Book covers

The Story of Classic Crime in 100 Books

Edwards

 

Martin Edwards –The Story of Classic Crime in 100 Books, The British Library, 2017

 

A book review by Jonas Rohe, Queen’s University of Belfast

 

 

Martin Edwards’ The Story of Classic Crime in 100 Books (2017) offers a literary history of crime fiction of the first half of the 20th century, focusing mainly on the British tradition. The hardcover book is beautifully edited with an artfully designed cover and includes several high gloss pictures of different classic crime fiction book covers. Edwards, as a successful crime fiction author himself, has selected a wide variety of stories that cover the “Golden Age of Crime” of the thirties to the post-World War II crime fiction period. Continue reading

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Book Cover Design and the Legitimation of Crime Fiction in Czechoslovakia (1960- 1980) – The Smaragd Series

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by Marcela Poucova, University of Brno

 

After the 1948 coup which brought the Communist Party to power in Czechoslovakia, the cultural climate changed considerably. Before then, there had been a number of publishing houses whose production covered various literary fields. With the dictatorship of the proletariat, the Soviet cultural model came to the fore. Socialist Realism was the order of the day, together with its vision of culture as a means of educating the masses. Private publishers gave way to several state-run ones led by the most devoted party members. Not only some authors, but even certain genres became undesirable.

Both high-brow literature of the highest quality (unless of Soviet provenience) as well as paraliterary genres fell out of favour. Works from the other side of the Iron Curtain without any strong leftist tendencies were deemed to be propaganda. Popular fiction, namely the ‘lower’ genres such as westerns, romances, and crime or spy novels were considered unworthy of the new builders of Communism. Of these, it was only crime and spy literature which managed to ‘turn coat’ and find its place under the new regime, albeit by adapting to the new political order by capitulating to its demands. As a result, from the 1950s, the vast majority of spy novels depicted the uncovering of clandestine activities of imperialistic countries whose ‘prime interest’ was to destroy the new  (Communist) democracies. Similarly, crime novels portrayed individual criminal activities of people who could not identify with the revolutionary ideals of the new society.

In the 1960s, the political scene began to change and editorial policies were relaxed. Culturally, this decade was the most interesting part of the era. As for domestic crime novel production – talented authors emerged for whom the genre brought an interesting challenge and a novel way to describe the reality of society. At the same time, the number of translated novels also increased. Naturally, in the spy genre these were by authors from the Soviet bloc. However, the crime and detective genre started to open up to more global influences. The reasons for this were clear. The public was hungry for a relaxing read that was not burdened with ideological content and, economically, this genre was profitable. Nevertheless, in a socialist state, when it came to ideology, profitability was pushed aside. Publishing houses with devoted party members at the helm created a number of measures designed to select the ‘right’ authors, novels and genres: Continue reading

The Executioner Weeps

Frédéric Dard – The Executioner Weeps (translated by  David Coward, Pushkin Vertigo, 09.03.2017, original title Le bourreau pleure, 1956)

A BOOK REVIEW BY EUGEN KONTSCHENKO

“And then suddenly everything had changed. Yes, everything, and all on the account of that supine figure which had come out of the night and leapt into the bright lights of my car.”  (Page 10)

Thus begins the highly popular French crime noir author Frédéric Dard’s prize-winning novel The Executioner Weeps. The book follows the story of Daniel Mermet, a famous French painter, who is on vacation in Francoist Spain when he accidentally hits a young and beautiful woman with his car. The woman survives, but Mermet soon discovers that she has lost her memory. Taking care of her, Daniel falls in love with the mysterious stranger and goes on a quest to France to gather information on her past – a past full of lies and vice and horror, which would be better forgotten. 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

 

 

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

Blood and Sex: Violence and sexuality in Greek crime fiction series of the 1970s.

SAGrec1

By Nikos Filippaios (PhD candidate, University of Ioannina, Greece)

Since its beginning, crime fiction in Greece has usually been distributed by publishers in multi-volume series. The first series of crime fiction translated into Greek were published from the 1910s to the 1930s, initially outside of Greece, in the Ottoman capital of Istanbul, where many Greek-speaking people lived, and some years later in Athens (Kassis, 165). Before long however, it centred exclusively around publishers, translators and writers based in Athens. In addition to series of novels and short stories, many magazines appeared dedicated exclusively to crime fiction and the successful family magazines of the era often featured detective stories. Following the difficult decade of the 1940s, in which Greece was wracked by the Second World War and a civil war, the crime, and popular fiction publishing industry in Greece in general, prospered. After the mid-1950s however, something of a “golden era” for popular literature in Greece, a slow decline began, culminating in a defeat by the cinema, TV and, finally, digital media (Filippaios 2015, 5-19).

