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Long marginalized as either not “literary” or conservatively pandering to bourgeois or other established interests, the genre of detective fiction has continued to defy doomsayers through its continued evolution, being produced by writers from a variety of backgrounds and likewise being set in a variety of milieux and so problematizing different sets of rules, conventions, and moral and other judgments. But what has been the cost or other outcome of this evolution? Has the genre truly become more inclusive, or has this rather happened through the hegemonization and repackaging of previously excluded authors, like various new voices from Asia, Latin America, and Africa?
Submissions considering any of the above or related questions are sought. Where, exactly, is detective fiction heading? Is it truly changing to become, contrary to long-accepted accusations, more inclusive and hence less conservative and limited? What do new detective authors, such as those from Asia, Latin America, and Africa, add to the genre? How are they challenging and modifying whatever “formulae” there may have been all along? Papers in this panel may be case studies applying these questions to particular authors/ works and/ or more general overview of this issue.