Titlebook: Burial Plots in British Detective Fiction; Lisa Hopkins Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license

愤慨一下

https://doi.org/10.1007/BFb0072264odies or possessions resurface in a way that affects or comments on the present. Any act of digging the ground in crime fiction is also a digging into someone’s life, and any disinterment of the dead also reveals something about the living. The first half of the chapter looks at the history of archa

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The Uniform Boundedness Principle,, but never really changes: she continues to uphold Victorian values and to quote Tennyson at all opportunities. This is not only from nostalgia, however: the books consistently present talk—and especially women’s talk—as a terrifying force which poisons people’s lives and distorts their sense of wh

Evocative

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枯萎将要

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An Introduction to Vector Spaces, the fact that the more enthusiasm a character displays for the season, the more likely they are to be murdered. The chapter suggests that as part of the inversion and suspension of normality associated with the twelve days of Christmas, the usual moral imperatives are relaxed and killing can become

Addictive

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Katerina Karavasili,Pieter Koolwijkthe systematic uncovering of the layers of the past. Patricia Wentworth’s Miss Silver books show stories being shaped by ‘talk’, while the detective novels of Georgette Heyer, Dorothy Dunnett and Sarah Caudwell explore crime fiction as a genre, whose cultural status of the form is also a concern for

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