Cover of Greek edition of 'Berlin, Check-point Charlie' by Gerard De Villiers. It was published in 1975 as volume 533 of the “Viper” series by Papyros. Translation was by Tasso Kavvadia, an actress, radio producer and translator. She was an important figure during this time in Greece.

Cover of Greek edition of ‘Berlin, Check-point Charlie’ by Gérard De Villiers. It was published in 1975 as volume 533 of the “Viper” series by Papyros. Translation was by Tasso Kavvadia, an actress, radio producer and translator. She was an important figure during this time in Greece.

A compelling phenomenon visible in the evolution of Greek crime fiction of this time is an increasing shift towards violence and sexuality, a trend which began during the early 1970s and lasted at least until the end of the decade. This shift became evident between 1968 and 1972, with the appearance of three new series. The most important of these was the “VIPER Series of crime fiction novel by Papyros (English: “papyrus”) Publications, a publishing house established in 1936 in Athens, which expanded into the crime fiction genre in 1968. This series was so successful that, not only did it continue publishing until the early 1990s, but some volumes can still be found in kiosks and bookshops around Greece today (Koskinas, 21/01/2014). “VIPER” initially followed the trend of other famous crime fiction series, including mainly classic writers such as Agatha Christie and James Chase. But from 1975 onwards, its publisher turned chiefly to Gérard De Villiers’ SAS novels. After Ian Fleming’s James Bond, SAS’s Malko Linge was the next most famous literary spy who fascinated Greek readers with his violent and erotic adventures.

The Greek edition of SAS à l'ouest de Jérusalem by Gérard De Villiers. Also translated by Tasso Kavvadia, it was published in 1976 as volume 610 of the “Viper” series. Its weathered cover shows the connection between popular literature and the everyday life of its readers.

The Greek edition of ‘SAS à l’ouest de Jérusalem’ by Gérard De Villiers. Also translated by Tasso Kavvadia, it was published in 1976 as volume 610 of the “Viper” series.
Its weathered cover shows the connection between popular literature and the everyday life of its readers.

In fact, Papyrus Publications’ interest in a more hard-core subgenre of crime fiction, such as the spy novel, probably influenced two other, smaller series. Although both featured fewer volumes and were distributed by smaller publishing houses, they followed the trend of “blood and sex” from inception. The first of these was “Fascinating Pocket Books” and was published by Panthir (English: ‘panther’) Publications. Probably active between 1970 and 1973, Panthir Publications was created and curated by Dimitris Chanos, a writer and publisher who began his career in the iconic crime fiction pulp magazine Mask (Chanos, 221-240). From its very first volumes, Panthir adopted a very specific approach: (a) focusing on “hard-boiled” crime fiction writers, mainly Mickey Spillane, and (b) replacing older cover illustrations, usually with photo collages of scantily clad women, an aesthetic which borrows elements from soft-core pornography. Along the same vein, “Modern Pocket Books”, one of the first attempts from Kampanas Publications and also circulating during early 70s, adopted a similar approach to its covers, but with slightly more conservative images. The main writer featuring in “Modern Pocket Books” was Anthony Morton, a pen name of John Greasy. Particularly popular were his spy novels featuring “the Baron”.

Continue reading

Mills and Boon Arsène Lupin

Mills & Boon

Maurice Leblanc, 813, Translated by Alexander Teixeira de Mattos, London, Mills and Boon,  1910

First published in France in 1909, the classic Arsène Lupin novel 813 was translated in England the following year by the then new publishing house, now famous for sentimental novels.  This might come as  a surprise but seems at the same time revealing. One of the secrets of Lupin’s attraction was his ability to cross generic boundaries. This Belle Époque Gentleman was not to be confined to the (then not yet theoretically defined, or even clearly marketed by publishers) crime genre. His charm appealed to both male and female readers, ensuring his widespread success. It is thus fitting that this French cousin of Hornung’s Raffles seduced the British market under the cover of a young publisher (Mills &Boon was founded in 1908) whose name would become a byword for stories of Latin lovers.