British Mystery And Thriller Writers Since 1960

Spans much of the modern history of the mystery genre and, along with it, many of the political and social changes from the classical detective story, the World War II spy story, and the Cold War thriller to postmodern detective and spy adventures and the politics of terrorism and confrontation of the twenty-first century.

Seven analytic chapters in this book pursue the massive changes wrought in Britain between 1970 and 1990. They look in detail at the changes in international relations, landscape and townscape, social framework, family and welfare structures, economic policies and realities and government which had occurred by 1990.

100 British Crime Writers explores a history of British crime writing between 1855 and 2015 through 100 writers, detailing their lives and significant writing and exploring their contributions to the genre. Divided into four sections: 'The Victorians, Edwardians, and World War One, 1855-1918; 'The Golden Age and World War Two, 1919-1945; 'Post-War and Cold War, 1946-1989; and 'To the Millennium and Beyond, 1990-2015, each section offers an introduction to the significant features of these eras in crime fiction and discusses trends in publication, readership, and critical response. With entries spanning the earliest authors of crime fiction to a selection of innovative contemporary novelists, this book considers the development and progression of the genre in the light of historical and social events.

In this, the first of two self-standing volumes bringing The New Oxford History of England up to the present, Brian Harrison begins in 1951 with much of the empire intact and with Britain enjoying high prestige in Europe. The United Kingdom could still then claim to be a great power, whose welfare state exemplified compromise between Soviet planning and the USA’s free market. When the volume ends in 1970, no such claims carried conviction. The empire had gone, central planning was in trouble, and even the British political system had become controversial. In an unusually wide-ranging, yet impressively detailed volume, Harrison approaches the period from unfamiliar directions. He explains how British politicians in the 1950s and 1960s responded to this transition by pursuing successive roles for Britain: worldwide as champion of freedom, and in Europe as exemplar of parliamentary government, the multi-racial society, and economic planning. His main focus, though, rests not on the politicians but on the decisions the British people made largely for themselves: on their environment, social structure and attitudes, race relations, family patterns, economic framework, and cultural opportunities. By 1970 the consumer society had supplanted postwar austerity, the socialist vision was fading, and 'the sixties' (the theme of his penultimate chapter) had introduced new and even exotic themes and values. Having lost an empire, Britain was still resourcefully seeking a role: it had yet to find it.

The Historical Dictionary of British Spy Fiction is a detailed overview of the rich history and achievements of the British espionage story in literature, cinema and television. It provides detailed yet accessible information on numerous individual authors, novels, films, filmmakers, television dramas and significant themes within the broader field of the British spy story. It contains a wealth of facts, insights and perspectives, and represents the best single source for the study and appreciation of British spy fiction. British spy fiction is widely regarded as the most significant and accomplished in the world and this book is the first attempt to bring together an informed survey of the achievements in the British spy story in literature, cinema and television. The Historical Dictionary of British Spy Fiction contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 200 cross-referenced entries on individual authors, stories, films, filmmakers, television shows and the various sub-genres of the British spy story. This book is an excellent access point for students, researchers, and anyone wanting to know more about British spy fiction.

This invaluable resource provides information about and sources for researching 50 of the top crime genre writers, including websites and other online resources. * A timeline of major authors and events in the development of the crime fiction genre * Read-alike sections listing other authors whose works are similar in style or theme to those of ten major authors included in the book * Lists of major organizations and awards in the field of crime literature * A bibliography of online and print sources for biographical and critical information about crime genre authors

Mysteries are among the most popular books today, and women continue to be among the most creative and widely read mystery writers. This book includes alphabetically arranged entries on 90 women mystery writers. Many of the writers discussed were not even writing when the first edition of this book was published in 1994, while others have written numerous works since then. Writers were selected based on their status as award winners, their commercial success, and their critical acclaim. Each entry provides biographical information, a discussion of major works and themes, and primary and secondary bibliographies. The volume closes with appendices and a selected, general bibliography. Public library patrons will value this guide to their favorite authors, while students will turn to it when writing reports. The volume provides alphabetically arranged entries on 90 great women mystery writers, including: Cara Black Sarah Caudwell Mary Higgins Clark Patricia Cornwell Amanda Cross Earlene Fowler Charlaine Harris Patricia Highsmith Sujata Massey Janet Neel Sara Paretsky Each entry provides a biography, a discussion of major works and themes, and primary and secondary bibliographies. The book closes with appendices of award winners and a selected, general bibliography. Public library patrons will value this guide to their favorite authors, while students will consult it when writing reports.

