Networks and Connections in the Crime Genre

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


Under the broad title of ‘Networks and Connections’ we invite proposals related to the following areas:


Networks in crime and in crime detection:

  • Criminal gangs, people trafficking, drug cartels
  • The movement and influence of global capital
  • Cybercrime and hacking
  • Collaboration between national police forces in investigating crime
  • Political corruption
  • Collaboration between repressive state apparatuses
  • Terrorism and counter-terrorism

Transnational links

  • Mobility: Ease with which the modern criminal and detective can cross national boundaries
  • Diaspora and identity, old and new worlds in contact (e.g. Scandinavians in the USA, Croats in Chile)
  • Asylum seekers; refugees; impact of political violence and forced migration; exile
  • Economic migration

Comparative Connections in the ongoing development of the genre

  • Comparative approaches to the study of genre production at the level of form and content
  • Histories of influence in the nineteenth and twentieth-centuries
  • Contemporary productions and their mutual influences.

Language Communities

  • For instance can we speak of Anglophone and Francophone traditions across all the territories where those languages are spoken?
  • What of multilingual regions and nations like Spain or India?
  • What is the position of minority languages and cultures in the genre?

Postcolonial legacies and connections

  • The modern legacy of colonial ties and cultural connections
  • Resistance and Imagined communities
  • Shared places and conflicting politics


As always, we welcome submissions from those working on crime fiction and film, wider media production, criminology, anthropology etc. Our founding ambition since our first conference in 2005 is to bring together researchers from a broad range of areas to see what points of commonality emerge when we share our perspectives.

Organising Committee:Dr Kate Quinn (NUIG); Dr Dominique Jeannerod (QUB); Dr Marieke Krajenbrink (UL)

Please send your abstracts to by Friday March 17th, 2017

Murder in the Age of Chaos: Investigating Italy’s Past

pezzottiBarbara Pezzotti, Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series: Murder in the Age of Chaos (London and New York: Palgrave McMillan, 2016).
This book is the first monograph in English that comprehensively examines the ways in which Italian historical crime novels, TV series, and films have become a means to intervene in the social and political changes of the country. This study explores the ways in which fictional representations of the past mirror contemporaneous anxieties within Italian society in the work of writers such as Leonardo Sciascia, Andrea Camilleri, Carlo Lucarelli, Francesco Guccini, Loriano Macchiavelli, Marcello Fois, Maurizio De Giovanni, and Giancarlo De Cataldo; film directors such as Elio Petri, Pietro Germi, Michele Placido, and Damiano Damiani; and TV series such as the “Commissario De Luca” series, the “Commissario Nardone” series, and “Romanzo criminale–The series.”  Providing the most wide-ranging examination of this sub-genre in Italy, Barbara Pezzotti places works set in the Risorgimento, WWII, and the Years of Lead in the larger social and political context of contemporary Italy.
“With this book, Barbara Pezzotti completes a trilogy of sorts begun with The Importance of Place in Contemporary Italian Crime Fiction (2012) and continued with Politics and Society in Italian Crime Fiction (2014). Considering the vast production of historical detective fiction in Italy, she argues that the genre serves to consider the past from alternative perspectives from those of official historiography, and to give a voice to those on the margins of mainstream historical accounts. Pezzotti is a superb close reader, and balances an attention to the text with complex theoretical and historiographic questions such as the role of memory in shaping individual and collective identity, and individual responsibility in the face of the collective crimes of the Fascist regime.” (Luca Somigli, Professor of Italian Studies, University of Toronto, Canada)
“With this book, Pezzotti further cements her reputation as the foremost expert on the intersection of place, history, and national identity in Italian crime fiction. Essential reading.” (Robert Rushing, Associate Professor of Comparative Literature, University of Illinois, Urbana-Champaign, USA and author of “Resisting Arrest: Detective Fiction & Popular Culture”)
“Evincing deep familiarity with her material, Pezzotti shows in this ambitious study how recent novels, films, and television series dealing with the Italian past mediate ideological positions from the coeval political culture.” (Alan O’Leary, Associate Professor of Italian, University of Leeds, UK and author of “Tragedia all’italiana: Italian Cinema and Italian Terrorisms, 1970-2010”)
“Pezzotti’s fine book presents an authoritative overview of recent Italian crime fiction. Lucidly written and compellingly interdisciplinary, this book emphasises the capacity of crime fiction to fill in the gaps left by historians, and the power and relevance of cultural responses to a contested and difficult past.” (Philip Cooke, Professor of Italian History and Culture, University of Strathclyde, UK and author of “The Legacy of the Italian Resistance”)
“Pezzotti’s fascinating study shows how crime fiction has been used to probe and question Italy’s historical open wounds and unresolved legacies. The Risorgimento, Fascism and the war, and the anni di piombo are each carefully illuminated in turn through the lens and intelligent eye of the contemporary giallo.” (Robert S. C Gordon, Serena Professor of Italian, University of Cambridge, UK and author of “The Holocaust in Italian Culture, 1944-2010”)
(From the publisher )
For more info:

