4000/books.pufr.5780.

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Clary, Françoise. "Dismantling the Detective Story: Chester Himes’s Ideological Stand in A Case of Rape." In “Polar noir”: Reading African-American Detective Fiction, 39–47. Presses universitaires François-Rabelais, 2005. http://dx.doi.org/10.4000/books.pufr.5781.

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