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abject, the, 4, 6, 7, 9, 156, 159, 162, 169, 170, 205, 214–15, 247n. 16, 253n. 31. See also excrement; smell; vomit Adamowski, T. H., 249n. 31 anality, 64–65, 67–69, 79–81, 132–33, 147, 151–52, 158–62, 167–70, 193, 200, 201, 211–12, 252n. 16 As I Lay Dying (Faulkner), 245n. 8 Baker, Houston A., Jr., 231n. 2 Baldwin, James, 210, 240n. 9 Bataille, Georges, 24 Bersani, Leo, 4, 41, 235n. 11, 241n. 16, 247n. 19, 250n. 37, 256n. 16 Bhabha, Homi, 255n. 8, 256n. 17 Bleikasten, André, 247n. 15, 248n. 25 Blind Man with a Pistol (Himes), 7, 173–213, 257n. 19, 258n. 28; addresses black readers, 184; as waste, 173–74, 183–84, 192, 213; black belief in, 187–88; blackness in, 194–96, 257n. 20; black politics in, 189–91, 198, 207–8; black stereotypes in, 182–86, 189–92, 200, 206, 255n. 10, 257n. 23; blindness in, 198–200, 202–3; body in, 190, 195, 197, 200, 212; character in, 176–77; constructs white readers, 174, 183–84, 187, 213; effacement of bor­ ders in, 173, 193, 203–12; excrement as white fantasy projection in, 7, 191–93, 205–12; Harlem in, 173–74, 181–83, 190, 193, 204; history in, 181, 183, 186–87, 189; homosexuality in, 174–75, 193, 200–202, 209–12; humor Index in, 182–86; masculinity in, 194–203, 208–13; ruin of racial identity in, 173–74, 190–91, 193, 203, 208–13; ruin of white masculinity in, 174, 193, 206–13; ruins in, 174, 180–83, 205–6; signs in, 179–86, 204; structure of, 174–75; temporal breakdown in, 173, 175–76, 177–79, 186–87; vision in, 181–82, 194–203 Boone, Joseph Allen, 231n. 2 Borch­Jacobsen, Mikkel, 5, 67 Bradbury, Richard, 240n. 6 Brenkman, John, 252n. 19 Brooks, Cleanth, 249n. 29 Brooks, Peter, 74, 244n. 39 Burke, James Lee, 219–20, 224 Burns, Rex, 216 Butler, Judith, 256n. 17, 258n. 29 Butterfly, The (Cain), 240–41n. 14 Cain, James M., 7, 46–84, 160, 233n. 1; “amassment” in, 49, 52–54, 57, 60–61; animality in, 48–49, 54, 61–64; critical disgust toward, 46–48, 49–50; debase­ ment in, 48–49, 52, 53–54, 61–64; fem­ ininity in, 53–54, 55; homophobia of, 58, 243n. 31; love in, 55–57; masculin­ ity in, 53–54, 58–64, 70–71, 73–74; melodrama in, 74–75; mimetic vio­ lence in, 51, 52, 53–54, 57, 240–41n. 14; narcissism in, 57; smell in, 46–48, 49–51, 53–55, 252n. 16; tricks of, 46–47, 50–54, 69; vision in, 54–55, 56, 68–69. See also Serenade 261 INDEX Canby, Henry Seidel, 85–86, 247n. 18 Cassill, R. V., 127–28, 250n. 2 Cawelti, John G., 9, 233n. 2, 233n. 3 Chandler, Raymond, 24, 32–35, 49–50, 51–53, 193, 219, 222, 232n. 6, 233n. 1, 233–34n. 4. See also Farewell, My Lovely; The High Window; Playback Clark, Suzanne, 231n. 2 class, 38–39, 239–40n. 5 Cloud Nine (Cain), 54 Collins, Max Allan, 250n. 3 Constantine, K. C., 220–30. See also Cranks and Shadows Corbin, Alain, 240n. 5 Cranks and Shadows (Constantine), 221–30; catastrophic knowledge in, 229; commitment to instrumental ac­ tivity in, 226–27; critique of conven­ tional masculinity in, 223–25; critique of mastery in, 221–22; critique of Rea­ ganism in, 222–23; difference from clas­ sic crime fiction, 226; difference from contemporary crime fiction, 226; hero’s inadequate responsiveness in, 221–22; male body in, 223–26; masculinity as performance in, 228; reinvention of masculinity in, 229–30; sensuous pleas­ ure in, 227, 228–29 crime novel, 2–3, 126–27, 214–15; and modernism, 8–9; apparent conservatism of, 126–27; as worthy of close reading, 9–10; commitment to firm ego­bound­ aries in, 3, 218–19; contemporary, 215–20; defined, 233n. 1; encourages male abjection, 4, 7, 215; engagement with feminism, 217, 220; “generic un­ conscious” of, 215; hostility to meaning in, 5–6, 21–22, 102, 192, 213; intersub­ jectivity in, 45, 215; marginalization of, 8, 215; misogyny of, 3, 214–15; subver­ sive narrative strategies in, 5–6. See also individual authors and works death drive, 6, 14–15, 16, 33, 65, 234–35n. 9 Deleuze, Gilles, 22, 35–36 Denning, Michael, 173, 190, 256n. 18 Derrida, Jacques, 249n. 28 Doane, Mary Ann, 256n. 17 Double Indemnity (Cain), 56, 70...

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