Xmas in a cage

« Les cauchemars sont des choses personnelles qui deviennent ridicules lorsqu’on essaie de les raconter. Il faut les vivre, seulement les vivre… »

Frédéric Dard (Le monte-charge) p. 149

(“Nightmares are personal things that become absurd when you try to tell them to other people. You can experience them, that’s all you can do…”)


Originally published in 1961 by the enormously prolific, and yet little-known in the English speaking world, Frédéric Dard (1921 – 2000), Le monte-charge has been translated and released this year by Pushkin Press as Bird in a Cage.


An unerringly dark read, Bird in a Cage is a satisfying twist on the Christmas whodunnit. With a narrative propelled as much by chance happenings as characters’ choices, this short novel (128 pages in the English edition) will pose as many questions as it will answer and will surely thwart any Christmas cheer. It is 2016 after all…

Michèle Morgan

Morgan 1953.PNG

Yves Allégret, Les Orgueilleux, 1953

The French actress Michèle Morgan  died yesterday in Paris, aged 96. She was the last great surviving icon of the  age of Poetic Realism.  This distinctively French  expressionist  style and mood from the 1930’s anticipated Film Noir. Her early screen persona was that of a teenage femme fatale (most notably as Nelly, in  Carné’s 1938  Port of Shadows and in Grémillon’s  Stormy Waters,  for which filming started in 1939 ). This image captivated generations of movie goers,  and film makers. The mythic aura she instantly acquired became a kind of curse as the  decades went by.  Morgan seemed increasingly trapped in the distant past of a disappeared world, in a cinematic moment which had been nostalgic to begin with.  Most memorably, she starred in movies by classic poetic realist and noir directors, such as Marcel Carné, Jean Grémillon, Julien Duvivier and Yves Allégret, but also in films by Jean Delannoy and Michael Curtiz. Missing out to Ingrid Bergman for  Casablanca, she co-starred with Humphrey Bogart and Peter Lorre on another Curtiz directed war Film, Passage to Marseille.


Trouble Is Our Business: New Stories by Irish Crime Writers


Fri 25th November 6.30pm, No Alibis, 83, Botanic Avenue, Belfast

An evening of chat about Crime Fiction on the Emerald Isle with Declan Burke, John Connolly and Others

Thrilling, disturbing, shocking and moving, Trouble Is Our Business: New Stories by Irish Crime Writers is a compulsive anthology of original stories by Ireland’s best-known crime writers.

Patrick McGinley, Ruth Dudley Edwards, Colin Bateman, Eoin McNamee, Ken Bruen, Paul Charles, Julie Parsons, John Connolly, Alan Glynn, Adrian McKinty, Arlene Hunt, Alex Barclay,  Gene Kerrigan, Eoin Colfer, Declan Hughes, Cora Harrison, Brian McGilloway, Stuart Neville, Jane Casey, Niamh O’Connor, William Ryan Murphy, Louise Phillips, Sinéad Crowley, Liz Nugent

Irish crime writers have long been established on the international stage as bestsellers and award winners. Now, for the first time ever, the best of contemporary Irish crime novelists are brought together in one volume.

Edited by Declan Burke, the anthology embraces the crime genre’s traditional themes of murder, revenge, intrigue, justice and redemption. These stories engage with the full range of crime fiction incarnations: from police procedurals to psychological thrillers, domestic noir to historical crime – but there’s also room for the supernatural, the futuristic, the macabre.

As Emerald Noir blossoms into an international phenomenon, there has never been a more exciting time to be a fan of Irish crime fiction.


‘This collection can be confidently recommended to anyone who reads any type of crime fiction. They will find something to tease and tantalise their inner detective.’ – The Irish Times 

‘Trouble Is Our Business is one of the essential literary fiction compendiums in Irish publishing this year.’ –  Sunday Independent 

‘A crime anthology certain to keep you on the edge of your seat’ – The Sunday Times 

About the Editor

Declan Burke is a writer, editor, journalist and critic. He has published six crime novels, several of which were shortlisted for the Irish Book Awards, edited Down These Green Streets: Irish Crime Writing in the 21st Century, and co-edited, with John Connolly, the award-winning Books to Die For. His novel Absolute Zero Cool won the Goldsboro ‘Last Laugh’ Award.




