2 Broke
Girls (2012); 227 (1985); 8 Simple Rules (2003); A Bell for Adano (1967); A
Hole in the Head (1959); Abandoned and Deceived (1995); ABC Weekend Specials
(1982); Ada (1961); All in the Family (1971); Allan (1971); And Justice for All
(1979); Archie Bunker's Place (1979); Armstrong Circle Theatre (1953); Barbary
Coast (1975); Barnaby Jones (1980); Becker (1999); Big Hawaii (1977); Blue
Desert (1990); Bob & Carol & Ted & Alice (1969); Bonanza (1969); Boy
Meets World (1998); Bram and Alice (2002); Cavalcade of Bands (1950); Cavalcade
of Broadway: Blue Angel (1950); CBS Playhouse (1967); Complete Guide to Guys
(2005); CSI: Crime Scene Investigation (2008); Dave's World (1996); Do You
Remember Love (1985); Doc Elliot (1973); Dr. Kildare (1962); Dream On (1992); Due
Date (2010); Dumb and Dumber (1994); Dynasty (1982); Entanglement (2014); ER
(1999–2006); Evil Roy Slade (1972); Family (1977–1979); Far from Home (1989); Fast
Break (1979); Five Desperate Women (1971); Flight 90: Disaster on the Potomac
(1984); For Pete's Sake! (1966); Foul Play (1978); Get Smart (1995); Girlfriends
(2003); Good Times (1974); Guestward Ho! (1960); Hawaii Five-O (1974–1979); Hawthorne
(2009); Hill Street Blues (1984–1986); Home Improvement (1995); Hot Chili (1985);
How I Met Your Mother (2007); In the Heat of the Night (1990); It Came from
Outer Space II (1996); Jake and the Fatman (1991); Johnny Staccato (1976); Just
Our Luck (1983); Kiss the Bride (2007); Kojak (1974–1977); L.A. Doctors (1998);
Laverne & Shirley (1983); Legmen (1984); Life's Waltz (2008); Little Ladies
of the Night (1977); Lou Grant (1977); Love on a Rooftop (1967); Lovesick (2014);
Majority Rule (1992); Mary Hartman, Mary Hartman (1976); Matlock (1987); McMillan
& Wife (1973–1974); Murder, She Wrote (1986–1991); Murphy Brown (1994); My
World and Welcome to It (1969); NCIS: Los Angeles (2013); Ned's Declassified
School Survival Guide (2007); New Girl (2014); Nights in White Satin (1987); Nurses
(1992); Oh, God! (1977); Out of Sight (1998); Peter Loves Mary (1961); Pineapple
Express (2008); Please Don't Eat the Daisies (1965); Promised Land (2004); Pros
& Cons (1986); Ray Donovan (2013–2014); Relative Strangers (2006); Ritoru
champion (1981); Room 222 (1970); Roseanne & Tom: Behind the Scenes (1994);
Scorpion Spring (1995); Seinfeld (1997); Showfolk (2014); Significant Others
(2004); Silver Spoons (1984); Sliders (1998); Something to Live for: The Alison
Gertz Story (1992); Something's Gotta Give (2003); Staring at the Sun (2002); Starsky
and Hutch (1977–1978); Stoney Burke (1963); Studio One (1954); Stu's Show (2013);
Style & Substance (1998); Summer Playhouse (1965); Sunset Over Mulholland
Drive (2019); Tell Me You Love Me (2007); That '70s Show (2000); That's
Adequate (1989); The Andy Griffith Show (1968); The Arrow Show (1948); The Bait
(1973); The Beast (2001); The Bonfire of the Vanities (1990); The Colgate
Comedy Hour (1950); The Donna Reed Show (1961); The End of Innocence (1990); The
F.B.I. (1965–1972); The Fugitive (1966); The Jackie Gleason Show (1954); The
Jamie Kennedy Experiment (2004); The Jeff Foxworthy Show (1995); The Judge (1987);
The Last of the Secret Agents? (1966); The Man in the Glass Booth (1975); The
Mary Tyler Moore Show (1975); The Michael Richards Show (2000); The Milton
Berle Show (1949); The Name of the Game (1970); The New WKRP in Cincinnati
(1991); The Office (2009); The Opposite Sex and How to Live with Them (1992); The
People Next Door (1989); The President's Mistress (1978); The Red Skelton Hour
(1967); The Rockford Files (1978); The Rookies (1972); The Rosebud Beach Hotel
(1984); The Saturday Night Revue with Jack Carter (1951); The Strangers in 7A
(1972); The Streets of San Francisco (1976); The Tom Ewell Show (1961); The
Tonight Show with Jay Leno (2013); The Trip (2002); The Way West (1967); Troupers
(2011); True Colors (1990); True Grit (1969); Unhappily Ever After (1996); Up
All Night (2011); V (1984); Veronica's Closet (1998); View from the Top (2003);
Visions (1978); Watch Out for Slick (2010); Webster (1988); Welcome Back,
Kotter (1978); When Harry Met Sally... (1989); Where's Marlowe? (1998); Will
& Grace (2000); Worst Week (2008).
