Part V - Postmodernist Era
Published online by Cambridge University Press: 27 October 2017
Edited by
- Type
- Chapter
- Information
- A History of American Crime Fiction , pp. 219 - 352Publisher: Cambridge University PressPrint publication year: 2017
References
Works Cited
Acker, Kathy. Rip-Off Red, Girl Detective and The Burning Bombing of America: The Destruction of the U.S. New York: Grove, 2002.Google Scholar
Blade Runner. Dir. Ridley Scott. Warner Bros., 1992.Google Scholar
Blue Velvet. Dir. David Lynch. De Laurentiis Entertainment, 1986.Google Scholar
Borges, Jorge Luis. “Death and the Compass.” Trans. Anthony Kerrigan. Ficciones 129–41.Google Scholar
Borges, Jorge Luis. “The Garden of Forking Paths.” Trans. Helen Temple and Ruthven Todd. Ficciones 89–101.Google Scholar
Chinatown. Dir. Roman Polanski. Paramount, 1974.Google Scholar
Dark City. Dir. Alex Proyas. New Line Cinema, 1998.Google Scholar
Deathtrap. By Ira Levin. Music Box Theatre, 1978.Google Scholar
Grella, George. “The Formal Detective Novel.” Winks 84–102.Google Scholar
Grella, George. “The Hard-Boiled Detective Novel.” Winks 103–20.Google Scholar
Motherless Brooklyn. New York: Vintage, 1999.Google Scholar
Link, Kelly. “The Girl Detective.” Stranger Things Happen. Brooklyn, NY: Small Beer Press, 2001. 241–68.Google Scholar
Marcus, Laura. “Detection and Literary Fiction.” Cambridge Companion to Crime Fiction. Ed. Priestman, Martin. Cambridge: Cambridge University Press, 2003. 245–67.Google Scholar
The Matrix. Dir. The Wachowskis. Warner Bros., 1999.Google Scholar
Merivale, Patricia. “The Flaunting of Artifice in Vladimir Nabokov and Jorge Luis Borges.” Nabokov: The Man and his Work. Ed. Dembo, L. S. Madison: University of Wisconsin Press, 1967. 290–324.Google Scholar
Merivale, Patricia, and Sweeney, Susan Elizabeth. “The Game’s Afoot: On the Trail of the Metaphysical Detective Story.” Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism. Ed. Merivale, and Sweeney, . Philadelphia: University of Pennsylvania Press, 1999. 1–24.Google Scholar
Millhauser, Steven. Edwin Mullhouse: The Life and Death of an American Writer, 1943–1954, by Jeffrey Cartwright. New York: Knopf, 1972.Google Scholar
Millhauser, Steven. “A Game of Clue.” The Barnum Museum. New York: Dalkey Archive, 2014. 9–61.Google Scholar
Mulholland Drive. Dir. David Lynch. Universal, 2001.Google Scholar
Nabokov, Vladimir. Despair. [Otchayenie, 1934; 1936.] Trans. by the author. New York: Vintage, 1990.Google Scholar
Nabokov, Vladimir. The Real Life of Sebastian Knight. Hamden, CT: New Directions, 1941.Google Scholar
Poe, Edgar Allan. “The Gold-Bug.” Poetry 560–96.Google Scholar
Poe, Edgar Allan. “The Man of the Crowd.” Poetry 388–96.Google Scholar
Poe, Edgar Allan. “The Murders in the Rue Morgue.” Poetry 397–431.Google Scholar
Poe, Edgar Allan. Poetry, Tales, and Selected Essays. Ed. Quinn, Patrick F. and Thompson, G. R. New York: Library of America, 1984.Google Scholar
Poe, Edgar Allan. “The Purloined Letter.” Poetry 680–98.Google Scholar
Sleuth. By Anthony Shaffer. Music Box Theatre, 1970.Google Scholar
Spanos, William V. “The Detective and the Boundary: Some Notes on the Postmodern Literary Imagination.” Boundary 2 1.1 (1972): 147–68.Google Scholar
Sweeney, Susan Elizabeth. “How to Solve a Case of Neuro-Noir.” Conference on the Metaphysical Thriller. University of Liège, Belgium, September 2013.Google Scholar
Tani, Stefano. The Doomed Detective: The Contribution of the Detective Novel to Postmodern Italian and American Fiction. Carbondale: Southern Illinois University Press, 1984.Google Scholar
