Publications

Crime Scenes: Modern Crime Fiction in an International Context. Ed. Urszula Elias and Agnieszka Sienkiewicz-Charlish (Peter Lang, 2014)

Publisher’s website

264154_cover_frontCrime Scenes: Modern Crime Fiction in an International Context examines the ways in which crime fiction has developed over several decades and in several national literary traditions. The volume covers a wide spectrum of current interests and topical concerns in the field of crime fiction studies. It introduces twenty-four original essays by an international group of scholars divided among three main sections: «Genres», «Authors and Texts» and «Topics». Issues discussed include genre syncretism, intertextuality, sexuality and gender, nationhood and globalization, postcolonial literature and ethical aspects of crime fiction.

Contents:

David Malcolm, Introduction

PART I: GENRES

Thomas Anessi, “Literary Codes of Conduct in PRL Crime Fiction: Barańczak, Joe Alex and the Powieść Milicyjna.”

Nina Holst, “Way too meta»: Readers, Writers and Transmedia in Castle.

Nina Muždeka, “A Pothead Detective Challenging the Genre: Thomas Pynchon’s Inherent Vice.”

Elżbieta Perkowska-Gawlik, “The Quest for Identity in Academic Mystery Fiction.”

Agnieszka Sienkiewicz-Charlish, “Tartan Noir: Crime, Scotland and Genre in Ian Rankin’s Rebus Novels.”

 

PART II: AUTHORS AND TEXTS

Stephen Butler, “Banville, Simenon, Stark – An Existential Ménage à Trois.”

Wolfgang Görtschacher, “Constructions of Identity and Intertextuality in Martha Grimes’s The Black Cat.”

Ayşegül Kesirli Unur, “Cingöz Recai at Work: A Study on Early Turkish Crime Fiction on Film.”

Arkadiusz Misztal, “LSD Investigations: The End of Groovy Times and California Noir in Inherent Vice by Thomas Pyncho.”

Monika Rajtak, “Investigating Evil: Crime Fiction Remodelled in When We Were Orphans by Kazuo Ishiguro.”

Monika Szuba, “Bloody Typical: Genre, Intertextuality, and the Gaze in The Cutting Room by Louise Welsh.”

Jørgen Veisland, “Whose Letter? Possession, Position and Detection in Edgar Allan Poe’s ‘The Purloined Letter’.”

Jadwiga Węgrodzka: The Detective as Reader: Narration and Interpretation in Arthur Conan Doyle’s Detective Stories

Marta Aleksandrowicz-Wojtyna, “Crime Fiction in South Africa? Nadine Gordimer’s Rendition of Crime in ‘Country Lovers’ and ‘Town Lovers’.”

Bernd-Peter Lange, “South Asian Sleuths: Colonial, Postcolonial, Cosmopolitan.”

PART III: TOPICS

Dorota Babilas, “Her Majesty’s Own Murderer? Queen Victoria and Jack the Ripper in Popular Fiction.”

Rachel Franks, “Gender and Genre: Changes in ‘Women’s Work’ in Australian Crime Fiction.”

Marie Hologa, “‘Snort for Caledonia’ – Drugs, Masculinity and National Identity in Contemporary Scottish Detective Fiction.”

Miriam Loth, “‘…the abyss gazes also into you’ – Guilt and Innocence in British Golden Age Detective Fiction and Contemporary Crime Novels.”

Jacqui Miller, “An American in Europe: US Colonialism in The Talented Mr Ripley and Ripley’s Game.”

Fiona Peters, “The Perverse Charm of the Amoral Serial Killer: Tom Ripley, Dexter Morgan and Seducing the Reader.”

Cyprian Piskurek, “More Than Meets the (Camera) Eye: Detective Fiction in Times of CCTV.”

Marta Usiekniewicz,  “The Eating Detective: Food and Masculinity in Robert B. Parker’s Spencer Series.”

Arco van Ieperen, “What’s the Word? Sexism and Political Correctness in the Crime Fiction of Robert B. Parker and Sara Paretsky.”

 

A short story by Paul D. Brazill –  “The Tut.”

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