Titlebook: Contemporary American Crime Fiction; Hans Bertens,Theo D’haen Book 2001 Palgrave Macmillan, a division of Macmillan Publishers Limited 200

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https://doi.org/10.1007/978-3-663-01281-8 point, moribund genre of the classic English mystery novel. . is not exceptional, and neither is its police protagonist, Adam Dalgliesh. That is to say, he . rather exceptional — tall, dark, moody, a published poet — but not compared to most Golden Age detectives created by the women writers who in

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Rocco Carzo Jr.,John N. YanouzasOf course, earlier decades too knew this particular subgenre. In the UK, for instance, during the 1970s Peter Lovesey ran a series set in the late 1800s. In the 1990s he returned to this period with as his detective the then future King Edward VII, affectionally nicknamed ‘Bertie’. Also during the 1

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Ingemund H?gg,Jan Johanson,Dick Ramstr?mgreat deal of searching, I have yet to find a crime novel written by a woman of color’ (Reddy 1988, 16). Although later researchers have shown her to be mistaken (see Soitos 1996), it is not until the 1990s that African American women have had an impact on the crime writing scene. This is not much o

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Introduction,nturies in the numerous pamphlets and broadsheets detailing the heinous deeds of murderers, robbers, and highwaymen. In the eighteenth century, Daniel Defoe, next to his many other writings, not only turned out numerous ‘true crime’ stories; he also turned them into literature, for instance . (1721)

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The Old Guard in the mid-1990s: Muller, Grafton, and Paretsky,nt past with the present. While the other chapters will examine truly contemporary crime writing, that is, crime writing of the 1990s, these first two chapters will make a modest attempt to chart the passage from the great renaissance of crime writing of the 1970s and 1980s to where we are now. The