Twin Peaks. Dir. David Lynch. ABC, 1990–1.Google Scholar
The Usual Suspects. Dir. Bryan Singer. Gramercy Pictures, 1995.Google Scholar
Vertigo. Dir. Alfred Hitchcock. Paramount, 1958.Google Scholar
Wilbur, Richard. “The House of Poe.” Poe: A Collection of Critical Essays. Ed. Regan, Robert. Englewood Cliffs, NJ: Prentice-Hall, 1967. 255–77.Google Scholar
Winks, Robin, ed. Detective Fiction: A Collection of Critical Essays. New York: Prentice-Hall, 1980.Google Scholar
Works Cited
Fischer-Hornung, Dorothea, and Mueller, Monika. Sleuthing Ethnicity: The Detective in Multiethnic Crime Fiction. Madison, NJ: Fairleigh Dickinson University Press, 2003.Google Scholar
Fraser, Nancy. “Feminism, Capitalism and the Cunning of History.” New Left Review 56 (2009): 97–117.Google Scholar
Gifford, Justin. Pimping Fictions: African American Crime Literature and the Untold Story of Black Pulp Publishing. Philadelphia: Temple University Press, 2013.Google Scholar
Hamilton, Cynthia S. Sara Paretsky: Detective Fiction as Trauma Literature. Manchester: Manchester University Press, 2015.Google Scholar
Klein, Kathleen Gregory. Diversity and Detective Fiction. Bowling Green, OH: Bowling Green State University Popular Press, 1999.Google Scholar
Klein, Kathleen Gregory. The Woman Detective: Gender and Genre. Urbana: University of Illinois Press, 1995.Google Scholar
McCann, Sean. Gumshoe America: Hard-Boiled Crime Fiction and the Rise and Fall of New Deal Liberalism. Durham, NC: Duke University Press, 2000.Google Scholar
Nickerson, Catherine. The Web of Iniquity: Early Detective Fiction by American Women. Durham, NC; London: Duke University Press, 1998.Google Scholar
Nickerson, Catherine Ross. “Women Writers before 1960s.” The Cambridge Companion to American Crime Fiction. Ed. Nickerson, Catherine Ross. Cambridge: Cambridge University Press, 2010. 29–41.Google Scholar
Paretsky, Sara. Deadlock: A V.I. Warshawski Mystery. Garden City, NY: Dial Press, 1984.Google Scholar
Pepper, Andrew. The Contemporary American Crime Novel: Race, Ethnicity, Gender, Class. Edinburgh: Edinburgh University Press, 2000.Google Scholar
Poe, Edgar Allan. Poetry and Tales. Ed. Quinn, Patrick F.. New York: Literary Classics of the U.S., 1984.Google Scholar
Povinelli, Elizabeth A. Economies of Abandonment: Social Belonging and Endurance in Late Liberalism. Durham, NC: Duke University Press, 2011.Google Scholar
Reddy, Maureen T. Traces, Codes, and Clues: Reading Race in Crime Fiction. New Brunswick, NJ: Rutgers University Press, 2003.Google Scholar
Rodriguez, Ralph E. Brown Gumshoes: Detective Fiction and the Search for Chicanao Identity. Austin: University of Texas Press, 2005.Google Scholar
Soitos, Stephen F. The Blues Detective: A Study of African American Detective Fiction. Amherst: University of Massachusetts Press, 1996.Google Scholar
Walton, Priscilla L., and Jones, Manina. Detective Agency: Women Rewriting the Hard-Boiled Tradition. Berkeley: University of California Press, 1999.CrossRefGoogle Scholar
Woods, Paula L. Dirty Laundry: A Charlotte Justice Novel. New York: Ballantine Books, 2003.Google Scholar
Woods, Paula L. Inner City Blues: A Charlotte Justice Novel. New York; London: W.W. Norton & Company, 1999.Google Scholar
Woods, Paula L. Spooks, Spies, and Private Eyes: Black Mystery, Crime, and Suspense Fiction. New York: Doubleday, 1995.Google Scholar
Woods, Paula L. Stormy Weather: A Charlotte Justice Novel. New York: W. W. Norton, 2001.Google Scholar
Woods, Paula L. Strange Bedfellows: A Charlotte Justice Novel. New York: One World/Ballantine Books, 2006.Google Scholar
