Skip to main content Accessibility help
Hostname: page-component-84b7d79bbc-tsvsl Total loading time: 0 Render date: 2024-07-25T12:47:27.028Z Has data issue: false hasContentIssue false

Part IV - Modernist Era

Published online by Cambridge University Press:  27 October 2017

Chris Raczkowski
University of South Alabama
Get access
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)


Works Cited

Auden, W.H. New Year Letter (January 1, 1940). Collected Poems. Ed. Mendelson, Edward. New York: Vintage International, 1991.Google Scholar
Benjamin, Walter. “One Way Street.” Walter Benjamin: Selected Writings, Volume 1: 1913–1926. Eds. Bullock, Marcus and Jennings, Michael. Boston: Belknap Press, 2004. 446–7.Google Scholar
Breton, Andre. Manifestoes of Surrealism. Richard Seaver trans. Ann Arbor: University of Michigan Press, 1972.Google Scholar
Chandler, Raymond. The Big Sleep. New York: Vintage Crime, 1992.Google Scholar
Chesterton, G.K.A Defense of Detective Stories.” The Art of the Mystery Story. Ed. Haycraft, Howard. New York: Carol and Graff, 1992.Google Scholar
Chinitz, David. T.S. Eliot and the Cultural Divide. Chicago: University of Chicago Press, 2003.Google Scholar
Culleton, Claire. Joyce and the G-Men: J. Edgar Hoover’s Manipulation of Modernism. New York: Palgrave, 2004.CrossRefGoogle Scholar
Dickey, Frances, Formichelli, Jennifer and Schuchard, Ronald, eds. The Complete Prose of T.S. Eliot, Volume 3: Literature, Politics, Belief, 1927–1929. Baltimore: Johns Hopkins University Press, 2015.Google Scholar
Eliot, T.S., “East CokerFour Quartets. New York: Harcourt Brace Jovanovich, 1971.Google Scholar
Eliot, T.S., “Introduction to The Moonstone, by Wilkie Collins.” Dickey, Formichelli, and Schuchard, 356–65.Google Scholar
Eliot, T.S., “Recent Detective Fiction.” Dickey, Formichelli, and Schuchard, 105–9.Google Scholar
Eliot, T.S., The Waste Land: A Fascimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. Ed. Eliot, Valerie. New York: Harcourt Brace Jovanovich, Inc. 1971.Google Scholar
Eliot, T.S., “Wilkie Collins and Dickens.” Dickey, Formichelli, and Schuchard, 164–74.Google Scholar
Gold, Mike. “Carnevali and Other Essays.” New Masses, December 1926.Google Scholar
Herzog, Todd. Crime Stories: Criminalistic Fantasy and the Culture of Crisis in Weimar Germany. New York: Berghan Books, 2009.Google Scholar
Jay, Gregory S.Discovering the Corpus.Modern Critical Interpretations: T.S. Eliot’s The Waste Land. Ed. Bloom, Harlold. Philadelphia: Chelsea House Publishers, 1986.Google Scholar
Levenson, Michael. “Introduction.” Cambridge Companion to Modernism. Ed. Levenson, Michael. New York: Cambridge University Press, 1999.CrossRefGoogle Scholar
Murphy, Michael. “Neoclassicism, Late Modernism, and W.H. Auden’s ‘New Year Letter.’” The Cambridge Quarterly 33.1 (2004): 101–18.CrossRefGoogle Scholar
Robins, Natalie. Alien Ink: The FBI’s War on Freedom of Expression. New York: William Morrow and Co., 1992.Google Scholar
Salzani, Carlo. “The City as Crime Scene: Walter Benjamin and the Traces of the Detective.” New German Critique 34.1 (2007): 165–87.CrossRefGoogle Scholar
Sheehan, Paul. Modernism and the Aesthetics of Violence. New York: Cambridge University Press, 2013.CrossRefGoogle Scholar
Stein, Gertrude. Everbody’s Autobiography. New York: Vintage Books, 1973.Google Scholar
Stein, Gertrude. The Geographical History of the America, or The Relation of Human Nature to the Human Mind. Baltimore: Johns Hopkins University Press, 1995.Google Scholar
Stein, Gertrude. Narration: Four Lectures. Chicago: University of Chicago Press, 1969.Google Scholar
Stein, Gertrude. Wars I Have Seen. New York: Random House, 1945.Google Scholar
Stein, Gertrude. “What Are Master-Pieces.” Look at Me Now and Here I Am: Selected Works, 1911–1945. Ed. Meyerowitz, Patricia. Chester Springs, PA: Peter Owen Publishers, 2004.Google Scholar
Stein, Gertrude. “Why I Like Detective Stories.” How Writing is Written: Volume II of the Previously Uncollected Writings of Gertrude Stein. Ed. Haas, Robert Bartlett. Los Angeles: Black Sparrow, 1974.Google Scholar
Thompson, Jon. Fiction, Crime, and Empire: Clues to Modernity and Postmodernism. Chicago: University of Illinois Press, 1993.Google Scholar
Woolf, Virginia. “Professions for Women.” Death of the Moth and Other Essays. New York: Harcourt Brace Jovanovich, 1974.Google Scholar
Wright, Richard. Black Boy. New York: Harper Collins, 1993.Google Scholar

