Bunyan, Scott. “No Order from Chaos: The Absence of Chandler’s Extra-Legal Space in the Detective Fiction of Chester Himes and Walter Mosley.” Studies in the Novel 35 (Fall, 2003). Reveals Chandler’s influence on the work of Mosley and Himes; also references the trickster motif.
Coale, Samuel. The Mystery of Mysteries: Cultural Differences and Designs. Bowling Green, Ohio: Bowling Green State University Popular Press, 1999. Coale looks at the cultural issues in the works of mystery writers Mosley, Amanda Cross, James Lee Burke, and Tony Hillerman. Contains an interview with Mosley.
Gray, W. Russel. “Hard-Boiled Black Easy: Genre Conventions in A Red Death.” African American Review 38 (Fall, 2004): 489-499. Demonstrates how Mosley uses popular culture forms to critique racial hypocrisy.
Lock, Helen. “Invisible Detection: The Case of Walter Mosley.” MELUS 26 (Spring, 2001): 77-89. Mosley is presented as an exemplar of African American noir, hard-boiled detective fiction.
Mason, Theodore O., Jr. “Walter Mosley’s Easy Rawlins: The Detective and Afro-American Fiction.” Kenyon Review 14 (Fall, 1992): 173-183. Shows Mosley’s similarity to other modern African American writers in his emphasis on genealogy and origin.
Smith, David L. “Walter Mosley’s Blue Light: (Double Consciousness)2.” Extrapolation 42 (Spring, 2001): 7-26. Analysis of Mosley’s philosophy in Blue Light, in which blue light is associated with God.
Wesley, Marilyn C. “Knowledge and Power in Walter Mosley’s Devil in a Blue Dress.” African American Review 35 (Spring, 2001): 103-116. Examines the status of black empowerment after World War II, comparing Mosley’s work with British detective novels of the same period.
Wilson, Charles E., Jr. Walter Mosley: A Critical Companion. Westport, Conn.: Greenwood Press, 2003. This volume examines the life and works of Mosley, containing chapters on some of his most famous books.
Young, Mary. “Walter Mosley, Detective Fiction, and Black Culture.” Journal of Popular Culture 32 (Summer, 1998): 141-150. Discusses the use of African American folklore, the trickster, and the bad black man in Mosley’s work.