By Steven Powell
A hundred American Crime Writers gains dialogue and research of the lives of crime writers and their key works, analyzing the advancements in American crime writing from the Golden Age to hardboiled detective fiction. This research is vital to students and a great creation to crime fiction for somebody who enjoys this interesting style.
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Additional resources for 100 American Crime Writers
138). Hawks’ comment is indicative of the widespread perception that crime fiction, as a market for gritty realism, is ‘masculine’ writing. This is a perception Brackett herself endorsed, and she often claimed that she was always a masculine writer. This may be a consequence of her writing within the conventions and audience expectations of crime fiction whereas, in comparison to her writing outside of the genre, her identity as a female writer was widely known and publicised by the editors of the science fiction pulps that her short stories appeared in.
Frequently in trouble and often running away from wherever he was housed, Bunker was eventually picked up by the police and placed in juvenile hall at the age of 11 after attacking his father. This was almost certainly the genesis for Bunker’s distrust or hatred for authority and institutions. Bunker was shifted between juvenile halls and state hospitals, where he was put under observation when he feigned insanity. Bunker was severely beaten by attendants at a state hospital known as Pacific Colony, but it was during his time there that he began to develop a knowledge of the unwritten rules of survival that inmates must adhere to if they are to live through incarceration, a knowledge which he would later render so vividly in his crime narratives.
Although largely ignored by critics at the time of publication, Bannon’s work provoked an emotional response from readers and Bannon received thousands of letters from women identifying themselves with the lesbian characters. All of her novels were written pseudonymously and anonymously, with Bannon only admitting authorship upon their republication in 1983. After I am a Woman, Women in the Shadows (1959) returned to a darker theme, examining the self-hatred in Laura and Beebo’s relationship. Male-on-female physical violence, a subtle undercurrent throughout the series, is brutally actualised in the novel when one character is raped.