International Crime Genre Research Group: 8th Biennial Conference
“Delicate Infractions”: Innovations, Expansions, and Revolutions in the Crime Genre
Friday 14 – Saturday 15 June, 2019
Maynooth University, Ireland
The Argentine writer Jorge Luis Borges famously remarked that the detective genre “thrives on the continual and delicate infraction of its rules”. Taking this as a point of departure, the 8th Biennial conference of the International Crime Fiction Research Group will aim to bring together researchers with a shared interest in exploring how the genre has changed and continues to change by way of such delicate infractions, but also occasionally by way of full-blown transgression and definitive ruptures.
Under the broad title of “Delicate Infractions”, we invite proposals related to the following areas:
Systemic troubles reflected in the crime genre
Formal re-configurations of the crime genre:
Changing technologies and how they influence crime, crime detection, and crime writing
As in previous years, we also welcome submissions that do not fall neatly within the above categories (or that expand them), and we are open to research questions that are themselves ‘infractional’ in respect of the critical paradigms that have grown around crime genre scholarship.
Submissions can be centred on crime fiction and/or film, but we also welcome submissions relating to true crime and that analyse other forms of media, as well as examinations of relevant topics within fields such as history, criminology, anthropology etc. Our guiding objective since our first conference in 2005 is to bring together scholars from a diverse range of areas with a view to highlighting and exploring the points of convergence (and divergence) that emerge.
Organising Committee Chair Dr David Conlon (MU). Committee members Dr Dominique Jeannerod (QUB); Dr Kate Quinn (NUIG); Dr Marieke Krajenbrink (UL).
Please send your abstracts to one of the following by November 29th 2018:
International Crime Genre Research Group 7th biennial conference:
Networks and Connections in the Crime Genre
Friday 26 – Saturday 27 May, 2017
National University of Ireland, Galway Continue reading
CFP: ACLA conference (Utrecht, 6-9 July 2017)
CALL FOR CHAPTERS
‘From the Domestic to the Dominant: The New Face of Crime Fiction’
Gone Girl (Gillian Flynn), The Silent Wife (ASA Harrison), The Girl on the Train (Paula Hawkins), are just three recent novels that have captured the commercial imagination and conceivably shifted the critical perception of what a contemporary crime thriller is and should be doing in the second decade of the 21st Century. The terrain is domestic, the narrative perspective and criminal perpetrator firmly female. However, the political is of course ever present in relation to gender and society. The crime thriller has always been a peculiarly modern form. Its transition to an urgent, necessary and contemporary form of literary expression is arguable, and lies at the core of the discussion within this collection.
Julia Crouch (Cuckoo, The Long Fall, Tarnished and Every Vow You Break) recognised as the originator of the term ‘Domestic Noir’ stated that it ‘takes place primarily in homes and workplaces, concerns itself largely (but not exclusively) with the female experience.’
Domestic Noir is often concerned with crimes of an extremely intimate nature. Renee Knight’s Disclaimer and Claire Kendal’s The Book of You, both deal with unusually invasive forms of stalking. Christobel Kent’s The Crooked House and Erin Kelly’s The Poison Tree both detail the horror of long-buried secrets surfacing. Many of the novels deal explicitly with what Rebecca Whitney (The Liar’s Chair) describes as ‘toxic marriage and its fallout’, such as Emma Chapman’s How to be a Good Wife, and Lucie Whitehouse’s Before we Met. There are also versions of the marriage thriller that present economically or sexually independent women transgressing, such as Louise Doughty’s Apple Tree Yard and Jill Alexander Essbaum’s Hausfrau. Continue reading