Works Cited

Alexander, Marguerite. Flights from Realism: Themes and Strategies in Postmodernist British and American Fiction. London: Arnold Edward, 1990.Google Scholar
Auden, W. H.The Guilty Vicarage.” The Dyer’s Hand and Other Essays. London: Faber and Faber Ltd., 1963.Google Scholar
Biggers, Earl D. Keeper of the Keys. New York: Dell Publishing Company, 1932.Google Scholar
Brantlinger, Peter. The Reading Lesson: The Threat of Mass Literacy in Nineteenth-Century British Fiction. Bloomington: Indiana University Press, 1998.Google Scholar
Carey, John. The Intellectuals and the Masses: Pride and Prejudice among the Literary Intelligensia, 1880–1939. London: Faber and Faber Ltd, 1992.Google Scholar
Carr, John D. The Three Coffins. 1935. New York: Award Books, 1974.Google Scholar
Chandler, Raymond. “The Simple Art of Murder.” 1944. The Simple Art of Murder. New York: Random House, Inc., 1988. 118.Google Scholar
Charney, Hanna K. The Detective Novel of Manners: Hedonism, Morality, and the Life of Reason. Teaneck: Fairleigh Dickison University Press, 1981.Google Scholar
Darrieussecq, Marie. “L’autofiction, un Genre Pas Sérieux.” Poétique 107 (1996): 367–80.Google Scholar
Effron, Malcah. “On the Borders of the Page, on the Borders of Genre: Artificial Paratexts in Golden Age Detective Fiction.” Narrative 18.2 (2010): 199219.Google Scholar
Eliot, T. S. “Books of the Quarter.” The Criterion (January 1927): 139–43.Google Scholar
Haycraft, Howard. Murder for Pleasure: The Life and Times of the Detective Story. New York: D. Appleton-Century Company, Inc., 1941.Google Scholar
Horsley, Lee. Twentieth-Century Crime Fiction. Oxford: Oxford University Press, 2005.Google Scholar
Knox, Ronald. “Introduction.” 1929. Best Detective Stories: First Series. Ed. Knox, Ronald. London: Faber & Faber Ltd, 1934.Google Scholar
Latham, Sean. Am I a Snob? Modernism and the Novel. Cornell: Cornell University Press, 2003.Google Scholar
Leavis, Q. D. Fiction and the Reading Public. London: Chatto & Windus, 1932.Google Scholar
McGurl, Mark. The Novel Art: Elevations of American Fiction after Henry James. Princeton: Princeton University Press, 2005.Google Scholar
Nadel, Ida. Modernism’s Second Act: A Cultural Narrative. New York: Palgrave, 2012.Google Scholar
Plain, Gill. Twentieth-Century Crime Fiction: Gender, Sexuality and the Body. Edinburgh: Edinburgh University Press, 2001.Google Scholar
Queen, Ellery. The Roman Hat Mystery. 1929. New York:, 2015.Google Scholar
Sayers, Dorothy L. Gaudy Night. 1935. New York: HarperCollins Publishers, 2012.Google Scholar
Scaggs, John. Crime Fiction. Oxon: Routledge, 2005.CrossRefGoogle Scholar
Van Dine, S. S. The Benson Murder Case. New York: Charles Scribner’s Sons, 1926.Google Scholar
Van Dine, S. S. “The Mysterious S. S. Van Dine Creator of Philo Vance Confesses ‘I Used to Be Highbrow but Look at Me Now.’” The American Magazine (September 1928): 14+.Google Scholar
Van Dine, S. S.Twenty Rules for Writing Detective Stories.” The Winter Murder Case. London: Cassell and Company Ltd, 1939.Google Scholar
Wright, Willard H.The Great Detective Stories.” 1927. The Art of the Mystery Story: A Collection of Critical Essays. 1946. New York: Biblio & Tannen Booksellers & Publishers, Inc., 1975. 3370.Google Scholar

