Gumshoe America

DIVSees hard-boiled crime fiction in relation to a changing literary marketplace and as an arena for conflicts about citizenship, class culture, and democracy during the New Deal./div

Leonard Cassuto's cultural history of the hard-boiled crime genre recovers the fascinating link between tough guys and sensitive women

The hard-boiled style of detective fiction emerged in America in the years after the First World War. In the late 1940s, following the Depression, the New Deal, and the Second World War, a new generation of young writers revisited the conventions governing the fictional private eye, and began to move him (the tough detective was still always male) and his world in new directions. This book examines the work of the four most important writers of this second generation of hard-boiled fiction. It offers the first substantial literary analysis of the Max Thursday novels of Wade Miller and the Carney Wilde novels of Bart Spicer, and it develops new perspectives on the well-known Mike Hammer novels of Mickey Spillane and the Lew Archer novels of Ross Macdonald. A particular focus is upon the theme of the detective's status as a loner who succeeds in discovering truth and achieving justice because he works outside organized social structures.

Winner, Modern Language Association Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies, 2006 Popular fiction, with its capacity for diversion, can mask important cultural observations within a framework that is often overlooked in the academic world. Works thought to be merely "escapist" can often be more seriously mined for revelations regarding the worlds they portray, especially those of the disenfranchised. As detective fiction has slowly earned critical respect, more authors from minority groups have chosen it as their medium. Chicana/o authors, previously reluctant to write in an underestimated genre that might further marginalize them, have only entered the world of detective fiction in the past two decades. In this book, the first comprehensive study of Chicano/a detective fiction, Ralph E. Rodriguez examines the recent contributions to the genre by writers such as Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava, and Manuel Ramos. Their works reveal the struggles of Chicanas/os with feminism, homosexuality, familia, masculinity, mysticism, the nationalist subject, and U.S.-Mexico border relations. He maintains that their novels register crucial new discourses of identity, politics, and cultural citizenship that cannot be understood apart from the historical instability following the demise of the nationalist politics of the Chicana/o movement of the 1960s and 1970s. In contrast to that time, when Chicanas/os sought a unified Chicano identity in order to effect social change, the 1980s, 1990s, and 2000s have seen a disengagement from these nationalist politics and a new trend toward a heterogeneous sense of self. The detective novel and its traditional focus on questions of knowledge and identity turned out to be the perfect medium in which to examine this new self.

Marxist theories have had a profound influence on crime fiction, beginning with the works of the American writers of the 1930s. This study explores the development of a Swedish Marxist noir subgenre after the 1990s through a Marxist reading of central works, from the Marlowe novels of Raymond Chandler to the 1960s social crime fiction of Sjöwall-Wahlöö to modern bestselling authors such as Henning Mankell, Stieg Larsson, Roslund & Hellström, Jens Lapidus, Arne Dahl and others. The works of these writers show a common thread of Marxist worldview in their portrayal of a modern world gone wrong.

This Companion examines the range of American crime fiction from execution sermons of the Colonial era to television programmes like The Sopranos.

Surveying the relationship between American politics and the twentieth-century novel, this volume analyzes how political movements, ideas, and events shaped the American novel. It also shows how those political phenomena were shaped in turn by long-form prose fiction.

The term "film noir" still conjures images of a uniquely American malaise: hard-boiled detectives, fatal women, and the shadowy hells of urban life. But from its beginnings, film noir has been an international phenomenon, and its stylistic icons have migrated across the complex geo-political terrain of world cinema. This book traces film noir’s emergent connection to European cinema, its movement within a cosmopolitan culture of literary and cinematic translation, and its postwar consolidation in the US, Europe, Asia, the Middle East, and Latin America. The authors examine how film noir crosses national boundaries, speaks to diverse international audiences, and dramatizes local crimes and the crises of local spaces in the face of global phenomena like world-wide depression, war, political occupation, economic and cultural modernization, decolonization, and migration. This fresh study of film noir and global culture also discusses film noir’s heterogeneous style and revises important scholarly debates about this perpetually alluring genre.