Worlding Crime Fiction: From the National to the Global

Giallo

CFP: ACLA conference (Utrecht, 6-9 July 2017)
http://www.acla.org/worlding-crime-fiction-national-global
Since Raymond Chandler published the “Simple Art of Murder” (1944), a distinction has been made between the worldliness of the American hardboiled tradition (“It’s not a very fragrant world, but it’s the world you live in,” Chandler said of Hammett’s fiction) and the artificial, unrealistic and detached “Cheesecake Manor” of the classic detective novel. Moreover, there is a tendency in crime fiction studies to distinguish between the Anglo-American practice of crime writing and specific national crime traditions, the study of which has focused on how national crime fiction texts differ from the universalising Anglo-American norm. Both these distinctions have traditionally resulted in nation-centric readings of the genre as it has developed in specific countries and cultures.
This seminar seeks to further develop our understanding of this global genre that began with “Crime Fiction as World Literature” (ACLA 2015) and “Translating Crime: Production, Transformation and Reception” (ACLA 2016). To this end, we invite contributions that attempt to “world” the crime genre (Kadir 2004), to explore the genre’s worldliness within, but also beyond, specific national traditions.
The seminar explores three main ideas:

1)   The “presence of the world within the nation” (Damrosch 2015) – the ways in which seemingly nationally-bounded novels engage with the world beyond the nation in which they originate

2)   Worlding classic detective fiction – to what degree is Chandler’s reading accurate? Does it hold when this sub-genre is taken up by authors writing outside the British-American norm, either in languages other than English or writers from peripheral English (Australia, Canada, Ghana, India, Ireland, New Zealand, South Africa, etc.) contexts.

3)   The relationship between readers and international texts. How do readers experience the world of crime fiction when reading from afar? How important is “the locus where the fixed foot of the compass that describes the globalizing circumscription is placed” (Kadir 2)? In what ways does a global consciousness emerge through the interaction between readers and international texts? Is the location of the reader as important as the origin of the text?

Potential participants are encouraged to contact the organisers before submitting abstracts through the ACLA portal.

Seminar Organisers:

Stewart King, Monash University: stewart.king@monash.edu<mailto:stewart.king@monash.edu>

Jesper Gulddal, University of Newcastle: jesper.gulddal@newcastle.edu.au<mailto:jesper.gulddal@newcastle.edu.au>

Alistair Rolls, University of Newcastle: alistair.rolls@newcastle.edu.au<mailto:alistair.rolls@newcastle.edu.au>

Deadline for abstracts is 11:59 PM Pacific Time on 23rd September.


Dr Stewart King

The”unknown author” who sold 200 Million Books

Souris défunte

 

An encouraging article by Dalya Alberge in The Observer marks the first publication in English of one of the “Novels of the night” (romans de la nuit) by Frédéric Dard. The much anticipated Bird in a Cage, (Le Monte Charge), translated by David Bellos, is out this month, published by Pushkin Vertigo.

While recognising the oddity that the books of one of France’s foremost crime fiction authors (better known under the penname San-Antonio) have been overlooked until now by English-language publishers, the article sees current trends and taste in the crime genre as particularly suited to the discovery of his psychological thrillers by British readers. Tout vient à point à qui sait attendre, as the saying goes, and now seems at least to look like “ a particularly good time for Dard’s novels to be coming into English”. The next translation, The Wicked Go to Hell (Les Salauds vont en enfer) will be published in August, followed in October by Crush (Les Scélérats).  Both novels were adapted to the screen : the first starring, memorably, Marina Vlady, in 1955, the other (English title, The Wretches) with the great Michelle Morgan in 1960.

http://www.theguardian.com/books/2016/may/14/frederic-dard-france-crime-novels-georges-simenon

 

 

 

 

Bird in a Cage

 

Bird in a Cage.PNG

 

Presented as “The literary descendant of Simenon and Céline” and  as “one of the few twentieth-century authors to win both critical acclaim and great popularity”,  Frédéric Dard (1921-2000)  will be introduced this year to  English readers with some of his darker novels. Pushkin Vertigo will publish, starting in June with Bird in a cage  (Le Monte -charge), and continuing with The Executioner Cries, available in Autumn 2016, a selection of  his romans de la nuit.  It is an euphemism to say, that, some sixty years after their original publication in French, this event has been hugely anticipated.

Even more so, as the translation of Bird in a cage is by David Bellos, Professor in Princeton, and whose translations include several of Georges Simenon’s Maigret novels.

