Jem Bloomfield – författare

Witchcraft and paganism exert an insistent pressure from the margins of midcentury British detective fiction. This Element investigates the appearance of witchcraft and paganism in the novels of four of the most popular female detective authors of the era: Agatha Christie, Margery Allingham, Ngaio Marsh and Gladys Mitchell. The author approaches the theme of witchcraft and paganism not simply as a matter of content but as an influence which shapes the narrative and its possibilities. The 'witchy' detective novel, as the author calls it, brings together the conventions of Golden Age fiction with the images and enchantments of witchcraft and paganism to produce a hitherto unstudied mode of detective fiction in the midcentury.

Witchcraft and paganism exert an insistent pressure from the margins of midcentury British detective fiction. This Element investigates the appearance of witchcraft and paganism in the novels of four of the most popular female detective authors of the era: Agatha Christie, Margery Allingham, Ngaio Marsh and Gladys Mitchell. The author approaches the theme of witchcraft and paganism not simply as a matter of content but as an influence which shapes the narrative and its possibilities. The ''witchy'' detective novel, as the author calls it, brings together the conventions of Golden Age fiction with the images and enchantments of witchcraft and paganism to produce a hitherto unstudied mode of detective fiction in the midcentury.

Witchcraft and paganism exert an insistent pressure from the margins of midcentury British detective fiction. This Element investigates the appearance of witchcraft and paganism in the novels of four of the most popular female detective authors of the era: Agatha Christie, Margery Allingham, Ngaio Marsh and Gladys Mitchell. The author approaches the theme of witchcraft and paganism not simply as a matter of content but as an influence which shapes the narrative and its possibilities. The ''witchy'' detective novel, as the author calls it, brings together the conventions of Golden Age fiction with the images and enchantments of witchcraft and paganism to produce a hitherto unstudied mode of detective fiction in the midcentury.

A superbly rich and engrossing exploration of C.S. Lewis’ The Lion, the Witch and the Wardrobe, Paths in the Snow traces the literary allusions and echoes to be found in this beloved novel, drawing the reader deeper into the magic and meaning of Narnia.From Dante to The Wind in the Willows, and from medieval dream poetry to Dorothy L. Sayers, Paths in the Snow uncovers the literary connections which criss-cross Narnia. Stories, myth and literature played a central role in Lewis’ personal life and religious imagination: he was a professor of literature who came back to faith by seeing the Christian story as a “true myth” created by God. Untangling the fascinating network of literary allusions and sources in The Lion, the Witch and the Wardrobe helps to bring Lewis’ vision into focus.This study also examines the time in which the first Narnia book was written, shedding light on its historical and cultural context, and how these shaped its meaning for its first readers. Paths in the Snow reveals why the Pevensie children are always shaking hands with each other and what a wartime recipe for whalemeat fritters can tell us about Narnian food. The book proceeds chapter by chapter through The Lion, the Witch and the Wardrobe, making it ideal for reading groups or study sessions. It also provides an opportunity for readers to branch off into their own journey through the literary and theological sources which stocked Lewis’ mind.The perfect gift for any Narnian, and a valuable resource for groups, Paths in the Snow will appeal to all fans of C.S. Lewis’ work, and enable anyone to stand at the wardrobe door, and go further in.

This study argues that allusion is a central part of classic British detective fiction. It demonstrates the fraught status of Shakespeare and the Bible during the Golden Age of the British detective novel, and the cultural currents which novelists navigated whilst alluding to them. The first part traces the complex web of allusions to Shakespeare and the Bible which appear in the novels of Agatha Christie and Dorothy L. Sayers, examining the meanings these allusions produce. The second part explores the way in which Sayers’ own collection of detective novels became a canon, on which later novelists exercised those same allusive practices. It studies allusions to Sayers’ novels throughout the twentieth century and into the twenty-first, from Gladys Mitchell and P.D. James to Reginald Hill and Sujata Massey.  This study reveals allusion as a shaping force at the origin of the classic British detective novel, and a continuing element in its identity.

This study argues that allusion is a central part of classic British detective fiction. It demonstrates the fraught status of Shakespeare and the Bible during the Golden Age of the British detective novel, and the cultural currents which novelists navigated whilst alluding to them. The first part traces the complex web of allusions to Shakespeare and the Bible which appear in the novels of Agatha Christie and Dorothy L. Sayers, examining the meanings these allusions produce. The second part explores the way in which Sayers’ own collection of detective novels became a canon, on which later novelists exercised those same allusive practices. It studies allusions to Sayers’ novels throughout the twentieth century and into the twenty-first, from Gladys Mitchell and P.D. James to Reginald Hill and Sujata Massey.  This study reveals allusion as a shaping force at the origin of the classic British detective novel, and a continuing element in its identity.