Shares in Murder (1957) 'was an anti-"crime novel" in which the denouement is the exposure of the detective rather than of the criminal. Although sometimes clumsy, the story's generic reversal is an effective one. The ironic conclusion together with the novel's social realism can be understood in relation to a critique of imported, mainly American "mass culture", including crime thrillers, which was then widely-shared by communists and liberals, in Overland and Meanjin for example.' (David Carter, 'Introduction', Judah Waten : Fiction, Memoir, Criticism (1998): xxvii).
