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
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
“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
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University of Tampere, Finland, August 23-24, 2018
Keynote speakers: Andrew Pepper (Queen’s University Belfast) & Fiona Peters (Bath Spa University)
First Call for Papers
The advent of new technologies and digital media have transformed society and influenced cultural narratives. The changes brought about by technological innovations, digitalisation, and globalisation have affected not only the subject matter and themes of contemporary crime narratives but also the production, distribution, and consumption of crime fiction on the global market, as well as the analytical tools, techniques, research methods, and theories available to scholars. These changes are readily visible in detectives’ digital investigations or in how criminals employ digital technology in committing cybercrimes such as online stalking or theft. Moreover, the potential of digitalisation in modifying crime narratives nowadays ranges from podcasts such as “Serial” to Sherlock Holmes fan fiction to transmedia narration in “Sherlock” and the Twitter adaptation of Agatha Christie’s The Body in the Library. Continue reading
Few Crime series, if any, have developed such mystique as the French Série Noire, launched 72 years ago by former surrealist Marcel Duhamel for the éditions Gallimard. While ostensibly dedicated to introducing american hardboiled writers, and to a significant extent their imitators from elsewhere, the series also published an increasing amount of French authors. A simple data viz shows the respective quantitative contribution of the twenty most prolific French writers in the Série Noire.