59 books match the query 'Detective and mystery stories, American' and 15 start with t

cover of Ten Women of Mystery

Ten Women of Mystery

Edited by Earl F. Bargainnier

University of Wisconsin Press, 1981

This volume, which examines the special contributions of a number of women mystery writers, sheds light on this significant example of common interests in recreational reading among women and men and the reasons behind the early and continuing uncharacteristic near-equality of both sexes in this field of endeavor.

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cover of That Affair Next Door and Lost Man's Lane

That Affair Next Door and Lost Man's Lane

Anna Katharine Green

Duke University Press, 2003

Anna Katharine Green was the most famous and prolific writer of detective fiction in the United States prior to Dashiell Hammett. Her first novel, The Leavenworth Case, was the bestseller of 1878. Green is credited with a number of “firsts” within the mystery genre, including the gentleman murdered as he makes out his will and the icicle as murder weapon. She created the first female detectives in American fiction. Her amateur spinster sleuth, Amelia Butterworth, became the prototype for numerous women detectives to follow, including Agatha Christie’s Miss Marple. Nosy, opinionated, and tenacious, Amelia Butterworth engages in a sustained rivalry with Ebenezer Gryce, a police detective. In the interaction between these characters, Green developed two more conventions adopted by future generations of mystery writers: the investigation as battle between the sexes and between the professional and the unexpectedly sharp, observant amateur. This volume presents two of Green’s Amelia Butterworth tales: That Affair Next Door (1897) and Lost Man’s Lane (1898).
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cover of The Blues Detective: A Study of African American Detective Fiction

The Blues Detective

A Study of African American Detective Fiction

Stephen Soitos

University of Massachusetts Press, 1996

This illuminating book makes the case for a tradition of African American detective fiction—novels written by black Americans about black detectives and incorporating distinctly African American tropes and themes. Beginning with Pauline Hopkins in 1901, black authors consciously altered and subverted the formulas of detective fiction in significant ways. Such writers as J. E. Bruce, Rudolph Fisher, Chester Himes, Ishmael Reed, and Clarence Major created a new genre that responded to the social and political concerns of the black community.

Examining the work of these authors, Stephen Soitos frames his analysis in terms of four uniquely African American tropes: altered detective personas, double-consciousness detection, black vernaculars, and hoodoo. He argues that black writers created sleuths who were in fact “blues detectives,” engaged not only in solving crimes, but also in exploring the mysteries of black life and culture.

Soitos grounds his study in African American literary theory, particularly the work of Houston Baker, Bernard Bell, and Henry Louis Gates, Jr. He offers both a new way of conceiving black detective fiction and a series of insightful readings of books in this genre.

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cover of The Dead Letter and The Figure Eight

The Dead Letter and The Figure Eight

Metta Fuller Victor

Duke University Press, 2003

Before Raymond Chandler, before Dorothy Sayers or Agatha Christie, there was Metta Fuller Victor, the first American author—man or woman—of a full-length detective novel. This novel, The Dead Letter, is presented here along with another of Victor’s mysteries, The Figure Eight. Both written in the 1860s and published under the name Seeley Regester, these novels show how—by combining conventions of the mystery form first developed by Edgar Allan Poe with those of the domestic novel—Victor pioneered the domestic detective story and paved the way for generations of writers to follow.

In The Dead Letter, Henry Moreland is killed by a single stab to the back. Against a background of post–Civil War politics, Richard Redfield, a young attorney, helps Burton, a legendary New York City detective, unravel the crime. In The Figure Eight, Joe Meredith undertakes a series of adventures and assumes a number of disguises to solve the mystery of the murder of his uncle and regain the lost fortune of his angelic cousin.

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cover of The Detective as Historian: History and Art in Historical Crime Fiction

The Detective as Historian

History and Art in Historical Crime Fiction

Edited by Ray B. Browne and Lawrence A. Kreiser, Jr.; Preface by Robin W. Winks

University of Wisconsin Press, 2000

Readers of detective stories are turning more toward historical crime fiction to learn both what everyday life was like in past societies and how society coped with those who broke the laws and restrictions of the times. The crime fiction treated here ranges from ancient Egypt through classical Greece and Rome; from medieval and renaissance China and Europe through nineteenth-century England and America.
       Topics include: Ellis Peter’s Brother Cadfael; Umberto Eco’s Name of the Rose; Susanna Gregory’s Doctor Matthew Bartholomew; Peter Heck’s Mark Twain as detective; Anne Perry and her Victorian-era world; Caleb Carr’s works; and Elizabeth Peter’s Egyptologist-adventurer tales.
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cover of The Perfect Murder: A Study in Detection