Works Cited

Andersen, Thom. “Red Hollywood,” in Stanfield, Peter, et al. (eds.) ‘Un-American’ Hollywood: Politics and Film in the Blacklist Era. New Brunswick: Rutgers University Press, 2007. 225–63.Google Scholar
Appel, Benjamin. “Labels,” in Madden, David (ed.) Tough Guy Writers of the Thirties. Carbondale and Edwardsville: Southern Illinois University Press, 1968. 1317.Google Scholar
Appel, Benjamin. “The Message Novel,” The Writer 57:2 (1944): 35–8.Google Scholar
Burke, Kenneth. “Revolutionary Symbolism in America,” in Simmons, Herbert W. and Melia, Trevor (eds.) The Legacy of Kenneth Burke. Madison: University of Wisconsin Press, 1989. 267–73.Google Scholar
Cain, James M.Preface,” in Three of a Kind. New York: Knopf, 1944.Google Scholar
Cassuto, Leonard. Hard-Boiled Sentimentality: The Secret History of American Crime Stories. New York: Columbia University Press, 2009.Google Scholar
Chandler, Raymond. The Big Sleep. New York: Vintage Crime/Black Lizard, 1988.Google Scholar
Chandler, Raymond. Raymond Chandler Speaking. Gardiner, Dorothy and Walker, Katherine Sorley (eds.). Berkeley: University of California Press, 1997.Google Scholar
Chandler, Raymond. Selected Letters of Raymond Chandler. MacShane, Frank (ed.). New York: Columbia University Press, 1981.Google Scholar
Chandler, Raymond. “The Simple Art of Murder,” in The Second Chandler Omnibus. London: Hamish Hamilton, 1962. 115.Google Scholar
Cohen, Victor. Heroes for Sale: Radical Politics and Genre Formation in Hard-Boiled Crime Fiction. Unpublished Ph.D. dissertation. Carnegie Mellon University, 2005.Google Scholar
Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century. London: Verso, 1996.Google Scholar
Entin, Joseph B. Sensational Modernism: Experimental Fiction and Photography in Thirties America. Chapel Hill: University of North Carolina Press, 2007.Google Scholar
Fearing, Kenneth. The Big Clock. New York: New York Review Books, 2006.Google Scholar
Gold, Mike. “Proletarian Realism,” in Folsom, Michael (ed.) Mike Gold: A Literary Anthology. New York: International, 1972. 203–8.Google Scholar
Hammett, Dashiell. Red Harvest. New York: Vintage Crime/Black Lizard, 1992.Google Scholar
Himes, Chester. If He Hollers Let Him Go. New York: Thunder’s Mouth Press, 1986.Google Scholar
Himes, Chester. “Now Is the Time! Here Is the Place!” in Black on Black: Baby Sister and Selected Writings. New York: Doubleday, 1973.Google Scholar
Himes, Chester. “Zoot Riots Are Race Riots,” in Black on Black, 220–5.Google Scholar
Kazin, Michael. The Populist Persuasion: An American History. New York: Basic Books, 1995.Google Scholar
Laclau, Ernesto. On Populist Reason. London: Verso, 2005.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
Naremore, James. More than Night: Film Noir in its Contexts. Berkeley: University of California Press, 1998.Google Scholar
Nieland, Justus. “Everybody’s Noir Humanism: Chester Himes, Lonely Crusade, and the Quality of Hurt,” African American Review 43.2/3 (2009): 277–93.Google Scholar
Singh, Nikhil Pal. Black Is a Country: Race and the Unfinished Struggle for Democracy. Cambridge: Harvard University Press, 2005.Google Scholar
Wald, Alan M. American Night: The Literary Left in the Age of the Cold War. Chapel Hill: University of North Carolina Press, 2012.Google Scholar
Wald, Alan M. Trinity of Passion: The Literary Left and the Antifascist Crusade Chapel Hill: University of North Carolina Press, 2007.Google Scholar
Vernet, Marc. “Film Noir on the Edge of Doom,” in Copjec, Joan (ed.) Shades of Noir: A Reader. London: Verso, 1993. 132.Google Scholar