This collection of essays examines how college professors teach the genre of detective fiction and provides insight into how the reader may apply such strategies to his or her own courses. Multi-disciplinary in scope, the essays cover teaching in the areas of literature, law, history, sociology, anthropology, architecture, gender studies, cultural studies, and literary theory. Also included are sample syllabi, writing assignments, questions for further discussion, reading lists, and further aids for course instruction.

Essays on British writers of fantasy and science fiction discuss the changing attitudes towards this genre, including serious consideration by critics. Covers the publication of science fiction in comic books, limited productions of publications by fan presses, the difference between British and American science fiction, the birth of the New Wave, and the revival of horror fiction as a distinct genre.

This book takes up the obtrusive problem of visual representation of fiction in contemporary Russian book design. By analyzing a broad variety of book covers, the study offers an absolutely unique material that illustrates a radically changing notion of literature in the transformation of Soviet print culture to a post-Soviet book market. It delivers a profound and critical exploration of Russian visual imaginary of classic, popular, and contemporary prose. Among all the carelessly bungled covers of mass-published post-Soviet series the study identifies gems from experimental designers. By taking a comparative approach to the clash of two formerly separate book cultures, the Western and the Soviet, that results both in a mixture of highbrow and lowbrow forms and in ideological re-interpretations of the literary works, this book contributes to opening an East-West dialogue between the fields of Russian studies, contemporary book and media history, art, design, and visual studies.

Contains approximately 20,000 mostly English language sources for academic libraries of all sizes.

Boasting more than 970 alphabetically-arranged entries, the Encyclopedia of Contemporary British Culture surveys British cultural practices and icons in the latter half of the twentieth century. It examines high and popular culture and encompasses both institutional and alternative aspects of British culture. It provides insight into the whole spectrum of British contemporary life. Topics covered include: architecture, pubs, film, internet and current takes on the monarchy. Cross-referencing and a thematic contents list enable readers to identify related articles. The entries range from short biographical synopses to longer overview essays on key issues. This Encyclopedia is essential reading for anyone interested in British culture. It also provides a cultural context for students of English, Modern History and Comparative European Studies.

Looking-Glass Wars: Spies on British Screens since 1960 is a detailed historical and critical overview of espionage in British film and television in the important period since 1960. From that date, the British spy screen was transformed under the influence of the tremendous success of James Bond in the cinema (the spy thriller), and of the new-style spy writing of John le Carré and Len Deighton (the espionage story). In the 1960s, there developed a popular cycle of spy thrillers in the cinema and on television. The new study looks in detail at the cycle which in previous work has been largely neglected in favour of the James Bond films. The study also brings new attention to espionage on British television and popular secret agent series such as Spy Trap, Quiller and The Sandbaggers. It also gives attention to the more ‘realistic’ representation of spying in the film and television adaptations of le Carré and Deighton, and other dramas with a more serious intent. In addition, there is wholly original attention given to ‘nostalgic’ spy fictions on screen, adaptations of classic stories of espionage which were popular in the late 1970s and through the 1980s, and to ‘historical’ spy fiction, dramas which treated ‘real’ cases of espionage and their characters, most notably the notorious Cambridge Spies. Detailed attention is also given to the ‘secret state’ thriller, a cycle of paranoid screen dramas in the 1980s which portrayed the intelligence services in a conspiratorial light, best understood as a reaction to excessive official secrecy and anxieties about an unregulated security service. The study is brought up-to-date with an examination of screen espionage in Britain since the end of the Cold War. The approach is empirical and historical. The study examines the production and reception, literary and historical contexts of the films and dramas. It is the first detailed overview of the British spy screen in its crucial period since the 1960s and provides fresh attention to spy films, series and serials never previously considered.

Focuses on the highly diverse and controversial literary and cultural life in Russia during the last twenty years of the past century. Major shifts on the political scene influenced Russian literature of these past two decades. Literature managed to find in the political and historical turbulence of this period a source of powerful artistic insight.

In a study that examines in depth seventeen of Ludlum's novels, including the latest, The Apocalypse Watch (1995), Macdonald uncovers the serious themes running through the novels: the role of the individual in preserving democracy, the value of competing voices, the failure of educational institutions to preserve ideals, the temptations of power, the importance of personal loyalties in the face of impersonal organizations, and the nature of evil. She shows how Ludlum's novels are valuable in helping us to understand modern paranoia - our fear of conspiracies, terrorism, barbarism, and intolerance.