This book is a study of the 'mothers' of the mystery genre. Traditionally the invention of crime writing has been ascribed to Poe, Wilkie Collins and Conan Doyle, but they had formidable women rivals, whose work has been until recently largely forgotten. The purpose of this book is to 'cherchez les femmes', in a project of rediscovery.

A lively exploration of the struggles faced by women in law enforcement and mystery fiction for the past 175 years In 1910, Alice Wells took the oath to join the all-male Los Angeles Police Department. She wore no uniform, carried no weapon, and kept her badge stuffed in her pocketbook. She wasn’t the first or only policewoman, but she became the movement’s most visible voice. Police work from its very beginning was considered a male domain, far too dangerous and rough for a respectable woman to even contemplate doing, much less take on as a profession. A policewoman worked outside the home, walking dangerous city streets late at night to confront burglars, drunks, scam artists, and prostitutes. To solve crimes, she observed, collected evidence, and used reason and logic—traits typically associated with men. And most controversially of all, she had a purpose separate from her husband, children, and home. Women who donned the badge faced harassment and discrimination. It would take more than seventy years for women to enter the force as full-fledged officers. Yet within the covers of popular fiction, women not only wrote mysteries but also created female characters that handily solved crimes. Smart, independent, and courageous, these nineteenth- and early twentieth-century female sleuths (including a healthy number created by male writers) set the stage for Agatha Christie’s Miss Marple, Sara Paretsky’s V. I. Warshawski, Patricia Cornwell’s Kay Scarpetta, and Sue Grafton’s Kinsey Millhone, as well as TV detectives such as Prime Suspect’s Jane Tennison and Law and Order’s Olivia Benson. The authors were not amateurs dabbling in detection but professional writers who helped define the genre and competed with men, often to greater success. Pistols and Petticoats tells the story of women’s very early place in crime fiction and their public crusade to transform policing. Whether real or fictional, investigating women were nearly always at odds with society. Most women refused to let that stop them, paving the way to a modern professional life for women on the force and in popular culture.

Arthur Conan Doyle has long been considered the greatest writer of crime fiction, and the gender bias of the genre has foregrounded William Godwin, Edgar Allan Poe, Wilkie Collins, Emile Gaboriau and Fergus Hume. But earlier and significant contributions were being made by women in Britain, the United States and Australia between 1860 and 1880, a period that was central to the development of the genre. This work focuses on women writers of this genre and these years, including Catherine Crowe, Caroline Clive, Elizabeth Cleghorn Gaskell, Mary Elizabeth Braddon, Mrs. Henry (Ellen) Wood, Harriet Prescott Spofford, Louisa May Alcott, Metta Victoria Fuller Victor, Anna Katharine Green, Celeste de Chabrillan, "Oline Keese" (Caroline Woolmer Leakey), Eliza Winstanley, Ellen Davitt, and Mary Helena Fortune--innovators who set a high standard for women writers to follow.

Many aspects of British detective fiction are intriguingly different from the American detective fiction. And, confusingly, many of the British women detectives who have made it to American television are far from typical of the latest women detectives. This work is a study of British detective fiction with female protagonists written by women. Authors included are P.D. James, Jennie Melville, Liza Cody, Val McDermid, Joan Smith and Susan Moody. Special attention is paid to the evolution of the British female sleuth from the 1960s to the year 2000, particularly the 1980s, and how this shaped and altered detective fiction. Also discussed is the effect of the British judicial system and gun laws on detective fiction and real life, the types of crimes women detectives usually investigate, why certain directions have been taken and which ones may be taken in the future, issues being raised by the authors, and new women authors of detective fiction with female protagonists.