The English title is interesting as it deviates from the original (which would translate as “the Elevator”-  or the “Lift”, but could possibly have been translated – as originally announced- as “The Switch” -a title already taken by Elmore Leonard)  and focuses on one important detail in the story, highlighting thus the precision of the fine machinery in Dard’s art of storytelling. In doing so, it replaces the implicit filmic reference to Louis Malle’s  1958 Ascenseur pour l’échafaud (Elevator to the Gallows) with another one, to Jean-Pierre Melville’s 1967 Le Samouraï. This is made explicit by the cover art chosen by Pushkin Vertigo. Compare the image on the covert with this still of Alain Delon in Le Samouraï. The parallelism is apt, as both stories are tales of isolation and entrapment, of existential angst and wounded, alienated masculinities.

 

 

 

Le Samourai

Alain Delon in Jean-Pierre Melville’s Le Samouraï, 1967

 

“Frédéric Dard (1921-2000)   was one of the best known and loved French crime writers of the twentieth century. Enormously prolific, he wrote more than three hundred thrillers, suspense stories, plays and screenplays, under a variety of noms de plume, throughout his long and illustrious career, which also saw him win the 1957 Grand prix de littérature policiere for The Executioner Cries” (Biographic note taken from the publisher’s presentation of Bird in  a cage)

Tartan Noir in 2016

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 The success of Regional Crime Fiction is so global and has been prevalent  for seemingly so long already, it is easy to forget nowadays that the trend to set  crime novels away from the big crime capitals – the traditional sites of “Urban Mysteries” since the mid 19th Century (typically, Paris, London, New York, later Los Angeles and Chicago)- is still relatively recent in European Crime Fiction. Authors such as Izzo in France, Camilleri in Italy,  Staalesen in Norway, Mankell in Sweden and many others, especially since the 1990s   have all heralded such a  turn,  anchoring their detectives in marginal, referential, less mythical (but not necessarily less mythologised),  realistically defined geographical spaces. In  many respects the remarkable surge  of  Crime  Fiction set in Scotland since  William McIlvanney’s  1977  Laidlaw,  and the  first Rebus novel (Ian Rankin,1987) announces this remarkable trans-European phenomenon. Scottish authors Val McDermid, Quintin Jardine and Stuart MacBride are all long since  household names in international crime fiction and  “Tartan Noir” is recognised as a thriving  subgenre.  Almost 40 years after the publication of Laidlaw, it is worth looking at  the most recent and  upcoming publications, showcasing  Tartan Noir’s  durability. Here is a selection, any other suggestions are welcome.

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Owen Mullen Old Friends and New Enemies: Tense and Gripping Scottish Crime Thriller (Charlie Cameron Series Book 2) 31-Jan-16
Brooke Magnanti The Turning Tide 25/02/2016
Katherine Pathak Hold Hands In The Dark (The DCI Dani Bevan Detective Novels Book 7) 28/02/2016
Douglas Lindsay Song of the Dead 01-Mar-16
Douglas Skelton Open Wounds (Davie McCall Series) 31-Mar-16
Barry Graham Big Davey Joins the Majority: A Glasgow Noir Short Story 04-Apr-16
Mark Douglas-Home The Malice of Waves (The Sea Detective) 19-May-16
William McIntyre Present Tense (Best Defense) 15-Sep-16
Ann Cleeves Cold Earth (Shetland Book 7) 06-Oct-16

New Approaches to Studying Crime Narratives

 

Tampere
One-day Symposium: “New Approaches to Studying Crime Narratives”
 
October 14, 2016
University of Tampere, Finland
 
First Call for Papers
 
We invite proposals for paper presentations on new approaches to studying crime narratives. We want to encourage participants to introduce and discuss new methodological and theoretical perspectives on how to study literary, televisual and filmic crime narratives, and also to consider recent developments in the field of crime writing itself. The symposium understands crime narratives in a wide sense, as ranging from detective fiction, spy stories, and thrillers to true crime. The symposium also welcomes proposals focusing on crime narratives from various language areas and cultural spheres. We would like to welcome proposals which address the following topics (however, the list is by no means exhaustive):

Continue reading

Transatlantic Fiction made in France

JDW collection Noire

 

Imprimerie du Livre, Colombes, December 1951, Cover Art by Jef de Wulf. ( From Didier Poiret’s collections)  

Troughout the late 1940s and early 1950s many French publishers saw a business opportunity in trying to replicate the success of Gallimard’s iconic Série Noire, launched in 1945 by former Surrealist Marcel Duhamel.  The short-lived Collection noire franco-américaine, published by the Editions du Globe (and from 1952 by Editions du Trotteur) between 1950 and 1953, is one such venture. It is also one of the more striking as it invested in quality rather than merely aiming at supplying readers with a cheap ersatz.

