A collection of ten original essays forging new interdisciplinary connections between crime fiction and film, encompassing British, Swedish, American and Canadian contexts. The authors explore representations of race, gender, sexuality and memory, and challenge traditional categorisations of academic and professional crime writing.

A collection of ten original essays forging new interdisciplinary connections between crime fiction and film, encompassing British, Swedish, American and Canadian contexts. The authors explore representations of race, gender, sexuality and memory, and challenge traditional categorisations of academic and professional crime writing.

Peter Swirski looks at American crime fiction as an artform that expresses and reflects the social and aesthetic values of its authors and readers. As such he documents the manifold ways in which such authorship and readership are a matter of informed literary choice and not of cultural brainwashing or declining literary standards. Asking, in effect, a series of questions about the nature of genre fiction as art, successive chapters look at American crime writers whose careers throw light on the hazards and rewards of nobrow traffic between popular forms and highbrow aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.

While crime fiction is one of the most widespread of all literary genres, this is the first book to treat it in its full global is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, twenty critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, Crime Fiction as World Literature gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture.

The Routledge Handbook of Crime Fiction and Ecology is the first comprehensive examination of crime fiction and ecocriticism. Across 33 innovative chapters from leading international scholars, this Handbook considers an emergent field of contemporary crime narratives that are actively responding to a diverse assemblage of global environmental concerns, whilst also opening up ‘classic’ crime fictions and writers to new ecocritical perspectives. Rigorously engaged with cutting-edge critical trends, it places the familiar staples of crime fiction scholarship – from thematic to formal approaches – in conversation with a number of urgent ecological theories and ideas, covering subjects such as environmental security, environmental justice, slow violence, ecofeminism and animal studies. The Routledge Handbook of Crime Fiction and Ecology is an essential introduction to this new and dynamic research field for both students and scholars alike.

Focusing on contemporary crime narratives from different parts of the world, this collection of essays explores the mobility of crimes, criminals and investigators across social, cultural and national borders. The essays argue that such border crossings reflect on recent sociocultural transformations and geopolitical anxieties to create an image of networked and interconnected societies where crime is not easily contained. The book further analyses crime texts’ wider sociocultural and affective significance by examining the global mobility of the genre itself across cultures, languages and media. Underlining the global reach and mobility of the crime genre, the collection analyses types and representations of mobility in literary and visual crime narratives, inviting comparisons between texts, crimes and mobilities in a geographically diverse context. The collection ultimately understands mobility as an object of study and a critical lens through which transformations in our globalised world can be examined.

Intersectionality and decolonisation are prominent themes in contemporary British crime fiction. Through an in-depth critical and contextual analysis of selected contemporary British crime fiction novels from the 1990s to 2018, this distinctive book examines representations of race, class, sexuality, and gender by John Harvey, Stella Duffy, M.Y. Alam, and Dorothy Koomson. It argues that contemporary British crime fiction is a field of contestation where urgent cultural and social questions are debated and the politics of representation explored. A significant resource which will be valuable to researchers and scholars of the crime genre, as well as British literature, this book offers timely critical engagement with intersectionality and decolonisation and their representation in contemporary British crime fiction.