Arabic fiction has thematized crime ever since the classical period. However, the existence of detective stories or, more generally, of crime fiction as a genre within Arab culture has yet to be fully acknowledged. This book therefore offers both a theoretical reflection on this genre in its context and a set of studies on instances of crime fiction in the Arab world. Covering a vast historical and geographical range, it tackles famous writers as well as authors of young adult fiction, deals with the current practitioners of noir as well as with classical detective stories, and also focuses on the adjacent fields of film and television production. Arabic Crime Fiction / Le récit criminel arabe thus fills a theoretical and historical gap in current scholarship. Bringing together specialists of Arab literature and cinema and/or crime fiction, it provides an overview of a rich and varied genre, at the crossroads between the narrative, philosophical, and legal traditions of the Arab world, the realities of contemporary society, and the international forms of crime fiction. It thus demonstrates that Arabic crime fiction does, indeed, exist, even though it is not yet fully recognized by the publishing market and academic institutions. (From the publisher’ s website;)
A book review by Jonas Rohe, Queen’s University Belfast
Fredéric Dard – The Gravediggers’s Bread (translated by Melanie Florence), Pushkin Vertigo, 28/06/2018. Original title Le pain des fossoyeurs, 1956.
Then I went and sold the butcher a stupendous coffin lined with silk, which would have made someone who loved comfort positively want to die! (P. 145)
Blaise Delange is down on his luck. Without a job or money, he finds himself in a small town in the French countryside far from his home in Paris. The only thing keeping him from leaving this miserable nest is a mysterious blonde woman, whose bulging purse he finds on the ground. Fascinated by this unknown beauty, he discovers that she is in fact the local undertaker’s wife, and proceeds to return her lost possessions. Impressed by his apparent honesty, the undertaker offers him a job as his assistant. Even though Delange has neither the interest for nor any experience in the gravedigger’s trade, his desperate financial situation and growing interest in the undertaker’s young wife mean he accepts.Continue reading →
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 →
“Blood on the Table: Essays on Food in International Crime Fiction”, edited by Jean Anderson, Carolina Miranda and Barbara Pezzotti, is the first book to focus explicitly on the semiotics of food in crime fiction. Tackling the subject from a multicultural and interdisciplinary perspective, it includes approaches from cultural studies, food studies, media studies and crime fiction studies. The collection offers readings, across a range of media, of twentieth- and twenty-first-century crime fiction from Australia, Cuba, Denmark, France, Germany, Italy, Mexico, Sweden, the UK, and the US. Authors studied include Anthony Bourdain, Arthur Upfield, Sara Paretsky, Andrea Camilleri, Fred Vargas, Ruth Rendell, Stieg Larsson, Leonardo Padura, Georges Simenon, Paco Ignacio Taibo II, and Donna Leon. Television productions analyzed here include the Inspector Montalbano series (1999-ongoing), the Danish-Swedish Bron/Broen (2011[The Bridge]), and its remakes The Tunnel (2013, France/UK) and The Bridge (2013, USA).
Jean Anderson is associate professor of French at Victoria University of Wellington, New Zealand where she founded the New Zealand Centre for Literary Translation in 2007. She is also a literary translator, with a dozen book-length translations published. Carolina Miranda is the director of European and Latin American languages and cultures at Victoria University, Wellington, New Zealand. Barbara Pezzotti teaches Italian Studies at Monash University, Melbourne, Australia and is an Honorary Research Associate of the Australasian Centre for Italian Studies (ACIS). She is the author of three monographs on Italian crime fiction
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.