'On both sides of the Atlantic, the years between the two world wars witnessed the consolidation of the crime fiction genre, especially "golden age" murder mysteries and detection puzzles, and also the rise of women's romance fiction as a distinct market segment, in Britain in the late 1920s and in the United States across the following decade. Although both forms had much older precedents, together they helped constitute the booming field of " light fiction" in the interwar years. Understood as distinct from the cheapest forms of pulp, light fiction was identified as a discrete field within the mainstream of commercial fiction publishing. This new awareness can be seen in the fact that uses of the term alight fiction" in the New York Times increased from twenty-six in the 1910s to fifty-six in the 1920s and in the 1930s, after which they tapered off again. Further, in January 1934, the Times began a special reviews section, "Fiction in Lighter Vein", where romance tides were reviewed by regulars such as Beatrice Sherman; and in the same period the Saturday Review of Literature launched "Over the Counter: the Saturday Review's Guide to Romance and Adventure", a weekly chart containing one-line reviews of romances, westerns and other popular genres. It matched the paper's similar guide to detective fiction, "The Criminal Record".' (Introduction)