“Noire is the New Noir” Conference



Saturday November 5th, 2016

Room, C-104, American University of Paris, Combes building,

6, rue du Colonel Combes. 75007 Paris


08h30 – 09h00 – Registration


09h00 – 09h15 – Welcoming remarks (Alice Craven & Russell Williams)


09h15 – 10h45 – Panel one, ‘Contextualising Noir Transnationally’, chair – Lucas Hollister

Natacha Levet (Université de Limoges), “Translating America through the Série Noire, from Marcel Duhamel to Aurélien Masson”

Alistair Rolls (University of Newcastle, Australia), Clara Sitbon (University of Sydney) and Marie-Laure Vuaille-Barcan (University of Newcastle, Australia), “Making Marcel Duhamel a Great Man for French Crime Fiction”

Benoît Tadié (Université Rennes 2), “Along the Ideological Divide: Female, Gay and Lesbian Noir between American paperback collections and the Série Noire”


10h45 – 11h00 – Pause


11h00 – 11h45 – Plenary session one

Dominique Jeannerod (Queens University, Belfast), “Spectres of French Noir: the long shadow of the Série Noire in French Literature and Culture”


11h45 – 13h30 – Lunch


13h30 – 15h00 – Panel two, ‘The Challenges of Noir: Translation and Transformation’, chair – Alice Craven

Cécile Cottenet (Université Aix-Marseille), “The transatlantic economics of the Série Noire

Sophie Bélot (University of Sheffield), “Jean-Luc Godard’s conflict with-in the Série Noire”

Tyechia Lynn Thompson (Howard University), “Text Mining Race and Travel in Chester Himes’s Ne nous enervons pas!, The Heat’s On, and Cotton Comes to Harlem


15h00 – 15h15 – Pause


15h15 – 16h45 –Panel three, ‘Close-up on the néo polar’, chair – Russell Williams

Sophie Vallas (Université Aix-Marseille), “Jerome Charyn’s noir New York and its French echoes”

Jean-Philippe Gury (Université de Bretagne Occidentale), “Amila, Série Noire et province”

Lucas Hollister (Dartmouth College), “Jean-Patrick Manchette, Alain Delon and the politics of French hard-boiled masculinity”


16h45-17h00 – Pause


17h00 – 18h00 – Panel four, ‘21st Century Noir’, chair – TBC

Jean Anderson (Victoria University of Wellington), “Noir (enfin) de femme…  women of the Série noire

Alice Jacquelin (Université de Poitiers), “Benoît Minville et Pierric Guittaut: l’avènement d’un country noir à la française?”


18h00 – Refreshments served


18h00 – 19h30 – Plenary session two

Aurélien Masson (Série Noire), Dominique Manotti (novelist) and Russell Williams (AUP) in conversation

Conference : New Approaches to Studying Crime Narratives (Tampere)



October 14, 2016

Pinni B3107

9.00-10.00     Registration (for speakers only), Pinni B Main Lobby

10.00-10.15   Opening of the symposium

10.15-11.15   Keynote speaker: Dr Christiana Gregoriou, University of Leeds: “On Novelisation:    The Case of The Killing

11.15-11.45   Coffee

11.45-13.15   Session 1

  • 11.45-12.15: Dr Veronique Desnain, University of Edinburgh, UK: “Fiction versus History in the French Neo-polar”
  • 12.15-12.45: Dr Anna Pehkoranta, University of Jyväskylä, Finland: “Whose Crime? Guilt, Innocence, and the Weight of History in Yiyun Li’s Kinder Than Solitude
  • 12.45-13.15: Dr John A. Stotesbury, University of Eastern Finland/Joensuu: “The Crime Scene as Museum: The (Re)construction in the Bresciano Series of a Historical Gibraltarian Past”

13.15-14.15   Lunch

14.15-15.15   Session 2

  • 14.15-14.45: Dr Eric Sandberg, University of Oulu, Finland: “Thomas Pynchon and the Rise of the Crime Novel”
  • 14.45-15.15: Dr Aino-Kaisa Koistinen, University of Jyväskylä, Finland: “Nordic Noir and the Affective Politics of Violence”

15.15-15.30   Coffee

15.30-17.00   Session 3

  • 15.30-16.00: MA Carola Maria Wide, University of Vaasa, Finland: “Woman in Red and the Abject in Unni Lindell’s Crime Thriller Rødhette
  • 16.00-16.30: Dr Andrea Hynynen, University of Turku, Finland: “Rethinking Queer, the Anti-normative and Politics in French Crime Fiction Studies”
  • 16.30-17.00: Dr Tiina Mäntymäki, University of Vaasa, Finland: “Encountering the (Non-)human Other in Swedish Crime Series Jordskott

 17.00-17.30   Closing

(19.30-          Dinner)

Worlding Crime Fiction: From the National to the Global


CFP: ACLA conference (Utrecht, 6-9 July 2017)
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:<>

Jesper Gulddal, University of Newcastle:<>

Alistair Rolls, University of Newcastle:<>

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.