This Companion examines the range of American crime fiction from execution sermons of the Colonial era to television programmes like The Sopranos.

The first systematic account of crime fiction as a global genre, offering unprecedented coverage of distinct traditions across the world.

Truth to Post-Truth in American Detective Fiction examines questions of truth and relativism, turning to detectives, both real and imagined, from Poe’s C. Auguste Dupin to Robert Mueller, to establish an oblique history of the path from a world where not believing in truth was unthinkable to the present, where it is common to believe that objective truth is a remnant of a simpler, more naïve time. Examining detective stories both literary and popular including hard-boiled, postmodern, and twenty-first century novels, the book establishes that examining detective fiction allows for a unique view of this progression to post-truth since the detective’s ultimate job is to take the reader from doubt to belief. David Riddle Watson shows that objectivity is intersubjectivity, arguing that the belief in multiple worlds is ultimately what sustains the illusion of relativism.

This collection of essays by leading scholars insists on a larger recognition of the importance and diversity of crime fiction in U.S. literary traditions. Instead of presenting the genre as the property of Dashiell Hammett and Raymond Chandler, this book maps a larger territory which includes the domains of Mark Twain, F. Scott Fitzgerald, William Faulkner, Richard Wright, Flannery O’Connor, Cormac McCarthy and other masters of fiction.The essays in this collection pay detailed attention to both the genuine artistry and the cultural significance of crime fiction in the United States. It emphasizes American crime fiction’s inquiry into the nature of democratic society and its exploration of injustices based on race, class, and/or gender that are specifically located in the details of American experience.Each of these essays exists on its own terms as a significant contribution to scholarship, but when brought together, the collection becomes larger than the sum of its pieces in detailing the centrality of crime fiction to American literature. This is a crucial book for all students of American fiction as well as for those interested in the literary treatment of crime and detection, and also has broad appeal for classes in American popular culture and American modernism.

This Companion covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the 'detective' fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in the eighteenth-century literature, French and Victorian fiction, women and black detectives, crime on film and TV, police fiction and postmodernist uses of the detective form.

The detective figure in contemporary American crime fiction increasingly relies on revenge to bring about justice in a society where there has been a sharp decline in moral values. This study demonstrates how the notion of the detective as a moral exemplar or heroic ideal breaks down in the works of writers such as James Ellroy and Sara Paretsky.

Masa kegelapan telah tiba di Hogwarts. Setelah serangan Dementor pada sepupunya, Dudley, Harry Potter mengetahui bahwa Voldemort tak akan berhenti mencarinya. Ada banyak yang menyangkal kembalinya Pangeran Kegelapan, namun Harry tidak sendirian: sebuah orde rahasia berkumpul di Grimmauld Place untuk bertarung melawan kekuatan Kegelapan. Harry harus mengizinkan Profesor Snape mengajarinya cara melindungi diri dari serangan ganas Voldemort pada pikirannya. Namun serangan bertambah kuat hari demi hari dan Harry kehabisan waktu...

This book provides an in-depth analysis of representations of female murderers in modern American drama. Paying close attention to the plays' plot, form, and style, the study seeks to come to terms with the dramatic and cultural function of this phenomenon. Given the rarity of female murder in real life, the popularity and prevalence of this theme in culture is striking and unsettling at the same time. After all, a woman who kills not only violates against basic social rules, but also upsets gender norms. This potential to break with an ideology that rests on hierarchically structured gender binaries equips the figure of the female murderer with the power to symbolically 'kill' established views about gender and sexuality. It is this ideologically disruptive potential that makes the female murderer a fascinating object of study, as her cultural figuration may provide information about the meaning assigned to women at a certain historical moment.