Laura Quinn, ‘The Mouse Will Play: The Parodic in Walter Mosley’s Fiction,’ in Owen E. Walter Mosley, Rose Gold, London: Weidenfeld and Nicolson, 2014. Woody Haut, Neon Noir: Contemporary American Crime Fiction, London: Serpent’s Tail, 1999, p. Reddy, ‘Race and American Crime Fiction,’ in Catherine Nickerson Ross, ed., The Cambridge Companion to Crime Fiction, Cambridge: Cambridge University Press, 2010, pp. Walter Mosley, Blonde Faith, London: Weidenfeld and Nicolson, 2008, p.

Rzepka and Lee Horsley, eds, A Companion to Crime Fiction, Malden, MA and Oxford: Wiley-Blackwell, 2010, pp. John Gruesser, ‘Walter Mosley’, in Charles J. 73.Īndrew Pepper, The Contemporary American Crime Novel: Race, Ethnicity, Gender, Class, Edinburgh: Edinburgh University Press, 2000, p. Walter Mosley, A Red Death, London and Basingstoke: Pan, 1993, p. Walter Mosley, Gone Fishin’, London: Serpent’s Tail, 1997, p. Lee Horsley, Twentieth-Century Crime Fiction, Oxford: Oxford University Press, 2005, pp. Wilson, Jr., Walter Mosley: A Critical Companion, Westport, CT and London: Greenwood Press, 2003. 29.įor an analysis of Mosley’s place in African American crime writing, as well as African American writing in general, see chapter 2 ‘Literary Heritage,’ of Charles E. Ralph Willett, The Naked City: Urban Crime Fiction in the USA, Manchester and New York: Manchester University Press, 1996, p. Walter Mosley, White Butterfly, London: Serpent’s Tail, 1993, p. Walter Mosley, Devil in a Blue Dress, London: Pan, 1992, p. Walter Mosley, Little Green, London: Weidenfeld and Nicolson, 2013, p. Walter Mosley, The Man in My Basement, London: Serpent’s Tail, 2005 Fortunate Son, London: Serpent’s Tail, 2006.

Black Betty by Walter Mosley