Lucy Andrew – författare

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.

Loving The Other Bennet Sister? Don't miss this utterly addictive and deliciously witty cozy crime caper set in the world of Jane Austen's Emma!Harriet Smith. Companion. Wallflower. Sleuth?Mrs Churchill is convinced someone is trying to kill her. As if she didn't have enough to vex her, she fears that lowly Jane Fairfax has won the heart of her nephew, Frank.She hires Emma Woodhouse's secretly devious companion Harriet Smith to break up the relationship and uncover who wants her dead.As Harriet's list of suspects grows, will she prevent the worst from happening? And will she avoid falling for the charming Frank Churchill herself?An utterly charming cozy crime mystery set in the world of Jane Austen's Emma, perfect for fans of Bridgerton, Janice Hadlow, Richard Osman or Peter Boland.'A giant dollop of wicked humour, all delivered in an absolute page-turner. Would love to read a follow on!' Caroline Corcoran, bestselling author of Tiny DaggersReaders are getting out their smelling salts for this deliciously fun debut!'Great fun and with more twists than a very twisty thing. Recommended!' Reader review, 5 stars'Emma Woodhouse would be shocked and amazed. I absolutely loved this book!' Reader review, 5 stars'A Very Entertaining Book! . . . witty, clever and rich with adventure!' Reader review, 5 stars'Witty, clever and rich with adventure! Great fun!' Reader review, 5 stars

This book aims to establish the position of the sidekick character in the crime and detective fiction literary genres. It re-evaluates the traditional view that the sidekick character in these genres is often overlooked as having a small, generic or singular role—either to act as the foil to the detective in order to accentuate their own abilities at solving crimes, or else to simply tell the story to the reader. Instead, essays in the collection explore the representations and functions of the detective’s sidekick across a range of forms and subgenres of crime fiction. By incorporating forms such as children’s detective fiction, comics and graphic novels and film and television alongside the more traditional fare of novels and short stories, this book aims to break down the boundaries that sometimes exist between these forms, using the sidekick as a defining thread to link them together into a wider conceptual argument that covers a broad range of crime narratives.

This book aims to establish the position of the sidekick character in the crime and detective fiction literary genres. It re-evaluates the traditional view that the sidekick character in these genres is often overlooked as having a small, generic or singular role—either to act as the foil to the detective in order to accentuate their own abilities at solving crimes, or else to simply tell the story to the reader. Instead, essays in the collection explore the representations and functions of the detective’s sidekick across a range of forms and subgenres of crime fiction. By incorporating forms such as children’s detective fiction, comics and graphic novels and film and television alongside the more traditional fare of novels and short stories, this book aims to break down the boundaries that sometimes exist between these forms, using the sidekick as a defining thread to link them together into a wider conceptual argument that covers a broad range of crime narratives.

This book maps the development of the boy detective in British children’s literature from the mid-nineteenth to the early-twentieth century. It explores how this liminal figure – a boy operating within a man’s world – addresses adult anxieties about boyhood and the boy’s transition to manhood. It investigates the literary, social and ideological significance of a vast array of popular detective narratives appearing in ‘penny dreadfuls’ and story papers which were aimed primarily at working-class boys. This study charts the relationship between developments in the representation of the fictional boy detective and changing expectations of and attitudes towards real-life British boys during a period where the boy’s role in the future of the Empire was a key concern. It emphasises the value of the early fictional boy detective as an ideological tool to condition boy readers to fulfil adult desires and expectations of what boyhood and, in the future, proper manhood should entail. It will be of particular importance to scholars working in the fields of children’s literature, crime fiction and popular culture.

This book maps the development of the boy detective in British children’s literature from the mid-nineteenth to the early-twentieth century. It explores how this liminal figure – a boy operating within a man’s world – addresses adult anxieties about boyhood and the boy’s transition to manhood. It investigates the literary, social and ideological significance of a vast array of popular detective narratives appearing in ‘penny dreadfuls’ and story papers which were aimed primarily at working-class boys. This study charts the relationship between developments in the representation of the fictional boy detective and changing expectations of and attitudes towards real-life British boys during a period where the boy’s role in the future of the Empire was a key concern. It emphasises the value of the early fictional boy detective as an ideological tool to condition boy readers to fulfil adult desires and expectations of what boyhood and, in the future, proper manhood should entail. It will be of particular importance to scholars working in the fields of children’s literature, crime fiction and popular culture.