Works Cited
Alexie, Sherman. Introduction. Watershed. By Everett, Percival. 1996. Boston: Beacon, 2003.Google Scholar
Birchfield, D. L. Black Silk Handkerchief: A Hom-Astubby Mystery. Norman: University of Oklahoma Press, 2006.Google Scholar
Coulthard, Glen. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition. Minneapolis: University of Minnesota Press, 2014.Google Scholar
Dunbar-Ortiz, Roxanne. An Indigenous People’s History of the United States. Boston: Beacon, 2014.Google Scholar
Fallaw, Ben. Cárdenas Compromised: The Failure of Reform in Postrevolutionary Yucatán. Durham: Duke University Press, 2001.Google Scholar
McAuliffe, Dennis, Jr. Bloodland: A Family Story of Oil, Greed and Murder on the Osage Reservation. San Francisco: Council Oak Books, 1999.Google Scholar
Mourning, Dove. 1927. Cogewea, the Half-Blood. Lincoln: University of Nebraska Press, 1991.Google Scholar
Parker, Robert Dale. The Invention of Native American Literature. Ithaca, NY: Cornell University Press, 2003.Google Scholar
Ridge, John Rollin. 1854. The Life and Adventures of Joaquín Murieta, the Celebrated California Bandit. Norman: University of Oklahoma Press, 1955.Google Scholar
Vizenor, Gerald. “Aesthetics of Survivance: Literary Theory and Practice.” Survivance: Narratives of Native Presence. Ed. By Vizenor, . Lincoln: University of Nebraska Press, 2008.Google Scholar
Weaver, Jace. That the People Might Live: Native American Literatures and Native American Community. New York: Oxford University Press, 1997.Google Scholar
Works Cited
Bryant, Jerry. Born in a Mighty Bad Land: The Violent Man in African American Folklore and Fiction. Bloomington: Indiana University Press, 2003.Google Scholar
Carby, Hazel. “Introduction.” The Magazine Novels of Pauline Hopkins. New York: Oxford University Press, 1988.Google Scholar
Carby, Hazel. Reconstructing Womanhood: The Emergence of the Afro-American Negro Novelist. New York: Oxford University Press, 1987.Google Scholar
Franklin, H. Bruce. Prison Literature in America: The Victim as Criminal and Artist. New York: Oxford University Press, 1989.Google Scholar
Gifford, Justin. Pimping Fictions: African American Crime Literature and the Untold Story of Black Pulp Publishing. Philadelphia: Temple University Press, 2013.Google Scholar
Silet, James, ed. The Critical Response to Chester Himes. Westport, CT: Greenwood, 1989.Google Scholar
Soitos, Stephen. The Blues Detective: A Study of African American Detective Fiction. Amherst: University of Massachusetts Press, 1996.Google Scholar
Yellin, Jean Fagan. Incidents in the Life of a Slave Girl. Cambridge, MA: Harvard University Press, 1987.Google Scholar
Works Cited
Akass, Kim and McCabe, Janet. “‘Blabbermouth Cunts’; or, Speaking in Tongues.” The Essential Sopranos Reader. Lexington: University Press of Kentucky, 2011, 93–104.Google Scholar
Auster, Albert. “The Sopranos and History.” The Essential Sopranos Reader. Lexington: University Press of Kentucky, 2011, 266–76.Google Scholar
Carroll, Marisa. “‘When it Comes to Daughters, All Bets are Off’: The Seductive Father-Daughter Relationship of Tony and Meadow Soprano.” The Essential Sopranos Reader. Lexington: University Press of Kentucky, 2011, 81–9.Google Scholar
Haller, Mark H. “Bureaucracy and the Mafia: An Alternative View.” Journal of Contemporary Criminal Justice 8.1 (February 1992): 1–10.Google Scholar
Nochimson, Martha P. “Waddaya Lookin’ At?: Re-Reading the Gangster Genre through The Sopranos.” Film Quarterly 56.2 (Winter 2002): 2–13.CrossRefGoogle Scholar