The Perfect Murder

A Study in Detection

David Lehman

University of Michigan Press, 2000

In this lively, enjoyable look at the best American and British detective fiction, David Lehman investigates the mystery of mysteries: the profound satisfactions we get from evil, disorder, mayhem, and deception--that we know will be put right by the last page.
As Lehman shows, the detective story draws deeply from ancient storytelling traditions. The mystery's conventions--the locked room, the clue "hidden" in plain sight, the diabolical double, the villainous least likely subject--work on us as childhood fairy tales do; they prey upon our darkest fears, taking us to the brink of the unbearable before restoring a comforting sense of order. The myth of Oedipus, for example, contains the essential elements of a whodunit, with the twist that the murderer the detective pursues is himself.
With their wisecracking gumshoe heroes, Dashiell Hammett and Raymond Chandler fashioned an existential romance out of the detective novel. More recent writers such as Ross MacDonald, P. D. James, and Ruth Rendell have raised the genre to a new level of psychological sophistication. Yet the form evolves still, and Lehman guides us to the epistemological riddles of Jorge Luis Borges and Umberto Eco, who challenge the notion of a knowable truth. Originally published in 1989, this new edition features an additional chapter on the mystery novels of the 1990s.
"A lively study of the development and varieties of the detective story since Poe, its relations with other forms high and low, and the latter-day appropriation of its techniques by such writers as Borges and Eco. . . . A thoroughly intelligent and readable book." --Richard Wilbur, Pulitzer-Prize winning poet
David Lehman is the series editor of both the The Best American Poetry, published by Scribner, and the Poets on Poetry series published by the University of Michigan Press. He is a former Guggenheim Fellow in poetry, a vice president of the National Book Critics Circle, and the author of several books of criticism and collections of poems.
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cover of The Police Procedural

The Police Procedural

George N. Dove

University of Wisconsin Press, 1982

In the late 1940s and early 1950s a new kind of detective story appeared on the scene. This was a story in which the mystery is solved by regular police detectives, usually working in teams and using ordinary police routines. This kind of narrative is customarily called the "police procedural" story. And it is the subject of this book. Though there has been numberless writers of these stories, there has never been a book of criticism before.
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cover of The Secret of the Hardy Boys: Leslie McFarlane and the Stratemeyer Syndicate

The Secret of the Hardy Boys

Leslie McFarlane and the Stratemeyer Syndicate

Marilyn S. Greenwald

Ohio University Press, 2004

For generations of readers, the Hardy Boys were the creations of the legendary Franklin W. Dixon—except Dixon never existed. Behind the iconic series stood the Stratemeyer Syndicate, a powerhouse of children’s publishing, and one gifted but largely unrecognized writer: Leslie McFarlane.

In The Secret of the Hardy Boys, acclaimed biographer Marilyn S. Greenwald uncovers the remarkable story of the man who first brought Frank and Joe Hardy to life. A young Canadian journalist with ambitions beyond formula fiction, McFarlane infused the Syndicate’s rigid plots with wit, atmosphere, and narrative vitality—helping to shape one of the most enduring franchises in children’s literature.

Bound by contract and reluctant to claim authorship, McFarlane kept his role a secret for decades, receiving little financial reward for books that sold in the millions. Yet his story is far from one of regret. Drawing on extensive research, Greenwald paints a vivid portrait of a versatile writer who navigated the shifting landscape of twentieth-century media, from pulp magazines to radio and film.

Rich in literary history and human insight, The Secret of the Hardy Boys is both a revealing behind-the-scenes account of a cultural phenomenon and an inspiring testament to creativity, resilience, and the quiet architects of beloved stories.

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cover of The Short Fiction of Edgar Allan Poe: AN ANNOTATED EDITION

The Short Fiction of Edgar Allan Poe

AN ANNOTATED EDITION

Edited by Stuart Levine and Susan Levine

University of Illinois Press, 1990

The Short Fiction of Edgar Allan Poe brings together, in one convenient edition, all of the information a reader needs to understand Poe's stories. Readable, attractive, and accessible to a general reader or student, it also provides a useful resource for the scholar and specialist. Stuart Levine and Susan Levine tracked down information that is often highly specialized and hard to come by through an extensive program of literary sleuthing—an investigation that took him through the hundreds of places where scholars make their contributions to knowledge.
 
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cover of The Web of Iniquity: Early Detective Fiction by American Women

The Web of Iniquity

Early Detective Fiction by American Women

Catherine Ross Nickerson

Duke University Press, 1998

The Web of Iniquity is a study of detective fiction written by American women between the Civil War and World War II. Refuting the idea that no American detective fiction of substance was produced between the times of Edgar Allan Poe and Dashiell Hammett, Catherine Ross Nickerson shows how these women writers blended Gothic elements into domestic fiction to create a unique and all-but-ignored subgenre that she labels “domestic detective fiction.”
This subgenre allowed women writers to participate in postbellum culture and to critique other aspects of a rapidly changing society. Domestic detective fiction combined elements of sensationalist papers, popular nonfiction crime stories, and the domestic novel. Nickerson shows how it also incorporated the gothic tropes found in the work of Harriet Beecher Stowe, Louisa May Alcott, and Charlotte Brontë and influenced the work of Pauline Hopkins. Mid-nineteenth-century writer Metta Fuller Victor, who represented such important areas of cultural conflict as the role of professions in the formation of class identity and the possibility of women's independence and self-determination, paved the way for the appearance of women detectives in the late-nineteenth-century fiction of Anna Katharine Green. Nickerson credits Mary Roberts Rinehart, in particular, for bringing sophistication to the subgenre by amplifying the humorous, terrifying, and feminist elements inherent in earlier detective novels by women. Throughout the volume, Nickerson focuses on the narrative qualities of the domestic novel tradition and the ways in which it reflected ideologies of domesticity and gender. Also included are a discussion of various rewritings of the Lizzie Borden scandal in this tradition and an afterword on the relation of domestic detective fiction to the hard-boiled style.
The Web of Iniquity places the detective fiction written by women between 1850 and 1940 into ongoing discussions regarding women, culture, and literature and will appeal to scholars and students of women's studies, American studies, and literary history.
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cover of The Woman Detective: GENDER AND GENRE

