By Charles J. Rzepka
A Companion to Crime Fiction provides the definitive consultant to this renowned style from its origins within the eighteenth century to the current day
- A selection of forty-seven newly commissioned essays from a crew of major students around the globe make this Companion the definitive consultant to crime fiction
- Follows the advance of the style from its origins within the eighteenth century via to its out of the ordinary brand new 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 stimulated the field
- Includes huge references to the main up to date scholarship, and a finished bibliography
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Extra info for A companion to crime fiction
Crime is not central to the “Tales of Terror,” but is a recurring theme, usually featuring death or its threat. While not precisely fitting the model of the “Tales of Terror,” Thomas De Quincey’s two essays, “On the Knocking at the Gate in Macbeth” (1823) and “On Murder Considered as One of the Fine Arts” (1827), which both appeared in Blackwood’s Edinburgh Magazine, took as their subject the sensational and real-life Ratcliffe Highway Murders of 1811 in which seven people in two separate households were killed in apparently motiveless acts of violence.
She is transported to America but eventually comes back to England and, repentant, is recuperated back into respectability. Central to both factual and fictional early crime narratives, then, is the criminal; the accounts are retrospective, the crimes and their perpetrator known. Further, these criminals tend to be from the lower classes. This is not a problem in the broadsides or in The Newgate Calendar, which sell themselves as criminal narratives and portray the containment of crime. But as the novel form develops over the nineteenth century it moves from a broad representation of society to representing a predominantly middle-class audience back to itself, thereby marginalizing lowerclass criminality.
Hard-boiled writing has numerous antecedents – dime novels, Westerns, the frontier romance – but its development as a subgeneric form of crime fiction is indissolubly linked to the founding of Black Mask magazine in 1920. Other pulp magazines soon followed (for example, Dime Detective, Detective Fiction Weekly, Black Aces) but Black Mask was the strongest influence, with its growing reputation for publishing fastpaced, colloquial stories, and promoting “economy of expression” and “authenticity in character and action” (Joseph T.
A companion to crime fiction by Charles J. Rzepka