By Charles J. Rzepka
A Companion to Crime Fiction offers the definitive advisor to this well known style from its origins within the eighteenth century to the current day
- A selection of forty-seven newly commissioned essays from a group of prime students around the globe make this Companion the definitive advisor to crime fiction
- Follows the improvement of the style from its origins within the eighteenth century via to its exceptional ultra-modern popularity
- Features full-length serious essays at the most important authors and film-makers, from Arthur Conan Doyle and Dashiell Hammett to Alfred Hitchcock and Martin Scorsese exploring the ways that they've got formed and motivated the field
- Includes vast references to the main updated scholarship, and a accomplished bibliography
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Additional resources for A companion to crime fiction
Poe’s setting of his Dupin stories in Paris reiterates the French-American connection discussed earlier and crime fiction developed quickly in America in parallel with and sometimes ahead of developments in Britain. In 1865, Leaves from the Note-Book of a New York Detective, allegedly the edited “casebook” of New York consulting detective Jem Brampton, appears. Heavily influenced by Poe, the Brampton stories differ from the British detective memoirs in that the hero is his own agent and selects his own cases; he is perhaps the first American urban detective.
The sensation novel affords a discursive space for the amateur detective, and importantly this role is not limited to the male. Marion Halcombe proves an effective investigator until she is struck down by illness and replaced by Hartright, while in Collins’s No Name (1862) Magdalen Vanstone actively seeks out the secrets that will enable her to retrieve her inheritance. In The Law and the Lady (1875) Valeria Woodville investigates the murder of her husband’s first wife in order to prove his innocence.
Indd 29 12/14/2009 4:48:43 PM 30 Lee Horsley division, the serial recurrence of crime and the impossibility of imposing lasting order. Among Doyle’s numerous imitators – varying the formula and establishing different character types for the figure of the detective – there are several who in their own ways disrupt the neat pattern of death-detection-resolution, bringing to the fore the divergent possibilities contained within the genre. In Arthur Morrison’s Dorrington Deed-box (1897), the protagonist is a “private inquiry agent” who has done some legitimate enough investigations but who is not averse to thieving, defrauding, and even murder.
A companion to crime fiction by Charles J. Rzepka