Palmer-Mehta, Valerie. “Disciplining the Masculine: The Disruptive Power of Janice Soprano.” Reading The Sopranos: Hit TV from HBO. New York: I.B. Tauris, 2006, 56–68.Google Scholar
Plourde, Bruce. “Eve of Destruction: Dr. Melfi as Reader of The Sopranos.” Reading The Sopranos: Hit TV from HBO. New York: I.B. Tauris, 2006, 69–76.Google Scholar
Ruth, David E. Inventing the Public Enemy: The Gangster in American Culture, 1918–1934. Chicago: University of Chicago Press, 1996.Google Scholar
Yacowar, Maurice. The Sopranos on the Couch: The Ultimate Guide. New York: Bloomsbury, 2006.Google Scholar
Works Cited
Butler, Isaac. “What Errol Morris Thinks of Making a Murderer.” Slate. January 27, 2016. www.slate.com/articles/arts/culturebox/2016/01/errol_morris_q_a_on_the_thin_blue_line_and_making_a_murderer.html. Accessed January 17, 2017.Google Scholar
Murphy, Ryan, director/executive producer. The People v. O.J. Simpson: American Crime Story. FX, 2016.Google Scholar
Nussbaum, Emily. “What about Bob?” The New Yorker. March 23, 2015. www.newyorker.com/magazine/2015/03/23/what-about-bob. Accessed May 24, 2017.Google Scholar
Ricciardi, Laura and Moira Demos, creators/directors/producers. Making a Murderer. Netflix, 2016.Google Scholar
Rothman, Joshua. “Letter from the Archive: Jo Ann Beard.” The New Yorker, January 10, 2014. www.newyorker.com/books/double-take/letter-from-the-archivejo-ann-beard. Accessed August 10, 2016.Google Scholar
Thompson-Cannino, Jennifer and Cotton, Ronald, with Torneo, Erin. Picking Cotton: Our Memoir of Injustice and Redemption. St. Martin’s Griffin, 2009.Google Scholar
Works Cited
Anker, Elizabeth S. “In the Shadowlands of Sovereignty: The Politics of Enclosure in Alejandro González Iñárritu’s Babel.” University of Toronto Quarterly 82.4 (Fall 2013): 950–73.Google Scholar
Bauman, Zygmunt, Bigo, Didier, Esteves, Paulo, Guild, Elspeth, Jabri, Vivienne, Lyon, David and Walker, R.B.J.. “After Snowden: Rethinking the Impact of Surveillance.” International Political Sociology 8 (2014): 122–44.Google Scholar
Cobley, Paul. “Geopolitical Reality: The Thriller, Global Power, and the Logic of Revelation.” Pepper, Andrew and Schmid, David, eds., Globalization and the State in Contemporary Crime Fiction. Basingstoke: Palgrave, 2016, 197–216.Google Scholar
De Goede, Marieke. “Beyond Risk: Premediation and the Post-9/11 Security Imagination.” Security Dialogue 39.2 (2008): 155–76.Google Scholar
De Goede, Marieke. Speculative Security: The Pursuit of Terrorist Monies. Minneapolis, MN: University of Minnesota Press, 2012.Google Scholar
Duvall, John N. and Marzec, Robert P. “Introduction: Fantasies of 9/11.” Duvall, and Marzec, , eds., Narrating 9/11: Fantasies of State, Security and Terrorism. Baltimore: Johns Hopkins University Press, 2015, 1–13.Google Scholar
Gregory, Derek. “The Black Flag: Guantánamo Bay and the Space of Exception.” Geografiska Annaler: Series B, 88.4 (2006): 405–27.Google Scholar
Hepburn, Allan. Intrigue: Espionage and Culture. New Haven, CT: Yale University Press, 2005.Google Scholar
Holloway, David. “The War on Terror Espionage Thriller, and the Imperialism of Human Rights.” Comparative Literature Studies 46.1 (2009): 20–44.Google Scholar
Homeland, TV series (season 1). Showtime Networks, 2011.Google Scholar
Kackman, Michael. Citizen Spy: Television, Espionage, and Cold War Culture. Minneapolis, MN: University of Minnesota Press, 2005.Google Scholar
Melley, Timothy. Covert Sphere: Secrecy, Fiction, and the National Security State. Ithaca, NY: Cornell University Press, 2012.Google Scholar
