Reading fiction from high and low culture together, Fiction, Crime, and Empire skillfully sheds light on how crime fiction responded to the British and American experiences of empire, and how forms such as the detective novel, spy thrillers, and conspiracy fiction articulate powerful cultural responses to imperialism. Poe's Dupin stories, for example, are seen as embodying a highly critical vision of the social forces that were then transforming the United States into a modern, democratic industrialized nation; a century later, Le Carré employs the conventions of espionage fiction to critique the exhausted and morally compromised values of British imperialism. By exploring these works through the organizing figure of crime during and after the age of high imperialism, Thompson challenges and modifies commonplace definitions of modernism, postmodernism, and popular or mass culture.
This book highlights detection's malleability by analyzing the works of particular groups of authors from specific time periods written in response to other texts. It traces the roles that gender, race and empire have played in American detective fiction from Edgar Allan Poe's works through the myriad variations upon them published before 1920 to hard-boiled fiction (the origins of which derive in part from turn-of-the-20th-century notions about gender, race and nationality), and it concludes with a discussion of contemporary mystery series with inner-city settings that address black male and female heroism.
From bestselling author Gary Krist, a vibrant and immersive account of New Orleans’ other civil war, at a time when commercialized vice, jazz culture, and endemic crime defined the battlegrounds of the Crescent City Empire of Sin re-creates the remarkable story of New Orleans’ thirty-years war against itself, pitting the city’s elite “better half” against its powerful and long-entrenched underworld of vice, perversity, and crime. This early-20th-century battle centers on one man: Tom Anderson, the undisputed czar of the city's Storyville vice district, who fights desperately to keep his empire intact as it faces onslaughts from all sides. Surrounding him are the stories of flamboyant prostitutes, crusading moral reformers, dissolute jazzmen, ruthless Mafiosi, venal politicians, and one extremely violent serial killer, all battling for primacy in a wild and wicked city unlike any other in the world.
In Crime and Empire, Upamanyu Pablo Mukherjee examines a wide range of nineteenth-century British fictions about crime in India--from writers such as Wilkie Collins, Walter Scott, and Conan Doyle to historical, parliamentary, and medical narratives.
The first thrilling historical crime novel starring Thomas Hawkins, a rakish scoundel with a heart of gold, set in the darkest debtors' prison in Georgian London, where people fall dead as quickly as they fall in love and no one is as they seem.
In Detecting the Nation, Reitz argues that detective fiction was essential both to public acceptance of the newly organized police force in early Victorian Britain and to acclimating the population to the larger venture of the British Empire. In doing so, Reitz challenges literary-historical assumptions that detective fiction is a minor domestic genre that reinforces a distinction between metropolitan center and imperial periphery. Rather, Reitz argues, nineteenth-century detective fiction helped transform the concept of an island kingdom to that of a sprawling empire; detective fiction placed imperialism at the center of English identity by recasting what had been the suspiciously un-English figure of the turn-of-the-century detective as the very embodiment of both English principles and imperial authority. She supports this claim through reading such masters of the genre as Godwin, Dickens, Collins, and Doyle in relation to narratives of crime and empire such as James Mill's History of British India, narratives about Thuggee, and selected writings of Kipling and Buchan. Detective fiction and writings more specifically related to the imperial project, such as political tracts and adventure stories, were inextricably interrelated during this time.
Readers of detective stories are turning more toward historical crime fiction to learn both what everyday life was like in past societies and how society coped with those who broke the laws and restrictions of the times. The crime fiction treated here ranges from ancient Egypt through classical Greece and Rome; from medieval and renaissance China and Europe through nineteenth-century England and America. Topics include: Ellis Peter’s Brother Cadfael; Umberto Eco’s Name of the Rose; Susanna Gregory’s Doctor Matthew Bartholomew; Peter Heck’s Mark Twain as detective; Anne Perry and her Victorian-era world; Caleb Carr’s works; and Elizabeth Peter’s Egyptologist-adventurer tales.
The orientation of academic institutions has in recent years been moving away from highly specialized area studies in the classical sense towards broader regional and comparative studies. Cultural studies points to the limitation of Western approaches to non-Western cultures - a development not yet reflected in actual research and data collections. Bringing together scholars from all over the world with specialized knowledge in both Western and non-Western languages, literatures, and cultures, this collection of essays provides new insights into the agency of non-Western literatures in relation to the West - a term used with critical caution and, like other common binary dualisms, challenged here. Inter-cultural expertise, seldom applied in the combination of Asian, African, and 'oriental' perspectives, makes this compilation of essays an important contribution to the study of colonialism and postcoloniality. Topics covered include postcolonial Arabic writing; T.S. Eliot in contemporary Arabic poetry; Algerian (and Berber) literature; the English language and narratives in Kenyan art; characterization, dialogism, gender and Western infuence in modern Hindi fiction; Naya drama in India; modern Burmese theatre and literature under Western influence; Remarque's All Quiet on the Western Front and the Vietnamese Novel Without a Name; Western Marxism and vernacular literature in colonial Indonesia; hybridity in Komedi Stambul; and Sherlock Holmes in/and the crime fiction of Siam and Indonesia Contributors: Amina Azza Bekkat; Thomas de Bruijn; Matthew Isaac Cohen; Rasheed El-Enany; Keith Foulcher; Saddik M. Gohar; Rachel Harrison; Doris Jedamski; Ursula Lies; Daniela Merolla; Evan Mwangi; Guzel Vladimirovna Strelkova; Anna Suvorova; U Win Pe
John Banville offers a close analysis of most of Banville’s major novels, as well as the ‘Quirke’ crime novels he has written under the pseudonym, Benjamin Black and his dramatic adaptations of Heinrich von Kleist’s plays. From the beginning, Banville’s work has been marked both by the presence of a complex, embedded discourse about the significance of art and by a concurrent self-conscious obsession with its own status as art. His novels perpetually reveal an overt fascination with the visual arts, in particular, and with the aesthetic principle of literature as art. This study argues that, as a whole, Banville’s work presents an elaborate and richly-textured coded account of his relationship with art and with the self-referential fictional world that his novels have conjured. It is from this critical context that John Banville’s central argument is derived. This book asserts that Banville’s fiction can be viewed both as an extended interrogation into the meaning and status of art as well as itself being a representative of the type of art that is admired in the pages of the novels. As such, it also represents an extremely sophisticated enactment of the novel form that goes beyond the “self-reflexivity” of late twentieth-century fiction to chart new developments in the literary arts. The book’s critical process involves several specific reference points. Firstly, Banville’s own theoretical statements about art in interviews, essays, reviews and journalistic writing over the past 40 years are synthesized into a coherent interpretation of the author’s artistic vision which is thereafter used as a conceptual touchstone when considering his major works of fiction. This is done in conjunction with investigating specific theoretical perspectives about the relationship between literature and art by critics such as Denis Donoghue and Susan Sontag, and by philosophers of art, Graham Gordon, Etienne Gilson, Peter Lamarque, and Susanne Langer.
'Detective Fiction' is a clear and compelling look at some of the best known, yet least-understood characters and texts of the modern day. Undergraduate students of Detective and Crime Fiction and of genre fiction in general, will find this book essential reading.