Works Cited

Abominable, , Oxford English Dictionary, 26.Google Scholar
Arendt, Hannah. The Origins of Totalitarianism. Cleveland: Meridian Books, 1958.Google Scholar
Auerbach, Jonathan. Dark Borders: Film Noir and American Citizenship. Durham: Duke University Press, 2011.Google Scholar
“Abominable,” The Compact Edition of the Oxford Edition of the English Dictionary v. 1 (Oxford: Oxford University Press, 1971), 26.Google Scholar
Cain, James M. Double Indemnity (1938). New York: Avon Books, 1943.Google Scholar
Chandler, Raymond. The Big Sleep (1939). In The Raymond Chandler Omnibus. New York: Alfred Knopf, 1964.Google Scholar
Clarkson, Wensley. Like a Woman Scorned: True Stories of Women Who Kill. London: Blake Paperbacks, 1992.Google Scholar
Clastres, Pierre. Society against the State: Essays in Political Anthropology (1974). Trans. Robert Hurley. New York: Zone Books, 1989.Google Scholar
Davis, Carol Anne. Women Who Kill: Profiles of Female Serial Killers. London: Allison & Bisby, Ltd. 2002.Google Scholar
Dykstra, Bram. Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture. London and New York: Oxford University Press, 1988.Google Scholar
Ellroy, James. The Black Dahlia. New York: Mysterious Press, 1987.Google Scholar
Ellroy, James. My Dark Places. New York: Vintage, 1997.Google Scholar
Euripides, . Medea and Other Plays. Trans. Philip Vellacott. Harmondsworth: Penguin Books, 1963, 1761.Google Scholar
Farr, Louise. The Sunset Murders: The True Story of a Woman Who Would Do Anything for Love and Lover Who Taught Her to Kill. New York: Pocket Books, 1992.Google Scholar
Feiffer, Jules. Kill My Mother: A Graphic Novel. New York: W.W. Norton, 2014.Google Scholar
Felstiner, Mary Lowenthal. To Paint Her Life: Charlotte Salomon in the Nazi Era. New York: Harper Perennial, 1994.Google Scholar
Freud, Sigmund, “The Uncanny.” In The Standard Edition of the Complete Works of Sigmund Freud, Vol. 17. Ed. Strachey, James. London: Hogarth Press, 1955, 217–56.Google Scholar
Frewin, Leslie. Dietrich: The Story of a Star. New York: Avon Books, 1972.Google Scholar
Gresham, William Lindsay. Nightmare Alley (1946). In Polito, 517–796.Google Scholar
Hawthorne, Nathaniel. The Scarlet Letter. New York: Signet Classic, 1959.Google Scholar
Holding, Elisabeth Sanxay. The Blank Wall: A Novel of Suspense (1947). Chicago: Academy Publishers, 1991.Google Scholar
Jones, Ann. Women Who Kill. Boston: Beacon Press, 1996.Google Scholar
Jones, Jennifer. Medea’s Daughters: Forming and Performing the Woman Who Kills. Columbus: The Ohio State University Press, 2003.Google Scholar
Jones, Richard Glyn. Ed. The Mammoth Book of Women Who Kill. New York: Carroll and Graf Publishers, 2002.Google Scholar
Kracauer, Seigfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton: Princeton University Press, 1947.Google Scholar
Kuncl, Tom and Einstein, Paul. Ladies Who Kill: The True Crime Stories of Death Row’s Dozen Deadly Women. New York: Pinnacle Books, 1989.Google Scholar
Lacy, Ed [Leonard Zinberg]. Room to Swing. New York: Pyramid Books, 1957.Google Scholar
Manchette, Jean-Patrick. Fatale (1977). Trans. Donald Nicholson-Smith. New York: NYRB, 2012.Google Scholar
May, Elaine Tyler. Homeward Bound: American Families in the Cold War Era. New York: Basic Books, 1988.Google Scholar
Millar, Margaret. Do Evil in Return. New York: Dell, 1950.Google Scholar
Morrison, Toni. Beloved. New York: Alfred Knopf, 1987.Google Scholar
Neroni, Hilary. The Violent Woman: Femininity, Narrative, and Violence in Contemporary American Cinema. Albany: SUNY Press, 2005.Google Scholar
Polito, Robert. Crime Novels: American Noir of the 1930s and 1940s. New York: Library of America, 1997.Google Scholar
Robbins, Trina. Tender Murderers: Women Who Kill. York Beach, ME: Conari Press, 2003.Google Scholar
Rose, Jacqueline. Women in Dark Times. London: Bloomsbury, 2014.Google Scholar
Salomon, Charlotte. Charlotte: Life or Theater? An Autobiographical Play. Trans. Leila Vennewitz. New York: Viking Press, 1981.Google Scholar
Steinberg, Michael P. and Bohm-Duchen, Monica. Reading Charlotte Salomon. Ithaca: Cornell University Press, 2006.Google Scholar
Szalay, Michael. New Deal Modernism: American Literature and the Invention of the Welfare State. Durham, NC: Duke University Press, 2000.Google Scholar
Tallack, Douglas. “‘Waiting, Waiting’: The Hotel Lobby.” Irish Journal of American Studies 7 (1998): 120.Google Scholar
Theweleit, Klaus. Male Fantasies: Women, Floods, Bodies, History. Trans. Chris Turner et al. Minneapolis: University of Minnesota Press, 1987.Google Scholar
Wald, Alan M. Exiles from a Future Time: The Forging of the Mid-Twentieth-Century Literary Left. Chapel Hill: University of North Carolina Press, 2002.Google Scholar
Warkel, Harriet G. Paper to Paint: Edward Hopper’s Hotel Lobby. Indianapolis: Indianapolis Museum of Art, 2008.Google Scholar
West, Nathanael. The Day of the Locust (1939). New York: New Directions Press, 1950.Google Scholar
Woolrich, Cornell [Irish, William]. I Married a Dead Man (1948). In Polito, 797–976.Google Scholar

