American Crime Fiction: A Cultural History of Nobrow by Peter Swirski

By Peter Swirski

Peter Swirski seems at American crime fiction as an artform that expresses and displays the social and aesthetic values of its authors and readers. As such he records the manifold ways that such authorship and readership are a question of trained literary selection and never of cultural brainwashing or declining literary criteria. Asking, in impact, a sequence of questions on the character of style fiction as artwork, successive chapters examine American crime writers whose careers throw mild at the dangers and rewards of nobrow site visitors among well known types and intellectual aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.

Show description

Read or Download American Crime Fiction: A Cultural History of Nobrow Literature as Art PDF

Similar genres & styles books

The Cambridge Companion to the Twentieth-Century English Novel (Cambridge Companions to Literature)

The twentieth-century English novel incorporates a giant physique of labor, and probably the most vital and most generally learn genres of literature. Balancing shut readings of specific novels with a accomplished survey of the final century of released fiction, this better half introduces readers to greater than 100 significant and minor novelists.

Analysing Sign Language Poetry

This new examine is a tremendous contribution to signal language examine and to literature commonly, the complicated grammatical, phonological and morphological platforms of signal language linguistic constitution and their function in signal language poetry and function. Chapters care for repetition and rhyme, symmetry and stability, neologisms, ambiguity, topics, metaphor and allusion, poem and function, and mixing English and signal language poetry.

Death in a Cold Climate: A Guide to Scandinavian Crime Fiction

Barry Forshaw, the UK's crucial crime fiction expert,presents a party and research ofthe Scandinavian crime style, from Sjöwall and Wahlöö's Martin Beck sequence via Henning Mankell's Wallander to Stieg Larsson's demolition of the Swedish Social Democratic perfect within the publishing phenomenon the lady with the Dragon Tattoo .

The brink of all we hate : English satires on women, 1660-1750

"Is it no longer immense, that our Seducers might be our Accusers? Will they now not hire Fraud, nay usually strength to achieve us? What numerous Arts, what Stratagems, what Wiles will they use for our Destruction? yet that when complete, each opprobrious time period with which our Language so plentifully abounds, will probably be bestowed on us, even by way of the very Villains who've wronged us"―Laetitia Pilkington, Memoirs (1748).

Additional info for American Crime Fiction: A Cultural History of Nobrow Literature as Art

Sample text

There is also the Mammoth Encyclopedia of Modern Crime Fiction which, limited only to the postwar decades, comes in at more than half-a-thousand pages of magnifyingglass print. NOBROW: CONTENTS AND DISCONTENTS 25 At the other end of the spectrum, acclaimed artists who turn their hands to fictional crime are also as common as bread in a prison meatloaf. Even more than Faulkner, Hemingway, and Fitzgerald, one might mention Akira Kurosawa whose ironically titled film High and Low (1963) adapted one of Ed McBain’s police procedurals, King’s Ransom (1959), with Tokyo subbing as the suburban tangle of New York City.

Not bad for BRIEFCASES FOR HIRE: DASHIELL HAMMETT AND JOHN GRISHAM 33 a writer of private eye mysteries in which the only thing faster than a bullet is one-line wit. Hammett also left his imprint on American cinema through John Huston’s 1941 adaptation of The Maltese Falcon, selected by the American Film Institute as one of twenty-five Greatest American Films. Everyone knows the picture’s all-star cast—Humphrey Bogart, Mary Astor, Sidney Greenstreet, and Peter Lorre as chypre-scented (gay) Joel Cairo—although theirs was only version number three.

Evidently, there are parameters of the phenomenology of the mystery genre that take it in the direction of literature tout court. Sociologists, anthropologists, and a growing number of literary scholars document any number of critical and discriminating attitudes among genre fiction readers, something that curators of high art like to arrogate just to themselves. In general, there is no evidence that individuals who regularly consume genre fiction are criminally inclined escapists incapable of getting a grip on reality.

Download PDF sample

Rated 4.15 of 5 – based on 21 votes