Melley, Timothy. “Dark Zero Democracy.” Duvall, and Marzec, , eds., Narrating 9/11: Fantasies of State, Security and Terrorism. Baltimore: Johns Hopkins University Press, 2015, 17–39.Google Scholar
Pease, Donald. “Fantasy-Work in the Post-9/11 Sphere.” Duvall, and Marzec, , eds. Narrating 9/11: Fantasies of State, Security and Terrorism. Baltimore: Johns Hopkins University Press, 2015, 309–11.Google Scholar
Pease, Donald. “The Global Homeland State: Bush’s Biopolitical Settlement.” Boundary 2 30.3 (Fall 2003): 1–18.Google Scholar
Pepper, Andrew. “Who Knows What’s Going On? Mapping New Security Landscapes in Contemporary Espionage Fiction.” Journal of American Studies 49.4 (Winter 2015): 775–92.Google Scholar
Rowe, John Carlos. “American Orientalism after Said.” El Hamamsy, Walid and Soliman, Mounira, eds. Popular Culture in the Middle East and North Africa: A Postcolonial Outlook. New York: Routledge, 2013, 181–98.Google Scholar
Walker, R.B.J. Inside/Outside: International Relations as Political Theory. Cambridge: Cambridge University Press, 1992.Google Scholar
Wasserstrom, Jeffrey. “The Twisted Tales of Chen Guangcheng and Edward Snowden.” Huffington Post, June 24, 2013. www.huffingtonpost.com/jeffrey-wasserstrom/chen-guangcheng.edward-snowden_b_3492205.html. Accessed January 27, 2016.Google Scholar
Works Cited
Biesen, Sheri. Blackout: World War II and the Origins of Film Noir. Baltimore, MD: Johns Hopkins University Press, 2005.Google Scholar
Borde, Raymond, and Chaumeton, Étienne. A Panorama of American Film Noir, 1941–1953. Trans. Paul Hammond. San Francisco: City Lights Books, 2002.Google Scholar
Chabrol, Claude. “The Evolution of the Crime Film.” Trans. Alain Silver and Christiane Silver. Film Noir Reader 2. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1999. 25–33.Google Scholar
Chartier, Jean-Pierre. “Americans are also Making Noir Films.” Trans. Alain Silver. Film Noir Reader 2. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1999. 21–3.Google Scholar
Durgnat, Raymond. “Paint It Black: The Family Tree of Film Noir.” Cinema 6–7 (1970): 49–56. Rpt. in Film Noir Reader. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1996. 37–51.Google Scholar
Erickson, Todd. “Kill Me Again: Movement Becomes Genre.” Film Noir Reader. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1996. 307–29.Google Scholar
Frank, Nino. “A New Kind of Police Drama: The Criminal Adventure.” Trans. Alain Silver. Film Noir Reader 2. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1999. 15–19.Google Scholar
Fuller, Graham. “Naomi Watts: Three Continents Later, an Outsider Actress Finds Her Place.” Interview Magazine (November 2001). Rpt. on LynchNet.com: The David Lynch Resource: www.lynchnet.com/mdrive/interview.html.Google Scholar
Higham, Charles and Greenberg, Joel. “Black Cinema.” Hollywood in the Forties. New York: Barnes, A.S., 1968. 19–36. Rpt. in Film Noir Reader. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1996. 27–35.Google Scholar
Hirsch, Foster. The Dark Side of the Screen: Film Noir. Revised and expanded edition. Cambridge, MA: Da Capo Press, 2008.Google Scholar
Kerr, Paul. “Out of What Past? Notes on the B Film Noir.” Film Noir Reader. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1996. 107–27.Google Scholar
Krutnik, Frank. In a Lonely Street: Film Noir, Genre, Masculinity. New York: Routledge, 1991.Google Scholar
Naremore, James. More than Night: Film Noir in Its Contexts. Updated and expanded edition. Berkeley: University of California Press, 2008.Google Scholar
