Novels
- Margery Allingham: Death of a Ghost (1934). The climax of murder mystery takes place on the Underground.
- Julian Barnes: Metroland (1981)
- Dan Brown: The Da Vinci Code (2003)
- Agatha Christie: The Man in the Brown Suit (1924). The mystery begins with the death of a passenger at Hyde Park Corner station
- Tom Clancy: Patriot Games (1987; also 1992 film)
- Neil Gaiman: Neverwhere (1997; also 1996 television series)
- Lisa Goldstein:Dark Cities Underground (1991)
- James Herbert: The Rats (1974; also 1982 film Deadly Eyes)
- Tobias Hill: Underground (1999). Involves disused South Kentish Town tube station
- Geoffrey Household: Rogue Male (1939). A pivotal pursuit of the protagonist by an enemy agent sees them repeatedly using the shuttle service on the Aldwych branch line. A chase through Aldwych station ends with the enemy agent's death by electrocution on the track.
- Aldous Huxley: Point Counter Point (1928) An early, character-defining scene takes place on the Underground
- Lawrence Leonard: The Horn of Mortal Danger (1980)
- Keith Lowe: Tunnel Vision (2001)
- Geoff Ryman: 253 (1997). — set on Bakerloo Line
- Barbara Vine: King Solomon's Carpet (1991)
- Nigel West: The Blue List (1989), This espionage story culminates in the war-time bunker built in the uncompleted tunnels of North End station, although this is incorrectly identified as Paddock, a separate bunker in Dollis Hill.
- Conrad Williams: London Revenant (2004)
- Ian McEwan: Atonement (2001), One of the main protagonists Cecilia Tallis dies during the Blitz in Balham Tube Station
- Ben Aaronovitch: Whispers Under Ground (2012)
Read more about this topic: List Of London Underground-related Fiction
Famous quotes containing the word novels:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The present era grabs everything that was ever written in order to transform it into films, TV programmes, or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the non-essential. If a person is still crazy enough to write novels nowadays and wants to protect them, he has to write them in such a way that they cannot be adapted, in other words, in such a way that they cannot be retold.”
—Milan Kundera (b. 1929)