Crime fiction is the second most popular literary genre in Africa after romance. A reading of Kenyan author Mũkoma wa Ngũgĩ’s Black Star Nairobi reveals how it has disrupted the genre.
Articles on Crime fiction
Displaying 41 - 60 of 71 articles
A group of leading black, queer and feminist academics held a colloquium to reconsider a seminal blackness studies text – offering new ways of thinking about the decolonial project.
Whether they are set in a country house or on the mean streets, detective novels tell us so much about human nature.
Green is lethal: the colour of radioluminescent paint, arsenic and chlorine gas. It is also the colour of crime fiction paperbacks.
A new batch of female crime writers are bringing their real life experiences of law enforcement to their work in a way that rings true for readers.
The archetype can be traced back to 1920s detective fiction, when gruff, gun-toting, cigarette-smoking mavericks became heroic figures.
With The Dying Trade, Peter Corris introduced Australia to one of its most successful crime heroes, Cliff Hardy.
Food is an increasingly popular ingredient in crime fiction, serving up insights into the character of the detective hero and adding spice to the mystery.
Australia’s rich tradition of crime fiction is little known – early tales told of bushrangers and convicts, one hero was a mining engineer turned amateur detective – but it reveals a range of national myths and fantasies.
How 4,000-year-old papyrus letters prompted the queen of crime fiction to write Death Comes as the End.
Mid-20th century pulp fiction was trashy, tasteless, exploitative and lurid. There’s a lot there to love. You might read pulp as a cultural Freudian slip, loony bulletins from the collective Id.
He was pigeonholed as a ‘crime writer’ but Dexter’s intelligent style set him above the genre.
Scientific crime scene analysis is more popular in India’s pulp fiction than in real life investigations.
Get your summer reading recommendations from the literature and crime professors themselves.
The work of one legal thriller writer in particular shines a light on two of today’s most pressing dilemmas.
Two sociologists recommend their favourite thriller for your summer reading.
A new novel starring Lisbeth Salander has been written, despite creator Stieg Larsson’s death. But is it a continuation, adaption, or pale imitation? What gets lost when authorship changes hands?
Michael Robotham is the second Australian writer to win the Golden Dagger, but is his book Australian? And does it matter?
CSI and its franchise has achieved something unique: making forensics glamorous and sexy and fuelling public fascination with the dead.
Not every crime novel needs a Jason Bourne. Mishani eschews the obvious world of Mossad agents and terrorist plots you might expect in an Israeli crime novel – and the results are thrilling.
Top contributors
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Associate Professor, School of Languages, Literatures, Cultures and Linguistics and Fellow of the Australian Academy of Humanities, Monash University
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Honorary Professor of Communication and Media Studies, University of Wollongong
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Emeritus Professor of Creative Writing, The University of Melbourne
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Adjunct Researcher, English and Writing, University of Tasmania
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Honorary Research Professor, The University of Melbourne
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Associate Professor, Department of Literary Studies in English, Rhodes University
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Distinguished Professor Emerita of Creative Practice, Faculty of Arts and Design, University of Canberra
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Associate Professor of Media, Macquarie University
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Senior Lecturer, School of Languages, Literatures, Cultures and Linguistics, Monash University
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Associate Professor / Reader in French, Te Herenga Waka — Victoria University of Wellington
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Professor of Criminology & Public Policy, University of Brighton
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Senior Lecturer, Criminology, University of York
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Senior Lecturer, Bangor University
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Professor in English Literature, University of Essex
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Senior Lecturer, Director of European Languages and Cultures, Te Herenga Waka — Victoria University of Wellington