October Films. Lost Highway Press Kit. 1997. Rpt. on LynchNet.com: The David Lynch Resource: www.lynchnet.com/lh/lhpress.html.Google Scholar
Place, Janey, and Peterson, Lowell. “Some Visual Motifs of Film Noir.” Film Comment 10.1 (January–February 1974): 30–5. Rpt. in Film Noir Reader. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1996. 65–76.Google Scholar
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. Boston: McGraw-Hill, 1981.Google Scholar
Schrader, Paul. “Notes on Film Noir.” Film Comment 8.1 (Spring 1972): 8–13. Rpt. in Film Noir Reader. Ed. Silver, Alain and Ursini, James. Pompton Plains, NJ: Limelight Editions, 1996. 53–63.Google Scholar
Silver, Alain, and Ursini, James, eds. Film Noir Reader. Pompton Plains, NJ: Limelight Editions, 1996.Google Scholar
Telotte, J. P. Voices in the Dark: The Narrative Patterns of Film Noir. Urbana: University of Illinois Press, 1989.Google Scholar
Todd, Antony. Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood. London: I. B. Tauris, 2012.Google Scholar
Works Cited
Bianculli, David. The Platinum Age of Television: From ‘I Love Lucy’ to ‘The Walking Dead,’ How TV Became Terrific. New York: Doubleday, 2016.Google Scholar
Brooks, Tim, and Marsh, Earle. The Complete Directory to Prime Time Network and Cable TV Shows, 1946–Present (Twentieth Anniversary Edition). New York: Ballantine Books, 1999.Google Scholar
Castleman, Harry, and Podrazik, Walter J.. Watching TV: Six Decades of American Television (expanded second edition). Syracuse, NY: Syracuse University Press, 2010.Google Scholar
Dunning, John. On the Air: The Encyclopedia of Old-Time Radio. New York: Oxford University Press, 1998.Google Scholar
Edelstein, David. “Sweet Escape,” New York (June 21, 2010). http://nymag.com/movies/reviews/66799.Google Scholar
Marc, David, and Thompson, Robert J.. Prime Time, Prime Movers. Boston: Little, Brown and Company, 1992.Google Scholar
Podhoretz, John. “Shark Attack,” The Weekly Standard (June 21, 2010). www.weeklystandard.com/article/476406.Google Scholar
Sabin, Roger, with Wilson, Ronald, Speidel, Linda, Faucette, Brian, and Bethell, Ben. Cop Shows: A Critical History of Police Dramas on Television. Jefferson, NC: McFarland & Company, 2015.Google Scholar
Works Cited
Abbott, Megan E. The Street Was Mine: White Masculinity in Hardboiled Fiction and Film Noir. New York: Palgrave, 2002.Google Scholar
Auden, W. H. “The Guilty Vicarage.” Detective Fiction: A Collection of Critical Essays. Englewood, NJ: Prentice Hall, 1980. 15–24.Google Scholar
Betz, Phyllis M. Lesbian Detective Fiction: Woman as Author, Subject, and Reader. Jefferson, NC: McFarland, 2006.Google Scholar
Breu, Christopher. Hard-Boiled Masculinities. Minneapolis: University of Minnesota Press, 2005.Google Scholar
Brooks, Peter. Reading for the Plot: Design and Intention in Narrative. New York: Knopf, 1984.Google Scholar
Browne, Ray B. Murder on the Reservation: American Indian Crime Fiction. Madison: University of Wisconsin Press, 2004.Google Scholar
Cassuto, Leonard. Hard-Boiled Sentimentality: The Secret History of American Crime Stories. New York: Columbia University Press, 2008.Google Scholar
Cawelti, John G. Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture. Chicago: University of Chicago Press, 1976.Google Scholar
Chandler, Raymond. “The Simple Art of Murder.” University of Texas on-line scans. www.en.utexas.edu/amlit/amlitprivate/scans/chandlerart.html. Accessed January 31, 2016.Google Scholar
Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press, 1978.Google Scholar