The Woman Detective

GENDER AND GENRE

Viola Klein

University of Illinois Press, 1995

"Real mystery fans will enjoy this survey of nearly 300 female sleuths in 100 years of British and U.S. fiction." -- Feminist Bookstore News
This new edition adds sixty new female private eyes to the roster and includes an afterword that assesses the current state of the genre's new and old novels. A comprehensive bibliography and a character list update the field through mid-1994.

"A highly intelligent analysis." -- Ms.
"Well-researched and well-written. . . . Traces the evolution of sexist boundaries in popular detective fiction from a feminist viewpoint and documents the parallels in social history and the women's rights movement." -- Ronald C. Miller, The Armchair Detective
"Identifies dozens of good novels whose titles are not well known, its promise of good reading extending well beyond its own covers." -- Jane Bakerman, Belles Lettres
 
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cover of Tony Hillerman's Navajoland: Hideouts, Haunts, and Havens in the Joe Leaphorn and Jim Chee Mysteries

Tony Hillerman's Navajoland

Hideouts, Haunts, and Havens in the Joe Leaphorn and Jim Chee Mysteries

Laurance D. Linford

University of Utah Press, 2005

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cover of Tony Hillerman's Navajoland: Hideouts, Haunts, and Havens in the Joe Leaphorn and Jim Chee Mysteries

Tony Hillerman's Navajoland

Hideouts, Haunts, and Havens in the Joe Leaphorn and Jim Chee Mysteries

Laurance D. Linford

University of Utah Press, 2011

Tony Hillerman is beloved for his novels of intrigue in the American Southwest. In Tony Hillerman’s Navajoland, Laurance Linford takes readers on a journey through the Four Corners region to the haunts of Hillerman’s characters. Offered in encyclopedic form, each entry gives the common name of a particular location, the Navajo name and history, and a description of the location’s significance in various Hillerman novels. An understanding of the Navajo names and their relations to the landscape will lend a new dimension to the characters and events Tony Hillerman created.

This expanded third edition is updated to include all 72 sites from Hillerman’s final and location-rich novel, The Shape Shifter.
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cover of Traces, Codes, and Clues: Reading Race in Crime Fiction

Traces, Codes, and Clues

Reading Race in Crime Fiction

Reddy, Maureen T

Rutgers University Press, 2002

Detective fiction featuring white women and people of color such as Barbara Neelys Blanche White and Walter Mosleys Easy Rawlinshas become tremendously popular. Although they are considered "light reading," mysteries also hold important cultural and social "clues." Much recent scholarly work has demonstrated that race is both a cultural fiction not a biological reality and a central organizing principle of experience. Popular writers are likely to reflect the conventions of their own historical situations.

In Traces, Codes, and Clues: Reading Race in Crime Fiction, Maureen T. Reddy explores the ways in which crime fiction manipulates cultural constructions such as race and gender to inscribe dominant cultural discourses. She notes that even those writers who appear to set out to revise outdated conventions repeatedly reproduce the genres most conservative elements. The greatest obstacle to transforming crime fiction, Reddy states, is the fact that the genre itself is deeply embedded in the discourse of white (and male) superiority. There is, therefore, an absolute necessity to break away from that discourse through reversal or other strategies in order to produce work that defies, and thus helps readers to defy, the dominant ideology of race.

      

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cover of Two Guns From Harlem: The Detective Fiction of Chester Himes

Two Guns From Harlem

The Detective Fiction of Chester Himes

Robert E. Skinner

University of Wisconsin Press, 1989

Among the many writers who lent their talents to the creation of hard-boiled detective fiction, few have approached it from a more original perspective than Chester Himes. A former criminal himself, Himes brought to the writing of detective fiction the perspective of the black man. Himes made his debut with the brilliant For Love of Imabelle, for which he was awarded the coveted Grand Prix de la Littérature Policière.
    Two Guns from Harlem probes Himes’s early life and career for the roots of this series and for its heroes, Coffin Ed Johnson and Grave Digger Jones. Skinner discusses how Himes’s experience as a black man, combined with his unique outlook on sociology, politics, violence, sex, and race relations, resulted not only in an unusual portrait of black America but also opened the way for the creation of the
ethnic and female hard-boiled detectives who followed.
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