In this remarkable book, Martha Hailey DuBose has given those multitudes of readers who love the mystery novel an indispensable addition to their libraries. Unlike other works on the subject, Women of Mystery is not merely a directory of the novelists and their publications with a few biographical details. DuBose combines extensive research into the lives of significant women mystery writers from Anna Katherine Green and Mary Roberts Rinehart with critical essays on their work, anecdotes, contemporary reviews and opinions and some of the women's own comments. She takes us through the Golden Age of the British women mystery writers, Christie, Sayers, Marsh, Allingham and Tey, to the leading crime novelists of today, focused on the women who have become legends of the genre. And though she laments, "so many mysteries, so little time," she makes a good effort a mentioning "some of the best of the rest." When DuBose writes of the lives of her principal players, she relates them to their times, their families, their personal situations and above all to their books. She subtly points out that Sayers, whose experience with the men in her life was inevitably disastrous, created in Lord Peter the ideal lover -- one who is all that a woman desires and needs. DuBose gives us the curriculum vitae that Dorothy Sayers created to help her bring Peter Wimsey to a virtual actuality. Ngaio Marsh would give up an active presence in the theatrical world she loved, but she recreated it for herself as well as her readers in many of her novels. The biographies of these woman are as engrossing as the stories they wrote, and Martha DuBose has shined a different, intimate and intriguing light on them, their works, and the lives that informed those works. This book is so full of treasure it's hard to see how any mystery enthusiast will be able to do without it. And what a gift it would make for anyone on your list who has been heard to announce "I love a mystery." Some of the treats inside: In the Beginning: The Mothers of Detection Anna Katherine Green Mary Roberts Rinehart A Golden Era: The Genteel Puzzlers Agatha Christie Dorothy L. Sayers Ngaio Marsh Margery Allingham Josephine Tey Modern Motives: Mysteries of the Murderous Mind Patricia Highsmith P.D. James Ruth Rendell Mary Higgins Clark Sue Grafton and more!!

Finalist for the 2012 Edgar Award in the Best Critical/Biographical Category presented by the Mystery Writers of America In this extensive and authoritative study of over 300 films, Philippa Gates explores the "woman detective" figure from her pre-cinematic origins in nineteenth century detective fiction through her many incarnations throughout the history of Hollywood cinema. Through the lens of theories of gender, genre, and stardom and engaging with the critical concepts of performativity, masquerade, and feminism, Detecting Women analyzes constructions of the female investigator in the detective genre and focuses on the evolution of her representation from 1929 to today. While a popular assumption is that images of women have become increasingly positive over this period, Gates argues that the most progressive and feminist models of the female detective exist in mainstream film's more peripheral products such as 1930's B-picture and 1970's Blaxploitation films. Offering revisions and new insights into peripheral forms of mainstream film, Gates explores this space that allows a fantasy of resolution of social anxieties about crime and, more interestingly, gender, in the 20th and early 21st centuries. The author's innovative, engaging, and capacious approach to this important figure within feminist film history breaks new ground in the field of gender and film studies.

Post-Civil War detective fiction, written mostly by women, considered in relation to other forms of sentimental and domestic fiction.

The Dead Witness gathers the finest adventures among private and police detectives from the nineteenth century and into the early twentieth--including a wide range of overlooked gems creating the finest ever anthology of Victorian detective stories. "The Dead Witness," the 1866 title story by Australian writer Mary Fortune, is the first known detective story by a woman, a suspenseful clue-strewn manhunt in the Outback. This forgotten treasure sets the tone for the whole anthology-surprises from every direction, including more female detectives and authors than you can find in any other anthology of its kind. Pioneer women writers such as Anna Katharine Green, Mary E. Wilkins, and C. L. Pirkis will take you from rural America to bustling London. Female detectives range from Loveday Brooke to Dorcas Dene and Madelyn Mack. In other stories, you will meet November Joe, the Canadian half-Native backwoods detective who stars in "The Crime at Big Tree Portage" and demonstrates that Sherlockian attention to detail works as well in the woods as in the city. Holmes himself is here, too, of course-not in another reprint of an already well-known story, but in the first two chapters of A Study in Scarlet, the first Holmes case, in which the great man meets and dazzles Watson. Authors range the gamut from luminaries such as Charles Dickens to the forgotten author who helped inspire Edgar Allan Poe's "The Murders in the Rue Morgue," the first real detective story. Bret Harte is here and so is E. W. Hornung, creator of master thief Raffles. Naturally Wilkie Collins couldn't be left behind. Michael Sims's new collection unfolds the fascinating and entertaining youth of what would mature into the most popular genre of the twentieth century.