Booze And The Private Eye

The hard-bitten PI with a bottle of bourbon in his desk drawer--it's an image as old as the genre of hard-boiled detective fiction itself. Alcohol has long been an important element of detective fiction, but it is no mere prop. Rather, the treatment of alcohol within the works informs and illustrates the detective's moral code, and casts light upon the society's attitudes towards drink. This examination of the role of alcohol in hard-boiled detective fiction begins with the genre's birth, in an era strongly influenced and affected by prohibition, and follows both the genre's development and its relation to our changing understanding of and attitudes towards alcohol and alcoholism. It discusses the works of Dashiell Hammett, Raymond Chandler, Mickey Spillane, Robert B. Parker, Lawrence Block, Marcia Muller, Karen Kijewski and Sue Grafton. There are bibliographies of both the primary and critical texts, and an index of authors and works.

L.A. Private Eyes examines the tradition of the private eye as it evolves in films, books, and television shows set in Los Angeles from the 1930's through the present day. This book explores the metamorphosis of the solitary detective figure and the many facets of the genre itself.

From Philip Marlowe and Sam Spade to Jake Gittes, private eyes have made for some of the most memorable characters in cinema. We often view these detectives as lone wolves who confront and try to make sense of a violent and chaotic modern world. Bran Nicol challenges this stereotype in The Private Eye and offers a fresh take on this iconic character and the film noir genre. Nicol traces the history of private eye movies from the influential film noirs of the 1940s to 1970s neonoir cinema, whose slow and brilliant decline gave way to the fading of detectives into movie mythology today. Analyzing a number of classic films—including The Maltese Falcon, The Big Sleep, Chinatown, and The Long Goodbye—he reveals that while these movies are ostensibly thrillers, they are actually occupied by issues of work and love. The private eye is not a romantic hero, Nicol argues, but a figure who investigates the concealments of others at the expense of his own private life. Combining a lucid introduction to an underexplored tradition in movie history with a new approach to the detective in film, this book casts new light on the private worlds of the private eye.

Since the middle of the last century, views on gender norms have shifted dramatically. Reflecting these changes, storylines that involve cross-dressing and transgender characters have frequently appeared in detective fiction--characters who subvert the conventions of the genre and challenge reader expectations. This examination of 20th and 21st century crime novels reveals what these narratives say about gender identity and gender expression and how they contributed to the evolution of detective fiction.

In Bost, PIs Patrick Kenzie and Angela Gennaro investigate the death of an African-American cleaning lady, gunned down in a burst of Uzi fire. A tale of street gang violence and of the racial divide between black and irish.

In the structuralist understanding as proposed by John G. Cawelti, a classical detective novel is defined as a formula which contains prescribed elements and develops in a predefined, ritualistic manner. When described in this way, the crime fiction formula very closely resembles a recipe: when one cooks, they also add prescribed ingredients in a predefined way in order to produce the final dish. This surprising parallel serves as the starting point for this book’s analysis of classical detective novels by Agatha Christie. Here, a structuralist approach to Golden Age crime fiction is complemented by methodology developed in the field of food studies in order to demonstrate the twofold role that food plays in Christie’s novels: namely, its function as an element of the formula – a literary device – but also as a cultural sign. Christie employed food on various different levels of her stories in order to portray characters, construct plots, and depict settings. What is more, incorporating domesticity and food in her novels helped her fundamentally alter the rigid conventions of the crime fiction genre as it developed in the nineteenth century, and enabled her to successfully introduce the character of the female detective and to feminise the detective novel as such.

Sasspants, Hamisher, and company have never had it so good. Now that Mr. Venezi's Pets and Stuff doesn't actually sell pets, everybody has time to explore other interests. There's scuba diving in the fish tank with the Steves, theatrical performances with the mice, and walrus toothbrushes and aardvark neckties for everyone! It's not all good times, though. Mr. Venezi's been mistaking his bills for fan mail and a dragon may have moved into the shop. Can Sasspants and Hamisher ensure that a "happily ever after" is in store for the animals, Mr. Venezi, Viola...and even that nice lady from the bookshop next door?