– Richard O’Rawe –
September 28 @ 6:30 pm – 8:00 pm
No Alibis Bookstore, 82, Botanic Avenue, Belfast
In association with The Merrion Press, No Alibis Bookstore invites you to the launch of this stunning new thriller by Richard O’Rawe
When James ‘Ructions’ O’Hare put together a crack team to rob the National Bank in Belfast in December 2004, even he didn’t realise he was about to carry off one of the biggest bank heists in British and Irish history.
And he’ll be damned if the Provos are getting a slice of it.
In Richard O’Rawe’s stunning debut novel, as audacious and well executed as Ructions’ plan to rob the National Bank itself, a new voice in Irish fiction has been unleashed that will shock, surprise and thrill as he takes you on a white-knuckle ride through Belfast’s criminal underbelly. Enter the deadly world of tiger kidnappings, kangaroo courts, money laundering, drug deals and double-crosses.
Northern Heist is a roller-coaster bank robbery thriller with twists and turns from beginning to end.
Source: No Alibis : http://noalibis.com/event/northern-heist-richard-orawe-book-launch/
Richard O’Rawe is a former Irish republican prisoner and IRA bank robber, and was a leading figure in the 1981 Hunger Strike. He is the author of the best-selling non-fiction books Blanketmen: An Untold Story of the H-Block Hunger Strike; Afterlives: The Hunger Strike and the Secret Offer that Changed Irish History, and In the Name of the Son: The Gerry Conlon Story (source : googlebooks)
The International Crime Fiction Research Group is glad to present a new online exhibition hosted on the Omeka-based online database “Visualising Crime Fiction,” sponsored by the AHRC (the UK Arts and Humanities Research Council) and the Universities of Belfast, Limoges, and Debrecen, in partnership with the Bilipo. A Brief History of Crime Fiction in Greece was authored by Nikos Filippaios, currently a PhD student at the University of Ioannina, and provides a concise outline of the development of the genre in Greece, with particular attention to the impact of international crime fiction on the local creative industries.
Filippaios starts his overview by stressing the success of the earliest translations of modern popular fiction that arrived from Western Europe in the second half of the 19th century. He then highlights the key transformations of crime narratives in Greece throughout the 20th century, particularly up to the 1980’s, when a new generation of local writers started to use the genre to investigate the troubled national history during the post-war era.
The exhibition is structured in four sections, each dealing with a specific historical moment: Continue reading
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)
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
Les Sept Cadrans (The Seventh Dials Mystery, 1929) Cover by A. Masson, Le Masque, 44, 1929
Le Secret de Chimneys (The Secret of Chimneys, 1925 ), Translation Juliette Parry, Le Masque, 126, 1933. Continue reading
With thanks to Philippe Aurousseau and courtesy of oncle-archibald.BlogSpot
The 62 volumes of the adventures of French Amateur Detective Marc Jordan were one of the earliest French publisher’s series devoted to crime fiction . The publisher was Ferenczi, whose publishing house would soon become a cornerstone of Popular Fiction in France. From September 1907 readers could purchase every Tuesday, at a price of 25 centimes, the last instalment in the Exploits surprenants du plus grand détective Français. The following year (1908) the Éclair company, would release Nick Carter, le roi des detectives, the silent film directed by Victorin Jasset, highlighting the parallels between Marc Jordan and the American detective Nick Carter. Nick Carter Detective Library had started in 1891. Street & Smith would then publish a magazine, Nick Carter Weekly, until 1915. It was in some respects a template for Ferenczi’s Marc Jordan.
Each issue of Marc Jordan’s adventures consisted of 32 pages (22 x 27 cm). The covers were illustrated by painters and cartoonists Edouard Yrondy (1 to 42) Hickx (43 to 46), Michel Ronceray (No. 47 to 52) and Marco (No. 53 in 62). Continue reading
Marcel Priollet, Police et cinéma éditions J.Ferenczi, 1920, booklet, 18 x 11 cm. ©BILIPO
The small booklet above, by prolific popular author Marcel Priollet (1884– 1960) was published in 1920. It formed part of the first (1916- 1923) “Le Roman policier” series published by Ferenczi. This publisher was by then well on its way to become a household name in the history of French popular literature . This is an early example of the explicit use of the concept of “Roman policier” (detective novel) in order to cach the attention of the readers. It is therefore an important indicator of the constitution of the crime genre as an autonomous, instantly recognizable entity in that period.
This particular booklet also demonstrates the relationship between popular literature and film. By then the exchanges between the two media have taken a new direction: after the first world war, it is cinema that will influence the detective story, rather than the reverse.
«O cão amarelo», Lisboa, Empresa Nacional de Publicidade, 1939? (Le Chien jaune, Fayard, 1931) First Title in the Series «Romances policiais de Georges Simenon».
Georges Simenon, 1903-1989: mais do que Maigret is the title of the exhibition with which the Portuguese national library currently ( 8th January to 18th April) commemorates the 25th anniversary of Simenon’s death. The exhibition shows first Portuguese editions of his novels. These were translated in Portugal from the early 1930s’. The curators of the exhibition contribute to understand the global (and intermedia) appeal of an author who, with 550 million copies sold, ranks as the third most widely read French language writer, after Jules Verne and Alexandre Dumas.
The first Portuguese translation of a work by Georges Simenon was the novel Condenado à morte (Sentenced to death, for La Tête d’un homme, 1931) , published in 1932 in the Os Melhores Romances Policiais Series, directed by Adolfo Coelho, for the publisher Clássica Editora. By the end of the decade, Simenon’s success was such that he was published in a separate series : Romances policiais de Georges Simenon (Empresa Nacional de Publicidade). One of his most popular novels, The Yellow Dog , translated by Adolfo Casais Monteiro started the new series.
For more information on the BNP and the exhibition :
Mignon Good Eberhart (USA, 1899- 1996)
Crime Fiction is an international genre. It is well-known that several countries have collaborated to its invention. Exchanges and reciprocal influences between the US (Poe), France (Vidocq, Gaboriau) and England (Wilkie Collins, Conan Doyle), in particular, have been crucial in shaping it in the 19th Century. Publishers and Magazines have driven the translation of works of foreign crime fiction, creating international trends and reception patterns. Publishing industries, in the 20th Century have spread internationally. Continue reading
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The proportional Word cloud above shows the influence of British authors in Italy. It is based on the numbers of their books published in Italian translation in the leading Giallo Mondadori Series, which was launched in 1929. Continue reading
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The picture above is based on the total of books published by each of the authors who contributed to the legendary “Spécial Police” Series. Launched in 1949 it helped turning its publishing house, Fleuve Noir, into France’s most successful popular literature publisher. When it stopped, in 1987 it had published generations of new authors. The biggest names on the words representation above are the biggest contributors. Georges J. Arnaud, Mario Ropp (aka Maïa Devillers), Peter Randa (aka André Duquesne), Adam Saint Moore (aka Jacques Douyau) and of course San-Antonio (aka Frédéric Dard) feature here prominently. But many important names in the history of French Noir, as well as those of well-liked, prolific authors can be found here too. André Helena, Léo Malet, Serge Laforest, Jean Mazarin, Roger Vilard, M.G. Braun (aka Maurice-Gabriel Brault), André Lay and many more.