Great mystery and suspense writers have created some of the most unforgettable stories in all of literature. Even those who don't consider themselves fans of this intriguing genre are familiar with names such as Hercule Poirot, Sam Spade, Hannibal Lecter, and Robert Langdon, and understand the deep and lasting impact this writing has had on literature as a whole. An utterly captivating and compelling genre, mystery and suspense has leapt off the pages of the old dime store paperbacks, magazines, and comic books onto big screens, small screens, radio serials, podcasts, websites, and more. You'll find elements, characters, and references permeating popular culture and news reports worldwide, and bleeding into other literary genres such as romance, political thrillers, sports stories, and even biographies. Nearly 200 years old, the genre of mystery and suspense literature is only growing more popular.
How did it become so prevalent? Why is mystery and suspense a go-to genre for so many around the world? What makes the dark and sometimes grisly themes appealing? In 24 lectures of The Secrets of Great Mystery and Suspense Fiction, Professor David Schmid of the University at Buffalo examines these questions, as he guides you through an examination of the many different varieties of the genre, including classic whodunits, hard-boiled crime fiction, historical mysteries, courtroom dramas, true crime narratives, espionage fiction, and many more.
Fans of the genre will be delighted by the breadth and depth of information presented, guaranteed to uncover gems they had not yet discovered. But anyone, whether they are admirers of mystery on radio and film, or simply fans of literature, history, or pop culture, will find something to enlighten and entertain in this study of a genre with such tremendous impact.
PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your Library section along with the audio.
©2016 The Great Courses (P)2016 The Teaching Company, LLC
Genre fiction, trashy to literary--mystery, action, sci fi, fantasy, and, yes, even romance. Also history. Listener reviews help a lot!
This course might have been better off with 30 or even 24 lectures instead of these 36 too-often painfully repetitious segments. Although the course outline looks like it would be inclusive and stimulating, in fact many of the lectures sound the same. I quit listening to several of them when what I thought was going to be a new and interesting topic became a reiteration of previous material.
Not that there aren’t some enlightening and interesting lectures on a couple of unexpected topics such as "Latino Detectives on the Border" and "The American Dime Novel," but for the most part Professor Schmid keeps returning to a few favorite themes.
The first and most repeated theme is the foundational (the professor is fond of such adjectives) roots of mystery and suspense fiction, which he attributes to Edgar Allan Poe, Arthur Conan Doyle, and Agatha Christie. It would be pretty hard to argue with these choices, but their work (especially Poe’s "The Murders in the Rue Morgue") is referred to so often, and usually using similar words to make the same points over and over, that I began to wonder whether we’d make it into the 21st century. We do in fact get there, and in the process spend a lot of time with The Private Eye, another pet topic--again a fair choice that I thought it was overemphasized.
This is definitely a college “lit” course, of a type that emphasizes subjective analysis ("why does Dashiell Hammett tell us that Sam Spade's eyes 'burned yellowly'?") and literary criticism ("The noted critic xxx zzz has proposed that...."). It’s also a very academic presentation, heavy on the "here’s what I’m about to tell you, I’m telling you this, here’s what I just told you" formula. For what it presents, it is authoritative, and I did learn some interesting things, but it did not inspire me to explore the work of any of the new-to-me authors, or to try my own hand at mystery and suspense writing (at which I admit I would be awful, so that last is probably just as well).
Perhaps it was a means of padding the course, but the lectures that fixate on the race and gender of the writers and works were of far too much focus for me. I don't need to hear about the first [insert aspect of identity] writer. Nor do I need a seemingly forced review of every culture and race's offering. Clearly, some of the contributions didn't meet a conventional standard, and thus shouldn't have been touched upon. Alas...
Quite knowledgeable about the subject. I would like to introduce him to the pronunciation of the letter "g" at the end of the suffix "ing". To an American ear, it occasionally becomes confusing, as much as I generally appreciate a British accent. I was pleased to discover that I often anticipated the next topic of discussion from a general description. Two things I would have liked to be included: an unraveling of the plot of The Big Sleep, if one can be found, and something about the very popular books of J.D. Robb, which are a blend of police procedural, romance, and science fiction.
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