Provides a lively introduction to what is both a wide-ranging and hugely popular literary genre. Accessible and clear, this comprehensive overview is the essential guide for all those studying crime fiction.

Publishers Weekly Starred Review Bruno Johnson, shaken to his core, but still a formidable force—unrelenting when it comes to saving a child Ex-cop, ex-con Bruno Johnson and his wife Marie hide in plain sight from the law in an upscale L.A. hotel as Bruno heals from a run-in with a brutal outlaw motorcycle gang—and the loss of his son—a son he didn't know he had until it was too late. Marie, now pregnant with her first child, fears Bruno may never fully recover. She knows that soon they must return to Costa Rica to rejoin their large family of rescued children—kids who owe their lives to Bruno and Marie's intervention. But when Bruno's friend, FBI Deputy Director, Dan Chulack, pleads with Bruno to help rescue his kidnapped granddaughter, escape plans are put on hold. After exhausting all legitimate investigative avenues, Chulack seeks Bruno's brand of justice. With Marie's reluctant consent and her own special expertise, they plunge into the evil world of those who prey on children. Meanwhile, Bruno's mother, a woman he has never known, appears asking for forgiveness—and Bruno's assistance—while bringing her own set of complications. Bruno finds his professional and his personal lives colliding in a pursuit that is excruciating and brutal. The Sinister is perfect for fans of Michael Connelly and James Lee Burke While all of the novels in the Bruno Johnson Crime Series stand on their own and can be read in any order, the publication sequence is: The Disposables The Replacements The Squandered The Vanquished The Innocents The Reckless The Heartless The Ruthless The Sinister The Scorned (coming 2023) The Diabolical (coming 2024)

She’d cycled this way hundreds of times before, every twist and turn familiar. She didn’t know this would be the last. When the body of architect James McCallum is found hanging in the grounds of his former school one cold night, DI Danny Stowe and forensic psychologist Rose Lainey suspect foul play behind his apparent suicide.

Marcia Pullman has been found dead at home in the leafy suburbs of Bulawayo. Chief Inspector Edmund Dube is onto the case at once, but it becomes increasingly clear that there are those, including the dead woman's husband, who do not want him asking questions. The case drags Edmund back into his childhood to when his mother's employers disappeared one day and were never heard from again, an incident that has shadowed his life. As his investigation into the death progresses, Edmund realises the two mysteries are inextricably linked and that unravelling the past is a dangerous undertaking threatening his very sense of self.

This book provides a comprehensive overview of all the different kinds of crime fiction, with examples from successful contemporary writers in each of the different genres, and clear explanations and exercises to help the beginning writer hone their craft, and discover the kind of crime fiction, the plots, the themes, the language, that work best for them.

Crime fiction has been one of the most popular genres since the 19th century, but has roots in works as varied as Sophocles, Herodotus, and Shakespeare. In this Very Short Introduction Richard Bradford explores the history of the genre, by considering the various definitions of 'crime fiction' and looking at how it has developed over time. Discussing the popularity of crime fiction worldwide and its various styles; the role that gender plays within the genre; spy fiction, and legal dramas and thrillers; he explores how the crime novel was shaped by the work of British and American authors in the 18th and 19th centuries. Highlighting the works of notorious authors such as Edgar Allan Poe, Conan Doyle, Agatha Christie, and Raymond Chandler — to name but a few — he considers the role of the crime novel in modern popular culture and asks whether we can, and whether we should, consider crime fiction serious 'literature'. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Are you a lover of crime fiction looking for new discoveries or hoping to rediscover old favourites? Then look no further. There are few contemporary crime fiction guides that cover everything from the golden age to current bestselling writers from America, Britain and all across the world, but the award-winning Barry Forshaw, one of the UK's leading experts in the field, has provided a truly comprehensive survey with definitive coverage in this expanded new edition of the much admired Rough Guide to Crime Fiction. Every major writer is included, along with many other more esoteric choices. Focusing on a key book (or books) by each writer, and with essays on key crime genres, Crime Fiction: A Reader's Guide (with a foreword by Ian Rankin) is designed to be both a crime fan's shopping list and a pithy, opinionated but unstuffy reference tool and history. Most judgements are generous (though not uncritical), and there is a host of entertaining, informed entries on related films and TV. 'Most comprehensive, accessible and readable guides to noir crime fiction' - Times 'An essential volume for the crime and thriller aficionado' - Shots Magazine 'Exemplary tour of the crime landscape... supremely readable' - Independent

Classic American Crime Writing of the 1920s—including House Without a Key, The Benson Murder Case, The Tower Treasure, The Roman Hat Mystery, The Tower Treasure, and Little Caesar—offers some of the very best of that decade’s writing. Earl Derr Biggers wrote about Charlie Chan, a Chinese-American detective, at a time when racism was rampant. S. S. Van Dine invented Philo Vance, an effete, rich amateur psychologist who flourished while America danced and the stock market rose. Edwin Stratemeyer, a man of mystery himself, singlehandedly created the juvenile mystery, with the beloved Hardy Boys series. The quintessential American detective Ellery Queen leapt onto the stage, to remain popular for fifty years. W. R. Burnett, created the indelible character of Rico, the first gangster antihero. Each of the five novels included is presented in its original published form, with extensive historical and cultural annotations and illustrations added by Edgar-winning editor Leslie S. Klinger, allowing the reader to experience the story to its fullest. Klinger's detailed foreword gives an overview of the history of American crime writing from its beginnings in the early years of America to the twentieth century.

This book offers a study of Danish, Norwegian, Swedish and French crime fictions covering a fifty-year period. From 1965 to the present, both Scandinavian and French societies have undergone significant transformations. Twelve literary case studies examine how crime fictions in the respective contexts have responded to shifting social realities, which have in turn played a part in transforming the generic codes and conventions of the crime novel. At the centre of the book’s analysis is crime fiction’s negotiation of the French model of Republican universalism and the Scandinavian welfare state, both of which were routinely characterised as being in a state of crisis at the end of the twentieth century. Adopting a comparative and interdisciplinary approach, the book investigates the interplay between contemporary Scandinavian and French crime narratives, considering their engagement with the relationship of the state and the citizen, and notably with identity issues (class, gender, sexuality and ethnicity in particular).

A History of American Crime Fiction places crime fiction within a context of aesthetic practices and experiments, intellectual concerns, and historical debates generally reserved for canonical literary history. Toward that end, the book is divided into sections that reflect the periods that commonly organize American literary history, with chapters highlighting crime fiction's reciprocal relationships with early American literature, romanticism, realism, modernism and postmodernism. It surveys everything from 17th-century execution sermons, the detective fiction of Harriet Spofford and T. S. Eliot's The Waste Land, to the films of David Lynch, HBO's The Sopranos, and the podcast Serial, while engaging a wide variety of critical methods. As a result, this book expands crime fiction's significance beyond the boundaries of popular genres and explores the symbiosis between crime fiction and canonical literature that sustains and energizes both.