The history of the evolution of the traditional English murder, from Jack the Ripper and Sherlock Holmes to the cozy crimes of the Golden Age. Murder—a dark, shameful deed, the last resort of the desperate or a vile tool of the greedy. And a very strange obsession. But where did this fixation develop? And what does it tell us about ourselves? Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of the modern era, murder entered the popular psyche, and it’s been a part of us ever since. The Art of the English Murder is a unique exploration of the art of crime—and a riveting investigation into the English criminal soul by one of our finest historians.

Dan W. Clanton, Jr. examines the presence and use of religion and Bible in Agatha Christie's Hercule Poirot novels and stories and their later interpretations. Clanton begins by situating Christie in her literary, historical, and religious contexts by discussing “Golden Age” crime fiction and Christianity in England in the late 19th-early 20th centuries. He then explores the ways in which Bible is used in Christie's Poirot novels as well as how Christie constructs a religious identity for her little Belgian sleuth. Clanton concludes by asking how non-majority religious cultures are treated in the Poirot canon, including a heterodox Christian movement, Spiritualism, Judaism, and Islam. Throughout, Clanton acknowledges that many people do not encounter Poirot in his original literary contexts. That is, far more people have been exposed to Poirot via “mediated” renderings and interpretations of the stories and novels in various other genres, including radio, films, and TV. As such, the book engages the reception of the stories in these various genres, since the process of adapting the original narrative plots involves, at times, meaningful changes. Capitalizing on the immense and enduring popularity of Poirot across multiple genres and the absence of research on the role of religion and Bible in those stories, this book is a necessary contribution to the field of Christie studies and will be welcomed by her fans as well as scholars of religion, popular culture, literature, and media.

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.

This is the story of a national obsession. Ever since the Ratcliffe Highway Murders caused a nation-wide panic in Regency England, the British have taken an almost ghoulish pleasure in 'a good murder'. This fascination helped create a whole new world of entertainment, inspiring novels, plays and films, puppet shows, paintings and true-crime journalism - as well as an army of fictional detectives who still enthrall us today. A Very British Murder is Lucy Worsley's captivating account of this curious national obsession. It is a tale of dark deeds and guilty pleasures, a riveting investigation into the British soul by one of our finest historians.

This series offers students a bridge from simplified fiction to the original writings of famous literary figures. This complete text edition has an introduction and glossary and is suitable for students preparing for Cambridge Proficiency.

Victorian London: As the world mourns the demise of fictional detective Sherlock Holmes, Conan Doyle has a new preoccupation, as a chance encounter sets him on the trail of a brutal killer targeting suffragettes. Together with Bram Stoker, he roams the streets of Victorian London searching for clues. Modern-day New York: Literary researcher Harold White's lifelong obsession with Sherlock Holmes turns into something far more sinister. The world's leading Doylean scholar is found murdered, and only Harold is familiar enough with the Holmes novels to recognise the clues the killer has left. Clues which will lead him not only to a murderer, but also to the mystery of Conan Doyle's missing diary - and a secret that Conan Doyle risked everything to hide ...