The Collection Noire, like the Série Noire reflected the success of  American noir films in post-war France, as well as French curiosity for American Hard-boiled novels. While the Série Noire was largely responsible for instilling a taste for American noir in France, the editions du Globe, with their Collection Noire, sought to capitalise on this emerging market. Unlike the Série Noire, who had by then already published  American authors such as Chandler, Hammett, McCoy, Finnegan, Tracy, Cain (both Paul and James) and Latimer, the Collection Noire had no American talent to back up its “franco-américaine” credentials. Without exception, all authors were French.  The pseudonyms they adopted were often meant to sound American, and their novels were supposed to recall, in both style and theme, not to mention through their violent and bleak outlook, the authors popularised by the Série Noire.  The Collection Noire franco-americaine was not content to simply recall the Série Noire in name and for the colour scheme (namely the trademark black and yellow combination of the Série Noire). From 1951, it called upon some of the best illustrators in the trade (René Brantonne, Jef de Wulf,  Mik, Salva, among others) and in doing so departed from the beautiful austerity of the imageless Série Noire covers.

 

JDW Collection Noire1

 

While the Série Noire, at least until 1953, would show the utmost reluctance for publishing French authors, the Collection Noire featured established French writers, many of who had already published in the crime genre, and even won awards. One such author is André Helena, a true pioneer of the French noir genre and one its the best. Deemed unsuitable for publication in the Série Noire, his novel Les filles me perdront was published in 1953, the 20th volume in the Collection Noire series. Another is Joseph-Louis Sanciaume, born in 1903 and already the author of dozens of detective novels, who was awarded the 1947 Action Novel award for  Sinistre turbin ! (Collection noire, Volume 2, 1952, Illustrated by Brantonne) .

Another, Claude Ferny (aka Pierre Marchand, b. 1906), had only published a handful of crime novels (in the Series La Cagoule), before joining the ranks of the Collection Noire, with whom he went on to publish several novels, more than any other author. He would subsequently go on to write some thirty crime novels elsewhere.

Tellingly, the Collection Noire published the first Frenchman to be published in the Série Noire, Serge-Marie Arcouët (b. 1916), using in both cases the same pseudo-Aamerican pseudonym, Terry Stewart. His novel C’est dans la poche was published in the Collection Noire in 1952, with an illustration by Salva.

The  Collection Noire franco-américaine’s Cover Art can be admired at :

http://oncle-archibald.blogspot.co.uk/search/label/Editions%20le%20Trotteur%20-%20Collection%20noire%20franco-am%C3%A9ricaine

http://www.papy-dulaut.com/article-la-collection-noire-franco-americaine-aux-editions-du-globe-et-aux-editions-le-trotteur-54095914.html

 

 

Crime Fiction in German

CFIGcover2
Crime Fiction in German (ed. Katharina Hall) is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to the present day. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.
 
The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online sources in English and German. The contributors are Julia Augart (University of Namibia), Marieke Krajenbrink (University of Limerick), Katharina Hall (Swansea University), Martin Rosenstock (Gulf University, Kuwait), Faye Stewart (Georgia State University), Mary Tannert (editor and translator of Early German and Austrian Detective Fiction) 
 
Further details about the volume are available at the University of Wales Press:
 
The open access chapter, ‘Crime Fiction in German: Concepts, Developments and Trends’, provides an overview of the volume and of German-language crime fiction. It has been funded by Swansea University as part of an Open Access initiative, and forms part of the ‘Mrs. Peabody Investigates’ impact project.
 
Please do pass on the link to any interested colleagues, students or crime fans in your life. Plentiful downloads will encourage future open access funding!
 

The Art of French Crime Fiction

 

Luc Ferran

 

Jef de Wulf (Publisher’s advertisement for the Luc Ferran Series, Editions de l’Arabesque, 1958-1969)

Until the 21st of March, Queen’s University Library will host an exhibition on classic Crime Fiction, Spy Thrillers and Suspense Series in France. The exhibition showcases some of the 1,500 Crime Fiction books in the French language, which have been recently added to the collections, having recently been donated to the Library by the Paris-based Bibliothèque des Littératures policières (BILIPO) and other partners in the project “Visualising European Crime Fiction”. This project, led by Dr Dominique Jeannerod (School of Modern Languages) together with colleagues in the ICRH Research Group, International Crime Fiction was awarded a grant by the AHRC, as part of the Big Data in the Arts and Humanities Framework (2014-2015)

Expo1

 

Conty

The project’s chief task was to develop innovative digital methods with which to bibliographically record (database) and visually present (Graphs, Maps, Dataviz) the innumerable volumes of Crime Fiction published across Europe since the early 20th Century. The aim in developing such new digital instruments was to rethink the significance of popular culture and its dissemination in a globalised world. It was also to reconsider the role of crime fiction in a transnational, cultural and literary context. Continue reading