The Oxford Book Of Detective Stories

The field of detective fiction is vast, and The Oxford Book of Detective Stories brings together the best short fiction from around the world to show how different nationalities have imposed their own stamp on the genre. As well as English and American stories from acknowledged masters such as Ellery Queen, Dashiell Hammett, and Agatha Christie, the anthology includes stories by Simenon, Conan Doyle, Sarah Paretsky, and Ian Rankin, and roams across Europe and further afield to embrace Japan, Denmark, Holland, Italy, Argentina, Czechoslovakia, and other countries. Women detectives, police procedurals, the amateur sleuth, locked-room mysteries are all here, and in her introduction Patricia Craig examines the figure of the detective in international literature.

Essential reading for all armchair detectives, this collection of 33 classic whodunits is the cream of crime writing.

The Oxford Book of Detective Stories is a thorough, broad, and representative collection of short stories intended to reflect the best of detective fiction from around the world. Drawing on works dating from the middle 1800s up to the present, editor Patricia Craig shows us how different nationalities have imposed their own stamp on this highly popular and relatively young literary genre. Alongside English and American fiction by such acknowledged masters as Ellery Queen, Dashiell Hammett, Erle Stanley Gardner, and Agatha Christie, we find stories by Georges Simenon, Arthur Conan Doyle, Sarah Paretsky, and Ian Rankin. The anthology roams across Europe and further afield to embrace Japan, Denmark, Holland, Italy, Argentina, Czechoslovakia, and other countries. This is a book that will delight any fan or student of detective fiction. Women detectives, police procedurals, the amateur sleuth, locked-room mysteries, and the classic or pioneering models of the genre are all represented here--and in her perceptive and inclusive introduction Craig examines the figure of the detective in international literature.

Edgar Allan Poe's "Murders in the Rue Morgue" launched the detective story in 1841. The genre began as a highbrow form of entertainment, a puzzle to be solved by a rational sifting of clues. In Britain, the stories became decidedly upper crust: the crime often committed in a world of manor homes and formal gardens, the blood on the Persian carpet usually blue. But from the beginning, American writers worked important changes on Poe's basic formula, especially in use of language and locale. As early as 1917, Susan Glaspell evinced a poignant understanding of motive in a murder in an isolated farmhouse. And with World War I, the Roaring '20s, the rise of organized crime and corrupt police with Prohibition, and the Great Depression, American detective fiction branched out in all directions, led by writers such as Dashiell Hammett and Raymond Chandler, who brought crime out of the drawing room and into the "mean streets" where it actually occurred. In The Oxford Book of American Detective Stories, Tony Hillerman and Rosemary Herbert bring together thirty-three tales that illuminate both the evolution of crime fiction in the United States and America's unique contribution to this highly popular genre. Tracing its progress from elegant "locked room" mysteries, to the hard-boiled realism of the '30s and '40s, to the great range of styles seen today, this superb collection includes the finest crime writers, including Erle Stanley Gardner, Raymond Chandler, Ross Macdonald, Rex Stout, Ellery Queen, Ed McBain, Sue Grafton, and Hillerman himself. There are also many delightful surprises: Bret Harte, for instance, offers a Sherlockian pastiche with a hero named Hemlock Jones, and William Faulkner blends local color, authentic dialogue, and dark, twisted pride in "An Error in Chemistry." We meet a wide range of sleuths, from armchair detective Nero Wolfe, to Richard Sale's journalist Daffy Dill, to Robert Leslie Bellem's wise-cracking Hollywood detective Dan Turner, to Linda Barnes's six-foot tall, red-haired, taxi-driving female P.I., Carlotta Carlyle. And we sample a wide variety of styles, from tales with a strongly regional flavor, to hard-edged pulp fiction, to stories with a feminist perspective. Perhaps most important, the book offers a brilliant summation of America's signal contribution to crime fiction, highlighting the myriad ways in which we have reshaped this genre. The editors show how Raymond Chandler used crime, not as a puzzle to be solved, but as a spotlight with which he could illuminate the human condition; how Ed McBain, in "A Small Homicide," reveals a keen knowledge of police work as well as of the human sorrow which so often motivates crime; and how Ross Macdonald's Lew Archer solved crime not through blood stains and footprints, but through psychological insight into the damaged lives of the victim's family. And throughout, the editors provide highly knowledgeable introductions to each piece, written from the perspective of fellow writers and reflecting a life-long interest--not to say love--of this quintessentially American genre. American crime fiction is as varied and as democratic as America itself. Hillerman and Herbert bring us a gold mine of glorious stories that can be read for sheer pleasure, but that also illuminate how the crime story evolved from the drawing room to the back alley, and how it came to explore every corner of our nation and every facet of our lives.

These twelve stories provide an entertaining exploration of this extensive and fascinating corner of English popular fiction, celebrating the detective's intellectual and intuitive powers when confronted with murder, theft, and other mysteries. The main focus of this collection is from the 1890s to the 1920s, the period when the classic English detective story was at its confident and original best, but it also offers examples from earlier and later periods. Presenting a balance of classic and more unusual stories, and featuring works by Sir Arthur Conan Doyle, G. K. Chesterton, Dorothy L. Sayers, and Michael Innes, this anthology will appeal to both the newcomer and aficionado of the genre.

The detective story, with its roots in Poe's Chevalier Dupin mysteries and Wilkie Collins's The Moonstone, first achieved mass popularity in the 1890s with The Adventures of Sherlock Holmes. Its success has a good deal to do with its pungency, and with its power to intrigue and absorb thereader while abiding by the rules of the genre (however flexible these have become). Every age has produced a kind of detective fiction which exemplifies its distinctive manners and customs, from the sedate tales which began to appear in the wake of Sherlock Holmes to the debonair detection of the1920s and after.The sleuth short story took off in many directions, with such writers as Anthony Berkeley, Freeman Wills Crofts, Carter Dickson, and Edmund Crispin bringing the upmost expertise and ingenuity to bear on the detective theme. An increasing realism is apparent in the post-war era, though with nodiminution in entertainment value, and as we come up to the present, the detective story has been adapted further to accommodate sexual comedy and other facets of modern life.This collection of 33 stories shows the scope, vigour, and enduring fascination of the detective story, as well as indicating its importance as a barometer of social attitudes and literary practices. It gathers together a wide range of stories, many unfamiliar by writers of the calibre of AgathaChristie, Julian Symons, Ngaio Marsh, G. K. Chesterton, P. D. James, Ruth Rendell, Dorothy L. Sayers, Margery Allingham, Nicholas Blake, Michael Innes, and H. R. F. Keating.

A virtual cornucopia of whodunits from the true masters of the craft, including Edgar Alan Poe, Mary Roberts Rinehart, Craig Rice, Ellery Queen, and Raymond Chandler, this anthology contains some genuine rarities.

An anthology of detective fiction with examples of its sub-genres, armchair detective, the locked room and so on. The first is represented by Agatha Christie's In Blue Geranium, where the detective solves a crime from a conversation, the second by The Leopold Locked Room, in which a policeman is found in a locked room with his wife killed by his gun, but he didn't do it.