The Cambridge Companion to Crime Fiction by Martin Priestman

Author:Martin Priestman
Language: eng
Format: epub, pdf
Publisher: Cambridge University Press
Published: 2003-03-19T16:00:00+00:00

NOTES

1See, for example, Jack Adrian, ‘Robert Ludlum’, The Independent, The Wednesday Review, 14 March 2001, p. 6.

2Quoted on the cover of the 1990 Dell paperback edition of Red Dragon.

3Quotes from the San Diego Union-Tribune, the Philadelphia Inquirer, and New York Newsday cited on the cover 1993 Avon paperback edition.

4‘Introduction’ to Dorothy L. Sayers, ed., The Omnibus of Crime (New York: Payson & Clarke Ltd., 1929), p. 19.

5R. Austin Freeman, ‘The Art of the Detective Story’ (1924) in Howard Haycraft, ed., The Art of the Mystery Story: A Collection of Critical Essays, 2nd edn (1946; New York: Carroll & Graf, 1983), p. 9.

6Sayers, The Omnibus of Crime, pp. 15, 21, 32. For more detailed discussion of this point, see David Glover, ‘The Writers Who Knew Too Much: Populism and Paradox in Detective Fiction’s Golden Age’, in Warren Chernaik, Martin Swales and Robert Vilain, eds., The Art of Detective Fiction (London: Macmillan, 2000), pp. 36–49.

7Valentine Williams, ‘How Thrillers Are Made’, John O’London’s Weekly, 7 September, 1935, pp. 765–72. Like Edgar Wallace, Williams was a former Reuters and Daily Mail reporter who turned to thriller writing. A brief biography can be found in Donald McCormick, Who’s Who In Spy Fiction (London: Sphere, 1977), pp. 231–2. For a more recent discussion of verisimilitude that concurs with Williams, see Steve Neale, ‘Questions of Genre’, Screen 31 (1990), 45–66.

8Chris Petit, The Psalm Killer (1996; London: Pan Books, 1997), p. 12.

9Dashiell Hammett, The Dain Curse (1929; London: Pan Books, 1975), p. 93.

10Gilles Deleuze, ‘Philosophie de la Série Noire’, Arts et Loisirs, 18 (1966), 12–13. For a discussion of Hammett’s ‘homely’ metaphor, see Steven Marcus, ‘Dashiell Hammett and the Continental Op’, Partisan Review, 41 (1974), 370–2.

11See John G. Cawelti, Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture (Chicago: University of Chicago Press, 1976), p. 39.

12For a useful short history of mass market literature in the late Victorian and Edwardian periods that glosses many of these long-forgotten terms, see M. J. Birch, ‘The Popular Fiction Industry: Market, Formula, Ideology’, Journal of Popular Culture 21 (1987), 79–102. On the origins of pulp magazines, see Tony Goodstone, The Pulps: Fifty Years of American Pop Culture (New York: Chelsea House, 1970), pp. ix–xvi.

13Edgar Wallace, Sanders of the River (1911; Garden City, NY: Doubleday, Doran, 1930), p. 3.

14Ezra Pound, ABC of Reading (1934; New York: New Directions, 1960), p. 9.

15Edgar Wallace, White Face (London: Hodder & Stoughton, 1930), p. 45.

16Edgar Wallace, The Hand of Power (1927; New York: The Mystery League, 1930), p. 319.

17Founded by the writer H. L. Mencken and drama critic George Jean Nathan, the first (April 1920) issue of The Black Mask was an ‘All-story magazine’ aimed primarily at male readers. As early as December 1922 it began to publish stories by Dashiell Hammett and Carroll John Daly and between 1926 and 1936, under the editorship of Captain Joseph T. Shaw, became the flagship for the new hardboiled style of crime writing. See William F. Nolan, The Black Mask Boys (New York: George Morrow & Co., 1985), pp.

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