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The popularity of the children's detective genre defies an apparent clash between the nature of the genre, specifically its reliance on readerly ability and capital crime, and children's literature's specific group of readers, and thus invites investigation. It is therefore peculiar that...
Psychosis in crime fiction is often misrepresented, with psychosis and violence oft being conflated. Three recent popular crime fiction novels considered are Shutter Island, Trust Your Eyes, and Spider – whose main characters suffer from psychotic disorders. Representations can either perpetuate...
Patricia Highsmith deploys the iconography of windows in The Cry of the Owl (1962) to indicate sites of liminality whereby she questions what constitutes ‘normalcy’ in mid-twentieth-century America. When protagonist Robert Forester, formerly of New York City, peers clandestinely into the kitchen...
Critics have long approached Raymond Chandler's The Big Sleep as a poorly plotted tale that requires rescuing not only from the teller but also from the text and the author who created it, which for Pierre Bayard is the proper function of ‘detective criticism.’ His hermeneutics of suspicion...
This article will address James Ellroy’s My Dark Places and Maggie Nelson’s The Red Parts as attempts and failures to tell familial stories of murder. These problematics of ‘telling’ will be teased out through the way both texts approach photographs. Ellroy actively reproduces photographs within...
This paper reads Howard Engel’s novels Murder on Location (1982) and Dead and Buried (1990) through border theory and as a form of border theory. Engel uses a soft-boiled comic Canadian variant of the hard-boiled American detective novel to explore sites, situations, and symbols of national...
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