Works Cited

Bloch, Robert. Psycho. New York: The Overlook Press, Peter Mayer Publishers, Inc., 1959.Google Scholar
Cain, James M. Double Indemnity. New York: Vintage Books, 1992.Google Scholar
Chandler, Raymond. The Big Sleep. New York: Vintage Books, 1992.Google Scholar
Freedman, Estelle B.Uncontrolled Desires: The Response to the Sexual Psychopath, 1920 1960.” Journal of American History 74.1 (1987): 83106.Google Scholar
Hammett, Dashiell. Complete Novels: Red Harvest; The Dain Curse; The Maltese Falcon; The Glass Key; The Thin Man. Library of America. New York: Literary Classics of the United States, 1999.Google Scholar
Harris, Thomas. Red Dragon. New York: Dell, 2000.Google Scholar
Himes, Chester B. My Life of Absurdity: The Autobiography of Chester Himes. New York; Emeryville, CA: Thunder’s Mouth Press, 1998.Google Scholar
Krutnik, Frank. In a Lonely Street: Film Noir, Genre, Masculinity. London; New York: Routledge, 1991.Google Scholar
Schaub, Thomas H. American Fiction in the Cold War. History of American Thought and Culture. Madison, WI: University of Wisconsin Press, 1991.Google Scholar
Spillane, Mickey. The Mike Hammer Collection, Vol. 1. New York: New American Library, 2001.Google Scholar
Thompson, Jim. The Killer inside Me. New York: Vintage Crime/Black Lizard, 1952.Google Scholar
Trilling, Lionel. The Liberal Imagination. Garden City, NJ: Doubleday & Company, Inc., 1954.Google Scholar
Wright, Richard. Native Son. New York: Harper Perennial Modern Classics, 2005.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the or variations. ‘’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Modernist Era
  • Edited by Chris Raczkowski, University of South Alabama
  • Book: A History of American Crime Fiction
  • Online publication: 27 October 2017
Available formats

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Modernist Era
  • Edited by Chris Raczkowski, University of South Alabama
  • Book: A History of American Crime Fiction
  • Online publication: 27 October 2017
Available formats

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Modernist Era
  • Edited by Chris Raczkowski, University of South Alabama
  • Book: A History of American Crime Fiction
  • Online publication: 27 October 2017
Available formats