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By Charles J. Rzepka

A Companion to Crime Fiction provides the definitive advisor to this well known style from its origins within the eighteenth century to the current day

  • A number of forty-seven newly commissioned essays from a workforce of major students around the globe make this Companion the definitive advisor to crime fiction
  • Follows the advance of the style from its origins within the eighteenth century via to its extra special modern-day popularity
  • Features  full-length severe essays at the most vital 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 prompted the field
  • Includes wide references to the main up to date scholarship, and a complete bibliography

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A companion to crime fiction

A better half to Crime Fiction offers the definitive advisor to this renowned style from its origins within the eighteenth century to the current day a suite of forty-seven newly commissioned essays from a staff of prime students around the globe make this spouse the definitive advisor to crime fiction Follows the improvement of the style from its origins within the eighteenth century via to its exceptional today's attractiveness gains  full-length severe essays at the most vital 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 prompted the sphere contains vast references to the main up to date scholarship, and a complete bibliography

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But the development of crime fiction was not confined to Britain. 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.

1923), can be seen as evoking “the ubiquity and anonymity of death between the trenches …” (Rzepka 2005: 164–7). As the Dowager Duchess says, “he was so dreadfully bad in 1918, you know, and I suppose we can’t expect to forget all about a great war in a year or two” (Sayers 1963: 135). The feminized detectives of the interwar years – Christie’s Hercule Poirot, Sayers’s Lord Peter Wimsey, Allingham’s Albert Campion – can themselves, in their non-violence and their reliance on intuition and empathy, be seen as a reaction against the heroic male model of wartime endeavor.

Doyle admitted his debt to earlier crime writers, speaking of Gaboriau’s “neat dovetailing of plot” and Poe’s “masterful detective, M. Dupin” (Doyle 1989: 74); he knew the sensation fiction genre and it is reasonable to assume he was aware of The Newgate Calendar and the prolific criminography featured in the periodicals in which his own work was published. Doyle’s stated aim in writing a detective story was to turn what he saw as the “fascinating but disorganised business” of detection in fiction into “something nearer an exact science” (Doyle 1989: 74–5), and he admits to basing Sherlock Holmes’s detective methods in part on Joseph Bell, a surgeon with whom he had worked while a medical student.

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