This book establishes the genealogy of a subgenre of crime fiction that Antoine Dechêne calls the metacognitive mystery tale. It delineates a corpus of texts presenting 'unreadable' mysteries which, under the deceptively monolithic appearance of subverting traditional detective story conventions, offer a multiplicity of motifs – the overwhelming presence of chance, the unfulfilled quest for knowledge, the urban stroller lost in a labyrinthine text – that generate a vast array of epistemological and ontological uncertainties. Analysing the works of a wide variety of authors, including Edgar Allan Poe, Jorge Luis Borges, and Henry James, this book is vital reading for scholars of detective fiction.

Although readers of detective fiction ordinarily expect to learn the mystery's solution at the end, there is another kind of detective story—the history of which encompasses writers as diverse as Poe, Borges, Robbe-Grillet, Auster, and Stephen King—that ends with a question rather than an answer. The detective not only fails to solve the crime, but also confronts insoluble mysteries of interpretation and identity. As the contributors to Detecting Texts contend, such stories belong to a distinct genre, the "metaphysical detective story," in which the detective hero's inability to interpret the mystery inevitably casts doubt on the reader's similar attempt to make sense of the text and the world. Detecting Texts includes an introduction by the editors that defines the metaphysical detective story and traces its history from Poe's classic tales to today's postmodernist experiments. In addition to the editors, contributors include Stephen Bernstein, Joel Black, John T. Irwin, Jeffrey T. Nealon, and others.

P. D. James, the undisputed queen of mystery, gives us an intriguing, inspiring and idiosyncratic look at the genre she has spent her life perfecting. Examining mystery from top to bottom, beginning with such classics as Charles Dickens's Bleak House and Wilkie Collins's The Woman in White, and then looking at such contemporary masters as Colin Dexter and Henning Mankell, P. D. James goes right to the heart of the genre. Along the way she traces the lives and writing styles of Arthur Conan Doyle, Agatha Christie, Dashiell Hammett, and many more. Here is P.D. James discussing detective fiction as social history, explaining its stylistic components, revealing her own writing process, and commenting on the recent resurgence of detective fiction in modern culture. It is a must have for the mystery connoisseur and casual fan alike.

Edgar Allan Poe essentially invented the detective story in 1841 with Murders in the Rue Morgue. In the years that followed, however, detective fiction in America saw no significant progress as a literary genre. Much to the dismay of moral crusaders like Anthony Comstock, dime novels and other sensationalist publications satisfied the public's hunger for a yarn. Things changed as the century waned, and eventually the detective was reborn as a figure of American literature. In part these changes were due to a combination of social conditions, including the rise and decline of the police as an institution; the parallel development of private detectives; the birth of the crusading newspaper reporter; and the beginnings of forensic science. Influential, too, was the new role model offered by a wildly popular British import named Sherlock Holmes. Focusing on the late 19th century and early 20th, this volume covers the formative years of American detective fiction. Instructors considering this book for use in a course may request an examination copy here.

Truth to Post-Truth in American Detective Fiction examines questions of truth and relativism, turning to detectives, both real and imagined, from Poe’s C. Auguste Dupin to Robert Mueller, to establish an oblique history of the path from a world where not believing in truth was unthinkable to the present, where it is common to believe that objective truth is a remnant of a simpler, more naïve time. Examining detective stories both literary and popular including hard-boiled, postmodern, and twenty-first century novels, the book establishes that examining detective fiction allows for a unique view of this progression to post-truth since the detective’s ultimate job is to take the reader from doubt to belief. David Riddle Watson shows that objectivity is intersubjectivity, arguing that the belief in multiple worlds is ultimately what sustains the illusion of relativism.

Popular fiction, with its capacity for diversion, can mask important cultural observations within a framework that is often overlooked in the academic world. Works thought to be merely "escapist" can often be more seriously mined for revelations regarding the worlds they portray, especially those of the disenfranchised. As detective fiction has slowly earned critical respect, more authors from minority groups have chosen it as their medium. Chicana/o authors, previously reluctant to write in an underestimated genre that might further marginalize them, have only entered the world of detective fiction in the past two decades. In this book, the first comprehensive study of Chicano/a detective fiction, Ralph E. Rodriguez examines the recent contributions to the genre by writers such as Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava, and Manuel Ramos. Their works reveal the struggles of Chicanas/os with feminism, homosexuality, familia, masculinity, mysticism, the nationalist subject, and U.S.-Mexico border relations. He maintains that their novels register crucial new discourses of identity, politics, and cultural citizenship that cannot be understood apart from the historical instability following the demise of the nationalist politics of the Chicana/o movement of the 1960s and 1970s. In contrast to that time, when Chicanas/os sought a unified Chicano identity in order to effect social change, the 1980s, 1990s, and 2000s have seen a disengagement from these nationalist politics and a new trend toward a heterogeneous sense of self. The detective novel and its traditional focus on questions of knowledge and identity turned out to be the perfect medium in which to examine this new self.

This book begins with a history of the detective genre, coextensive with the novel itself, identifying the attitudes and institutions needed for the genre to emerge in its mature form around 1880. The theory of the genre is laid out along with its central theme of the getting and deployment of knowledge. Sherlock Holmes, the English Classic stories and their inheritors are examined in light of this theme and the balance of two forms of knowledge used in fictional detection--cool or rational, and warm or emotional. The evolution of the genre formula is driven by changes in the social climate in which it is embedded. These changes explain the decay of the English Classic and its replacement by noir, hardboiled and spy stories, to end in the cul-de-sac of the thriller and the nostalgic Neo-Classic. Possible new forms of the detective story are suggested.