Titlebook: Serial Crime Fiction; Dying for More Jean Anderson,Carolina Miranda,Barbara Pezzotti Book 2015 The Editor(s) (if applicable) and The Author

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Stephen Burroughs, Serial Offender: Formula and Fraud in Early US Crime Literaturefamous examples, Wilson ([1945] 2007) compares readers of detective stories to drug addicts and alcoholics, eager to get their next fix and unconcerned with the quality of the product they consume; and Eco describes Fleming’s spy novels as a narrative machine that ‘produces redundancy’ ([1966] 1983,

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More than the Sum of its Parts: Borges, Bioy Casares and the Phenomenon of the , Collection the system of Argentine literary fiction throughout the twentieth century (1997, 1). As early as the mid-1910s popular collections following the model of the late nineteenth- and early twentieth-century American dime novel began to flourish in Argentina. While periodicals such as ., . and . started

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Serializing Sullivan: Vian/Sullivan, the , and the llection. Arguably, however, these are the complete fictional works of two authors: French writer Boris Vian and his black American pseudonymous creation, Vernon Sullivan. For critics like Edmund Smyth this must have represented long overdue recognition of the qualities of the latter’s work. As Smyt

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The Structure of the Whole: James Ellroy’s , Seriesthe . is not easy to define or quantify in terms of which works belong to the series, nor is its identity as a series fixed. Most sources, including the author himself, refer to the. as the following four works: . (1987), a novelization of the unsolved murder of Elizabeth Short; . (1988), in which a

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Series Fiction and the Challenge of Ideology: The Feminism of Sara Paretskythis book helped kick-start a new crime fiction subgenre, the feminist hardboiled detective novel. Paretsky’s success, along with that of contemporaries such as Sue Grafton and Marcia Muller, drew a large number of women writers into the genre, together with new, feminist readers of crime fiction. P

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