100 Books Like Twentieth Century Crime & Mystery Writers

I’ve read Bloody Murder more times than any other non-fiction book. The first edition made a huge impression on me. Symons introduced me to countless fascinating authors and books (many of them obscure) which I’d never heard of and which have given me endless reading pleasure. Symons’ opinions were, and remain, controversial, and his disdain for ‘humdrum’ writing from the ‘Golden Age’ between the wars has attracted much criticism, some of it sensible, some of it over-the-top. His belief that the ‘detective story’ had metamorphosed into the ‘crime novel’ was eloquently argued, but I think mistaken. Today’s readers have just as much of an appetite for an entertaining, well-crafted puzzle as ever. But never mind the flaws; this elegantly written book remains as influential as it is indispensable.

Haycraft was an American commentator and this survey of the history of crime writing up to the Second World War is soundly written and sympathetic. Interestingly, he believed that the locked room puzzle was played out and that authors should avoid it, whereas this type of mystery has enjoyed a significant revival in recent years. Predicting how crime writing will evolve in the future is fraught with danger! Inevitably, Haycraft’s focus was mainly on American and British crime fiction. The limited number of translated mysteries in those days meant that the global reach of crime writing, and the achievements of authors whose first language is not English, has long been under-estimated. Only now is this problem being addressed.   

This is a fun book. The late Bob Adey’s passion for locked-room puzzles and his extraordinary breadth of reading shines through. After a discursive history of this type of detective story, he lists over two thousand novels and stories and the ‘impossible crime’ elements within them. A separate section listing all the solutions is not only enlightening but highly entertaining. A recent updated edition by Brian Skupin evidences the enduring appeal of ‘miraculous mysteries.’ 

I dreamed for many years of writing a book about crime fiction. I’m primarily a crime novelist, but so was Julian Symons, and the experience of writing fiction is invaluable when discussing other writers and understanding what they were trying to do. I approached Oxford University Press, with a view to producing a Companion about the genre, comprising essays by writers including myself. This led to a fruitful meeting with an OUP editor and novelist, Michael Cox, but the project was stillborn when his American colleagues had commissioned just such a book, to be edited by Rosemary Herbert. Rosemary invited me to contribute twenty-odd essays to her Companion, and I found the work of my fellow contributors (including Symons) a delight to read.

Although many critical thinking texts include some analysis of bits from popular culture, I wanted to include this book on my list because, as its title indicates, it focuses on popular culture­—which is good because most of us immerse ourselves in popular culture and so it influences our thinking in a huge way. There's a whole chapter. There's a whole chapter dedicated to "Analyzing American Television," another dedicated to "American Advertising and the Subtle Art of Manipulation," and one dedicated to "Popular Culture in Speeches."  

I’m a fan of history. A storyline that revolves around such a long-term contract intrigued me. This one is set back in the 1960s, with scenes that jump back to World War II and then the fifties.

Griffin’s style was smooth. She brought me along in the story, giving me little hints as to what was really going on. There are secrets galore here and plenty of surprises. The characters are well-drawn. The timeframe of the story works perfectly with some of the twists.

This book took me into an amazing and often terrifying world. It was absolutely fascinating—the way the town worked and all the rules. I loved being a newcomer in Morganville, along with the main character, Claire. I loved seeing her grow into herself, become more confident, and so very clever. I also loved the dynamics between Claire and her roommates and the relationships that bloomed between them. So many characters are amazing or fear-inducing, and some are both, but none are more swoon-worthy than Shane and Michael.

Claire encounters many dark, dangerous, and heart-wrenching moments throughout the series, and I was engrossed in each one, holding my breath at times and laughing out loud at others. I really love this series, and it’s another that’s stayed with me vividly.

I was pleasantly surprised at how sweet and truly romantic Will North's Water, Stone, Heart turned out to be. I wandered lazily through the Cornish countryside with the main character, meeting quirky locals, becoming fascinated by the mystery of the artist who had settled in a seaside village. And at the conclusion I felt comfortably satisfied. A lovely read. Who says men can't write romance?

Malcom Gladwell is undoubtedly the best translator of social science research writing these days. 

What the Dog Saw is a compendium of New Yorker essays penned by Gladwell, several of which have a direct link to managing people. Two of my favorites are “Late Bloomers” – an essay on the fallacy of inherent talent, and “Most Likely to Succeed”.

These essays say a lot about employee selection and development, challenging the assumptions held by too many managers that good staff are born, not made, and that selecting top talent is the key to competitive advantage. Gladwell goes with the evidence, but does so in a super-engaging manner. 

Weaving together the influence of film, television, sport, and punk rock, Horten’s book describes how Western media or, specifically, how the East German population’s desire for Western media and consumer culture and the regime’s efforts to satisfy those desires contributed to the peaceful revolution in 1989.

Despite assumptions that the socialist dictatorship in East Germany was omnipresent, this book, like many others about everyday life under communism, undermines that notion. Horten shows the regime locked in a downward spiral. Faced with economic crises and increasingly unable to afford domestic television and film production, the regime turned to Western imports.

This fed the people’s desire for Western media while increasing that appetite and exposing the regime’s weaknesses in the process.