New Clues CFP: Mid-twentieth-century American women crime writers.

There is a new call for papers for a Clues: A Journal of Detection theme issue on the work of mid–twentieth-century American female crime writers. The guest editors are Erin A. Smith (University of Texas at Dallas) and Clare Rolens (Palomar College). Proposals are due 15 January 2027, with full essays of 5,000 to 6,000 words due 1 August 2027. 

Clues 39.1 published: Domestic noir.

Volume 39, no. 1 (2021) of Clues: A Journal of Detection—a theme issue on domestic noir guest edited by Eva Burke and Clare Clarke—has been published. The abstracts follow below. To order the issue or a subscription, contact McFarland. 

Update, 5-10-21. This issue is now available on Kindle, Nook, and Google Play.

Introduction: Domestic Noir

EVA BURKE AND CLARE CLARKE (Trinity College Dublin)
The guest editors discuss the development of the domestic noir subgenre and the contents of this theme issue of Clues, including an interview with British author Julia Crouch, who coined the term domestic noir, and articles on Irish and Scandinavian domestic noir; women’s book groups; mid-century antecedents of domestic noir; and authors such as A. J. Finn (aka Dan Mallory), Gillian Flynn, Tana French, Paula Hawkins, and Evelyn Piper (aka Merriam Modell).

At Home in Irish Crime Fiction
BRIAN CLIFF (Trinity College Dublin)
The author discusses the connections among domestic noir, Irish crime fiction, and the wider Irish literature, including examples from works by Jane Casey, Sinéad Crowley, Tana French, Catherine Ryan Howard, and Liz Nugent.

“I Am Not the Girl I Used to Be”: Remembering the Femme Fatale in The Girl on the Train
ROSIE COUCH (Cardiff University)
This article situates Rachel from Paula Hawkins’s novel The Girl on the Train (2015) as a contemporary incarnation of the femme fatale, redeployed within the domestic noir subgenre. The analysis demonstrates how Rachel’s perspective works to enact a feminist backlash against postfeminist rhetoric.

The Girl Who Got Mad: Challenging Psychopathology in Domestic Noir’s Antiheroines 
via Sarah Vaughan’s Anatomy of a Scandal (2018)
LIZ EVANS (University of Tasmania)
The author argues that Sarah Vaughan’s legal thriller Anatomy of a Scandal (2018) challenges domestic noir’s questionable tendency to pathologize anger and badness in its female protagonists (often depicted as survivors of rape or abuse) while showing how the persistent alignment of negative emotion with psychological instability undermines these central characters by impeding their self-agency.

Smoke and Mirrors: Dan Mallory, A. J. Finn, and The Woman in the Window as Postfeminist Noir Pastiche
ROBERTA GARRETT (University of East London)
The author discusses The Woman in the Window by A. J. Finn (pseudonym of Dan Mallory), examining Finn’s treatment of female characters and the tropes of the noir and domestic noir subgenres through the lens of postfeminist criticism.

“He Had It Coming”: Reading the Revenge Plot in Domestic Noir’s Gone Girl (2012)
KATHARINA HENDRICKX (University of Sussex)
This article examines Gillian Flynn’s Gone Girl (2012) and its popularity with female readers. It suggests that female readers are not only interested in the portrayal of women’s experiences but also engage with the depiction of the revenge plot, which allows women readers to negotiate their frustration and anger with the current postfeminist climate.

AKA: Five pseudonymous female mystery authors.

M. C. Beaton. The lighthearted Beaton mysteries feature dour Scottish constable Hamish MacBeth (adapted for television) and the always-in-trouble Agatha Raisin (adapted for radio with Penelope Keith), but under Beaton's real name, Marion Chesney, other mysteries have appeared (such as the Edwardian-set Snobbery with Violence) as well as romance novels.

Italian ed. of David Frome's
The Hammersmith Murders

David Frome/Leslie Ford. Zenith Jones Brown began her mystery career with Murder of an Old Man (1929) under the pseudonym David Frome, followed by more than 15 Frome mysteries and more than 30 mysteries under the name Leslie Ford. Her sleuths include Mr. Pinkerton, Inspector Bull, Colonel Pickering, and Grace Latham. The bookstore Mystery Loves Company selected Ford's Girl from the Mimosa Club (1957) as one of the best mysteries of the 20th century.

Nina Foch in
My Name Is Julia Ross (1945),
based on Anthony Gilbert's
The Woman in Red (1943)

Anthony Gilbert. Lucy Beatrice Malleson, a relative of actor Miles Malleson (Kind Hearts and Coronets, etc.), wrote 32 books under the four pseudonyms of Anne Meredith, J. Kilmeny Keith, Sylvia Denys Hooke, and Lucy Egerton. However, vulgar lawyer Arthur Crook is the star of most of the 60 novels under Malleson's pen name of Anthony Gilbert. Crook debuted in Murder by Experts (1936); the final Gilbert book was A Nice Little Killing (1974). A Detection Club member, she was an Edgar nominee for "Door to a Different World" (EQMM Mar. 1970) and "Fifty Years After" (EQMM Mar. 1973).

Evelyn Piper. Merriam Modell, wife of a Cornell pharmacology professor, wrote stories for the New Yorker and the novel The Sound of Years (1946), but it was under the name Evelyn Piper that she published her most well-known work: Bunny Lake Is Missing (1957, film 1965). Other Piper books include the Edgar-nominated The Innocent (1949), the Haycraft-Queen Cornerstone work The Motive (1950; called by the New York Times "a fine study in the detection not of who, but of why"), The Plot (1951), The Lady and Her Doctor (1956), Hanno's Doll (1961), The Naked Murderer (1962), The Nanny (1964, film 1965), and The Stand-In (1970).

Peter Vaughan in
Die! Die! My Darling
(1965), based on
Anne Blaisdell's Edgar-
nominated Nightmare

Dell Shannon. Illinois-born author Elizabeth Linington wrote under the pseudonyms Anne Blaisdell, Egan O'Neill, and Leslie Egan, as well as her own name; her police procedurals under the name Dell Shannon feature the LAPD's Luis Mendoza, including the Edgar-nominated novels Case Pending (1960) and Knave of Hearts (1962).

Happy birthday, Feminist Press.

Powell's celebrates the 40th birthday of the nonprofit Feminist Press, which has long reissued neglected works by female authors and other activist writers, with a sale on some of its titles. On the Feminist Press Web site are milestones in its history, including "2003. Femmes Fatales series. Ten great noir classics of the 30s, 40s, and 50s are launched," including Vera Caspary's Laura (1943; film 1944, dir. Otto Preminger), Dorothy B. Hughes's In a Lonely Place (1947; film 1950, dir. Nicholas Ray), and Evelyn Piper's Bunny Lake Is Missing (1957; film 1965, dir. Otto Preminger. Piper was the pseudonym of Miriam Levant Modell, aka Merriam Modell).