Dussere, Erik. America Is Elsewhere: The Noir Tradition in the Age of Consumer Culture. Oxford: Oxford University Press, 2013.Google Scholar
Earle, David. Re-Covering Modernism: Pulps, Paperbacks, and the Prejudice of Form. London: Ashgate, 2009.Google Scholar
Forter, Greg. Murdering Masculinities: Fantasies of Gender and Violence in the American Crime Novel. New York: New York University Press, 2000.Google Scholar
Irwin, James T. The Mystery to a Solution: Poe, Borges, and the Analytic Detective Story. Baltimore: Johns Hopkins University Press, 1994.Google Scholar
Jameson, Fredric. “On Raymond Chandler.” The Poetics of Murder: Detective Fiction and Literary Theory. Ed. Most, Glen W. and Stowe, William W.. San Diego: Harcourt, Brace, Javanovich, 1983. 122–48.Google Scholar
Jameson, Fredric. “The Synoptic Chandler.” Shades of Noir. Ed. Copjec, Joan. London: Verso, 1993. 33–56.Google Scholar
Johnson, Barbara. “The Frame of Reference: Poe, Lacan, Derrida.” Yale French Studies 55/56 (1977): 457–505.Google Scholar
Lacan, Jacques. “Seminar on ‘The Purloined Letter.’” Écrits: The First Complete Translation in English. Trans. Bruce Fink. New York: Norton, 2006. 6–48.Google Scholar
Marling, William. The American Roman Noir: Hammett, Chandler, Cain. Athens: University of Georgia Press, 1994.Google Scholar
McCann, Sean. Gumshoe America: Hard-Boiled Crime Fiction and the Rise and Fall of New Deal Liberalism. Durham: Duke University Press, 2000.Google Scholar
Merivale, Patricia, and Sweeney, Susan Elizabeth. “The Game’s Afoot: On the Trail of the Metaphysical Detective Story.” Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism. Ed. Merivale, and Sweeney, . Philadelphia: University of Penn Press, 1999. 1–24.Google Scholar
Naremore, James. More Than Night: Film Noir in its Contexts. Berkeley: University of California Press, 1998.Google Scholar
Pederson-Krag, Geradine. “Detective Stories and the Primal Scene.” The Poetics of Murder: Detective Fiction and Literary Theory. Ed. Most, Glen W. and Stowe, William W.. San Diego: Harcourt, Brace, Jovanovich, 1983. 13–20.Google Scholar
Rabinowitz, Paula. Black and White and Noir. Minneapolis: University of Minnesota Press, 2002.Google Scholar
Raczkowski, Christopher. “From Modernities Detection to Modernist Dectives: Narrative Vision in the Work of Alan Pinkerton and Dashiell Hammett.” Modern Fiction Studies 49.4 (Winter 2003): 629–59.Google Scholar
Rodriguez, Ralph E. Brown Gumshoes: Detective Fiction and the Search for Chicano/a Identity. Austin: University of Texas Press, 2005.Google Scholar
Sayers, Dorothy. “Aristotle on Detective Fiction.” Detective Fiction: A Collection of Critical Essays. Englewood, NJ: Prentice Hall, 1980. 15–24.Google Scholar
Slotkin, Richard. Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America. New York: Harper, 1992.Google Scholar
Smith, Erin. Hard-Boiled: Working-Class Readers and Pulp Magazines. Philadelphia: Temple University Press, 2000.Google Scholar
Walton, Priscilla L., and Jones, Manina. Detective Agency: Women Rewriting the Hard-Boiled Tradition. Berkeley: University of California Press, 1999.Google Scholar
Wilson, Edmund. “Who Cares Who Killed Roger Ackroyd?” Detective Fiction: A Collection of Critical Essays. Englewood, NJ: Prentice Hall, 1980. 35–40.Google Scholar
Žižek, Slavoj. Looking Awry: An Introduction to Jacques Lacan through Popular Culture. Cambridge, MA: MIT Press, 1991.Google Scholar
Žižek, Slavoj. Enjoy your Symptom! Jacques Lacan in Hollywood and Out. Second Edition. New York: Routledge, 2001.Google Scholar