In the hands of many of the great writers, the unravelling of mystery is only one strand within a complex project. Other things get unravelled, too - the belief in a rationally explicable world, in the beneficent, ordering force of culture and civilization. Constantly the detective story delights in muddying the waters, in acknowledging the omnipresent possibilities of anarchy and carnage. As a genre, it is supremely able to combine popular appeal with the ability to disturb, provoke and challenge the reader. The essays in this volume all pay tribute to, and seek to account for, the astonishing durability of the detective story as a narrative genre. They range generously, taking a variety of theoretical approaches and including detective fiction in languages other than English, but particular attention is paid to the 'Golden Age' of English detective story-writing and to the 'hard-boiled' American version of the genre. This is a collection that will appeal to the scholar and to the devotee alike; to all those, in fact, who cannot resist the lure of finding out whodunit.

This study of the technique of Agatha Christie's detective fiction--sixty-seven novels and over one hundred short stories--is the first extensive analysis of her accomplishment as a writer. Earl F. Bargannier demonstrates that Christie thoroughly understood the conventions of her genre and, with seemingly inexhaustible ingenuity, was able to develop for more than fifty years surprising variations within those conventions.

A murdered heiress, a missing necklace, and a train full of shifty, unusual, and suspicious characters leaves Daisy and Hazel with a new mystery to solve in this third novel of the Wells & Wong Mystery series. Hazel Wong and Daisy Wells are taking a vacation across Europe on world-famous passenger train, the Orient Express—and it’s clear that each of their fellow first-class travelers has something to hide. Even more intriguing: There’s rumor of a spy in their midst. Then, during dinner, a bloodcurdling scream comes from inside one of the cabins. When the door is broken down, a passenger is found murdered—her stunning ruby necklace gone. But the killer has vanished, as if into thin air. The Wells & Wong Detective Society is ready to crack the case—but this time, they’ve got competition.

A sensitive and nuanced exploration of a seldom-discussed subject by an acclaimed novelist The fourteenth volume in the Art of series conjures an ethereal subject: the idea of mystery in fiction. Mystery is not often discussed—apart from the genre—because, as Maud Casey says, “It’s not easy to talk about something that is a whispered invitation, a siren song, a flickering light in the distance.” Casey, the author of several critically acclaimed novels, reaches beyond the usual tool kit of fictional elements to ask the question: Where does mystery reside in a work of fiction? She takes us into the Land of Un—a space of uncertainty and unknowing—to find out and looks at the variety of ways mystery is created through character, image, structure, and haunted texts, including the novels of Shirley Jackson, Paul Yoon, J. M. Coetzee, and more. Casey’s wide-ranging discussion encompasses spirit photography, the radical nature of empathy, and contradictory characters, as she searches for questions rather than answers. The Art of Mystery is a striking and vibrant addition to the much-loved Art of series.

The contributors to this volume all pay tribute to, and seek to account for, the astonishing durability of the detective story as a narrative genre. The essays range generously, taking a variety of theoretical approaches and including detective fiction in languages other than English, but particular attention is paid to the `Golden Age' of English detective story writing and to the `hard-boiled' American version on the genre. This is a collection that will appeal to the scholar and to the devotee alike, to all those, in fact, who can never resist the lure of finding out whodunnit.

P. D. James examines the genre of detective fiction from top to bottom, beginning with the mystery plots at the hearts of such novels as Great Expectations and Jane Eyre, and bringing us firmly into the present with such writers as Amanda Cross and Henning Mankell. Along the way she writes about Arthur Conan Doyle, Dorothy L. Sayers, Agatha Christie, Edgar Allan Poe, Wilkie Collins, and Josephine Tey, among many others. She traces the facts of their lives into and out of their work; clarifies their individual styles; and gives us indelible portraits of the characters they've created: from Sherlock Holmes, "the unchallenged Great Detective," to Sara Paretsky's spunky, sexually liberated female investigator, V. I. Warshawski. She compares British and American "Golden Age" mystery writing, including the groundbreaking work of Dashiell Hammett and Raymond Chandler. She discusses detective fiction as social history; the stylistic components of the genre; her own process of writing; how critics have reacted over the years (Edmund Wilson hated it, W.H. Auden was "addicted"); and what she sees as a renewal of detective stories—and of the detective hero—in recent years. Here is the perfect marriage of writer and subject—essential reading for every lover of detective fiction.

Readers of detective stories are turning more toward historical crime fiction to learn both what everyday life was like in past societies and how society coped with those who broke the laws and restrictions of the times. The crime fiction treated here ranges from ancient Egypt through classical Greece and Rome; from medieval and renaissance China and Europe through nineteenth-century England and America. Topics include: Ellis Peter’s Brother Cadfael; Umberto Eco’s Name of the Rose; Susanna Gregory’s Doctor Matthew Bartholomew; Peter Heck’s Mark Twain as detective; Anne Perry and her Victorian-era world; Caleb Carr’s works; and Elizabeth Peter’s Egyptologist-adventurer tales.