Author: Charlotte Beyer, School of Education and Humanities, University of Gloucestershire - Academia.edu, Google Scholar, ResearchGate

Contents:

	Acknowledgments (p. v)
	1. Reading Crime Fiction through Fourth-Wave Feminism and #MeToo (p. 1)
		Crime Fiction and the Politics of Representation (p. 2)
		Fourth-Wave Feminism (p. 4)
		The #MeToo Movement (p. 6)
		Methodology and Critical Approach (p. 8)
		The Book’s Contents and Structure (p. 11)
		Notes (p. 15)
	2. #MeToo: Josephine Tey’s The Franchise Affair, Lauren Henderson’s “#MeToo,” Susan White’s Cut, and Jennifer Haigh’s Mercy Street (p. 21)
		Re-reading the Canon: Josephine Tey’s The Franchise Affair (1948) (p. 24)
		Documenting a Key Cultural Moment: Lauren Henderson’s “#MeToo” (2019) (p. 26)
		#MeToo in the Workplace: Susan White’s Cut (2022) (p. 28)
		Reproductive Rights as a #MeToo Issue: Jennifer Haigh’s Mercy Street (2022) (p. 34)
		Conclusion: #MeToo and Beyond (p. 43)
		Notes (p. 44)
	3. Rape Culture: Maj Sjöwall and Per Wahlöö’s Roseanna, Allison Leotta’s The Last Good Girl, Y. A. Erskine’s The Betrayal, and Heather J. Fitt’s Open Your Eyes (p. 49)
		Re-reading the Canon: Maj Sjöwall and Per Wahlöö’s Roseanna (1965) (p. 51)
		Rape Culture on Campus: Allison Leotta’s The Last Good Girl (2016) (p. 53)
		Rape Culture in the Police Force: Y. A. Erskine’s The Betrayal (2012) (p. 58)
		Rape Culture and the Incelosphere: Heather J. Fitt’s Open Your Eyes (2022) (p. 63)
		Conclusion: Justice for Rape Victims? (p. 69)
		Notes (p. 71)
	4. Toxic Masculinity: Agatha Christie’s A Caribbean Mystery, John Harvey’s “Yesterdays,” Dorothy Koomson’s The Brighton Mermaid, and Pekka Hiltunen’s “Jenkem” (p. 75)
		Re-reading the Canon: Agatha Christie’s A Caribbean Mystery (1964) (p. 77)
		The Stereotypical Domestic Abuse Victim: John Harvey’s “Yesterdays” (2019) (p. 80)
		Misogynoir and Toxic Masculinity: Dorothy Koomson’s The Brighton Mermaid (2018) (p. 85)
		Toxic Masculinity Among Males: Pekka Hiltunen’s “Jenkem” (2014) (p. 91)
		Conclusion: Toxic Masculinity and White Male Supremacy (p. 96)
		Notes (p. 97)
	5. LGBTQ+ Representation: Raymond Chandler’s The Big Sleep, Nekesa Afia’s Dead Dead Girls, Michael Nava’s Lies With Man, and Stella Duffy’s Fresh Flesh (p. 101)
		Re-reading the Canon: Raymond Chandler’s The Big Sleep (1939) (p. 104)
		History and LGBTQ+ Women of Color: Nekesa Afia’s Dead Dead Girls (2021) (p. 106)
		Histories of Marginalization: Michael Nava’s Lies With Man (2021) (p. 111)
		LGBTQ+ Reproductive Rights: Stella Duffy’s Fresh Flesh (1999) (p. 116)
		Conclusion: #MeToo and LGBTQ+ Representation in Crime Fiction (p. 122)
		Notes (p. 123)
	6. Transgender: Val McDermid’s The Mermaids Singing, Alex Reeve’s The House on Half Moon Street, V. T. Davy’s Black Art, and Dharma Kelleher’s TERF Wars (p. 129)
		Re-reading the Canon: Val McDermid’s The Mermaids Singing (1995) (p. 132)
		Victorian Transgender: Alex Reeve, The House on Half Moon Street (2018) (p. 134)
		Transgender and Unearthing Hidden Histories: V. T. Davy’s Black Art (2012) (p. 138)
		Fighting Injustice and Transphobia: Dharma Kelleher’s TERF Wars (2021) (p. 143)
		Conclusion: Crime Fiction and Transgender in the #MeToo Era (p. 151)
		Notes (p. 152)
	Conclusion: #MeToo and Crime Fiction (p. 159)
		Notes (p. 162)
	Bibliography (p. 163)
	Index (p. 183)

Description: »Informed by fourth-wave feminism, Crime Fiction in the Age of #MeToo presents a compelling and timely reading of crime fiction in the age of #MeToo. The book explores five major fourth-wave feminist topics, #MeToo, rape culture, toxic masculinity, LBGTQ+ perspectives, and transgender. These topics have been the subject of intense feminist scrutiny and campaigning, and the book demonstrates how this attention is reflected in contemporary crime fiction and its generic and thematic preoccupations. The book opens with a chapter presenting an overview of existing critical perspectives and feminist debates, demonstrating how fourth-wave feminist ideas and debates are inspiring innovations in the genre, as well as generating fresh ways of reading past and present crime fictions. Providing an overview and context for both fourth-wave feminism and the #MeToo movement, the chapter establishes the critical and cultural framework for its analysis. The chapter also outlines the book's methodology and approach, detailing the contents of the chapters. Each of the five subsequent chapters uses critical vocabulary and concepts from feminism and the #MeToo movement to reassess canonical works and present new readings of contemporary crime fiction, producing compelling analyses of gender and genre.
Through its critical examination of crime fiction, Crime Fiction in the Age of #MeToo offers a powerful feminist analysis of the genre which draws links between literature and ongoing urgent social and cultural debates such as the #Metoo movement and fourth-wave feminism.« (Source: Anthem Press)

Wikipedia: History of Europe: History of Scotland / History of Europe: History of Sweden / History of Sweden (1945–1967) | History of Oceania: History of Australia / History of Australia (1945–present) | History of the Americas: History of the United States / History of the United States (1991–2016) | Literature: Swedish literature / Maj Sjöwall, Per Wahlöö | Literature: American literature, Australian literature | Literature: Novels about rape / Roseanna (novel) | Sex and the law: Rape / Rape culture, History of rape