Lisa Hopkins is Professor of English at Sheffield Hallam University, UK, and co-editor of Shakespeare, the journal of the British Shakespeare Society. She has published widely on Shakespeare, Marlowe and Ford.
This book pushes beyond the focus of murder mysteries in British detective fiction to illuminate elements of what is perhaps the next most pertinent subgenre: stories of burglary and theft. Chapters cover work including E. W. Hornung's Raffles stories, Sherlock Holmes's investigation of as well as his own commitment of theft, Agatha Christie's novels, and more.
This book pushes beyond the focus of murder mysteries in British detective fiction to illuminate elements of what is perhaps the next most pertinent subgenre: stories of burglary and theft. Chapters cover work including E. W. Hornung's Raffles stories, Sherlock Holmes's investigation of as well as his own commitment of theft, Agatha Christie's novels, and more.
From Sherlock Holmes onwards, fictional detectives use lenses: Ocular Proof and the Spectacled Detective in British Crime Fiction argues that these visual aids are metaphors for ways of seeing, and that they help us to understand not only individual detectives’ methods but also the kinds of cultural work detective fiction may do.
From Sherlock Holmes onwards, fictional detectives use lenses: Ocular Proof and the Spectacled Detective in British Crime Fiction argues that these visual aids are metaphors for ways of seeing, and that they help us to understand not only individual detectives’ methods but also the kinds of cultural work detective fiction may do.
From Sherlock Holmes onwards, fictional detectives use lenses: Ocular Proof and the Spectacled Detective in British Crime Fiction argues that these visual aids are metaphors for ways of seeing, and that they help us to understand not only individual detectives’ methods but also the kinds of cultural work detective fiction may do.
Burial Plots in British Detective Fiction offers an overview of the ways in which the past is brought back to the surface and influences the present in British detective fiction written between 1920 and 2020. Exploring a range of authors including Agatha Christie, Patricia Wentworth, Val McDermid, Sarah Caudwell, Georgette Heyer, Dorothy Dunnett, Jonathan Stroud and Ben Aaronovitch, Lisa Hopkins argues that both the literal and literary disinterment of the past use elements of the national past to interrogate the present.