Crime fiction is currently one of the most globalized, most popular, and biggest-selling of commercial genres, but there has been almost no attempt to study it in relation to other kinds of post-colonial literature. There is no bibliography of crime writers as ‘post-colonial’, and no attempt to generalize about a body of fiction. This paper is a brief extract from work in progress, based on the books of over fifty Anglophone or Francophone authors who might be categorized as ‘post-colonial’ by birth or residence. I test post-colonial theory against crime fiction, to argue that strong generic conventions call into question some of that theory's received ideas. I consider two linked problems: first, so-called ‘colonial mimicry’ and its obverse, ‘ventriloquism’, because it seems to me a wrong turning in 20th-century criticism; and, second, the demand for new literatures which would create ‘national identities’. I argue that ‘mimicry’ makes no sense in the context of a strong popular genre, and that accusations of ‘colonial mimicry’ reinscribe the asymmetries of judgement they appear to attack. The possibility of imagined geopolitical units as identity-forming, especially in genres which are informed by social criticism, calls into question the demand for literature as a source of national identity.