Crime Fiction as World Literature (Literatures as World Literature)

While crime fiction is one of the most widespread of all literary genres, this is the first book to treat it in its full global is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, twenty critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, __Crime Fiction as World Literature__ gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture. Cover Half Title Series Title Copyright Contents List of Illustrations Introduction: Crime Fictionas World Literature Note Part One Global and Local 1 The Knife in the Lemon: Nordic Noir and the Glocalization of Crime Fiction Sofie Sarenbrant’s Visning pågår and the Swedish housing bubble Kåre Halldén and the Wine Crime series Crime fiction as glocal literature Works Cited 2 After Such Knowledge: The Politics of Detection in the Narconovelas of Elmer Mendoza Notes Works Cited 3 Red Herrings and Read Alerts: Crime and its Excesses in Almost Blue and Nairobi Heat Works Cited 4 The Detective is Suspended: Nordic Noir and the Welfare State Notes Works Cited 5 Four Generations, One Crime Notes Works Cited Part Two Market Mechanisms 6 With a Global Market in Mind: Agents, Authors, and the Dissemination of Contemporary Swedish Crime Fiction Swedish crime fiction and Swedish literary agents Book fairs as places of dissemination The global and the local—producing world literature Conclusion Notes Works Cited 7 So You Think You Can Write ... Handbooks for Mystery Fiction A brief history of literary advice The rules of the game From Poe to Aristotle: Mystery as literary genre The detective story as a modern genre The contemporary mystery market Conclusion Notes Works Cited 8 Covering Crime Fiction: Merging the Local into Cosmopolitan Mediascapes Breaking down covers Cover stories Notes Works Cited 9 Surrealist Noir: Aragon’s Le Cahier noir and Pamuk’s The Black Book Louis Aragon and La Défense de l’infini, a novel for posterity The two black books Works Cited Part Three Translating Crime 10 Detective Fiction in Translation: Shifting Patterns of Reception Works Cited 11 Making it Ours: Translation and the Circulation of Crime Fiction in Catalan Notes Works Cited 12 “In Agatha Christie’s Footsteps”: The Cursed Goblet and Contemporary Bulgarian Crime Fiction Notes Works Cited 13 A Missing Literature: Dror Mishani and the Case of Israeli Crime Fiction Works Cited 14 World Detective Form and Thai Crime Fiction The dawn of Thai crime fiction Phrae dam: Crimes and the urbanization of Bangkok Adventures in Thailand’s rural backcountry Voices of authority: Policing and crime fiction Contemporary imaginings: New debates, old format? Works Cited Part Four Holmes Away from Home 15 Holmes Away from Home: The Great Detective in the Transnational Literary Network Circulation, translation, adaptation The reprint of a (fictional) memoir: A Study in Scarlet To tell whether the boy is Indian or not: “Feluda in London” Conclusions Notes Works Cited 16 Sherlock’s Queen Bee Works Cited 17 Sherlock Holmes Came to China: Detective Fiction, Cultural Meditations, and Chinese Modernity Notes Works Cited 18 A Sinister Chuckle: Sherlock in Tibet Works Cited 19 Detecting Conspiracy: Boris Akunin’s Dandiacal Detective, or a Century in Queer Profiles from London to Moscow Works Cited Notes on Contributors Index "Crime fiction is one of the most widespread of all literary genres. What's more, crime fiction is a part of our literary heritage and is intertwined with the development of today's consumer society. Part of Bloomsbury major new series Literatures as World Literature, this is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, 21 critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, Crime Fiction as World Literature gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture."--Source inconnue "While crime fiction is one of the most widespread of all literary genres, this is the first book to treat it in its full global is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, twenty critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, Crime Fiction as World Literature gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture."--Bloomsbury Publishing.