A Death in the Family; Agee
on Film; Agee on Film II; Cotton Tenants: Three Families, Melville House; Face
to Face; Knoxville: Summer of 1915; Let Us Now Praise Famous Men; Let Us Now
Praise Famous Men: Three Tenant Families; Letters of James Agee to Father Flye;
Permit Me Voyage; The African Queen; The Collected Poems of James Agee; The
Collected Short Prose of James Agee; The Morning Watch; The Night of the Hunter;
The Tramp's New World.
Movies and television:
20
Feet from Stardom (2013); A Death in the Family (2002); Agee (1979); All the
Way Home (1963 / 1971 / 1981); American Experience (1988); Experimenter (2015);
Face to Face / Segment: The Bride Comes to Yellow Sky (1952); Festival (1961); Genghis
Khan (1950); Green Magic (1953); In the Street (1948); Omnibus / Segment: Lincoln-Rutledge
Debate (1953); Omnibus / Segments: Mr. Lincoln / Lincoln Part IV: New Salem (1953–1955);
The African Queen (1951); The Night of the Hunter (1955); The Quiet One (1948);
Toutes les histoires / Histoire(s) du cinema (1999); Welcome to the Basement
(2015); White Mane (1953).
"Certain to be the
standard anthology of American detective stories for years to come." – Edward
D. Hoch, editor of The Year's Best Mystery and Suspense Stories.
"The Oxford Book
of American Detective Stories is indispensable to anyone interested in the
form." – Robert B. Parker, creator of the Boston private-eye, Spenser.
Edgar Allan Poe's
"Murders in the Rue Morgue" launched the detective story in 1841. The
genre began as a highbrow form of entertainment, a puzzle to be solved by a
rational sifting of clues. In Britain, the stories became decidedly upper
crust: the crime often committed in a world of manor homes and formal gardens,
the blood on the Persian carpet usually blue. But from the beginning, American
writers worked important changes on Poe's basic formula, especially in use of
language and locale. As early as 1917, Susan Glaspell evinced a poignant
understanding of motive in a murder in an isolated farmhouse. And with World
War I, the Roaring '20s, the rise of organized crime and corrupt police with
Prohibition, and the Great Depression, American detective fiction branched out
in all directions, led by writers such as Dashiell Hammett and Raymond
Chandler, who brought crime out of the drawing room and into the "mean
streets" where it actually occurred.
In The Oxford Book of
American Detective Stories, Tony Hillerman and Rosemary Herbert bring together
thirty-three tales that illuminate both the evolution of crime fiction in the
United States and America's unique contribution to this highly popular genre.
Tracing its progress from elegant "locked room" mysteries, to the
hard-boiled realism of the '30s and '40s, to the great range of styles seen
today, this superb collection includes the finest crime writers, including Erle
Stanley Gardner, Raymond Chandler, Ross Macdonald, Rex Stout, Ellery Queen, Ed
McBain, Sue Grafton, and Hillerman himself. There are also many delightful
surprises: Bret Harte, for instance, offers a Sherlockian pastiche with a hero
named Hemlock Jones, and William Faulkner blends local color, authentic
dialogue, and dark, twisted pride in "An Error in Chemistry." We meet
a wide range of sleuths, from armchair detective Nero Wolfe, to Richard Sale's
journalist Daffy Dill, to Robert Leslie Bellem's wise-cracking Hollywood detective
Dan Turner, to Linda Barnes's six-foot tall, red-haired, taxi-driving female
P.I., Carlotta Carlyle. And we sample a wide variety of styles, from tales with
a strongly regional flavor, to hard-edged pulp fiction, to stories with a
feminist perspective. Perhaps most important, the book offers a brilliant
summation of America's signal contribution to crime fiction, highlighting the
myriad ways in which we have reshaped this genre. The editors show how Raymond
Chandler used crime, not as a puzzle to be solved, but as a spotlight with
which he could illuminate the human condition; how Ed McBain, in "A Small
Homicide," reveals a keen knowledge of police work as well as of the human
sorrow which so often motivates crime; and how Ross Macdonald's Lew Archer solved
crime not through blood stains and footprints, but through psychological
insight into the damaged lives of the victim's family. And throughout, the
editors provide highly knowledgeable introductions to each piece, written from
the perspective of fellow writers and reflecting a life-long interest--not to
say love--of this quintessentially American genre.
American
crime fiction is as varied and as democratic as America itself. Hillerman and
Herbert bring us a gold mine of glorious stories that can be read for sheer
pleasure, but that also illuminate how the crime story evolved from the drawing
room to the back alley, and how it came to explore every corner of our nation
and every facet of our lives.