By Stephen F Soitos University of Massachusetts Press, 1996 Where do you read detective fiction? On airplanes? By the shore? In bed? If you are a typical fan of the genre, wherever or whenever you read a detective novel you enjoy that sense of delighted ease generated by a good vacation. The plot of detection just interesting enough to stimulate your little gray cells, while the surety of the novel's progression from confusion to solution as soothing as an afternoon spent dozing in a hammock while someone else prepares supper. But while this sensation of languor attested to by every reader of detective fiction I have encountered, it seems odd on second thought that the genre experienced in this way given its actual subject matter. In The Simple Art of Murder, Raymond Chandler points out that detective fiction is usually about murder and hence lacks the element of uplift (2). The world of the detective novel a place of untimely death, cruelty, suspicion, and betrayal. If detective fiction a literature of escape, why would anyone want to be transported to such anxious locales? Perhaps detective fiction produces its pleasurable effects by allowing us to feel that no matter how overwhelming our own situations seem, something much worse happening to someone else. But while the delights of schadenfreude might explain an individual's attraction to detective fiction, it hardly seems adequate to account for the tremendous popularity of the genre over the 150 years since Edgar Allan Poe presented the formula in his three C. Auguste Dupin tales. It clear that in the US the enduring popularity of the detective novel and the prominence of the detective genre in film, radio, and television are connected to the acceleration of real and perceived crime, violence, and surveillance over the course of the nineteenth and twentieth centuries. Furthermore, the genre deeply enmeshed with most of the thornier problems of the Victorian, modern, and postmodern eras, including gender roles and privileges, racial prejudice and the formation of racial consciousness, the significance and morality of wealth and capital, and the conflicting demands of privacy and social control. The mystery of mysteries, if you will, how a genre can achieve such wild success as a mode of relaxation while representing in a generally realistic style the most anxiety-producing issues and narra-