Stewart King – författare

As Spaniards set out to transform the political, social and cultural landscape of the nation following the death of dictator Francisco Franco in 1975, its crime fiction traces, challenges and celebrates these radical changes. Crime Fiction from Spain: Murder in the Multinational State provides a comprehensive exploration of the relationship between detective fiction and national and cultural identities in post-Franco democratic Spain. What sort of stories are told about the nation within the state in the crime genre? How do the conventions of the crime story shape not only the production of national and cultural identities, but also their disruption? Combining criminological theories of crime and community with an analysis of the genre’s conventions, this study challenges the simple classification of Spanish crime fiction as texts written by Spaniards, set in Spain and with Spanish characters. Instead, it develops a dramatic new reading practice which allows for a greater understanding of the role of crime fiction in the construction and articulation of different and, at times, competing, national and cultural identities, including in the Basque Country, Catalonia and Galicia. The book provides a stimulating introduction to the key debates on the study of crime fiction and national and cultural identities in the context of a multinational state.

As Spaniards set out to transform the political, social and cultural landscape of the nation following the death of dictator Francisco Franco in 1975, its crime fiction traces, challenges and celebrates these radical changes. Crime Fiction from Spain: Murder in the Multinational State provides a comprehensive exploration of the relationship between detective fiction and national and cultural identities in post-Franco democratic Spain. What sort of stories are told about the nation within the state in the crime genre? How do the conventions of the crime story shape not only the production of national and cultural identities, but also their disruption? Combining criminological theories of crime and community with an analysis of the genre’s conventions, this study challenges the simple classification of Spanish crime fiction as texts written by Spaniards, set in Spain and with Spanish characters. Instead, it develops a dramatic new reading practice which allows for a greater understanding of the role of crime fiction in the construction and articulation of different and, at times, competing, national and cultural identities, including in the Basque Country, Catalonia and Galicia. The book provides a stimulating introduction to the key debates on the study of crime fiction and national and cultural identities in the context of a multinational state.

The Routledge Companion to Crime Fiction is a comprehensive introduction to crime fiction and crime fiction scholarship today. Across forty-five original chapters, specialists in the field offer innovative approaches to the classics of the genre as well as ground-breaking mappings of emerging themes and trends.The volume is divided into three parts. Part I, Approaches, rearticulates the key theoretical questions posed by the crime genre. Part II, Devices, examines the textual characteristics of the genre. Part III, Interfaces, investigates the complex ways in which crime fiction engages with the defining issues of its context – from policing and forensic science through war, migration and narcotics to digital media and the environment. Engagingly written and drawing on examples from around the world, this volume is indispensable to both students and scholars of crime fiction.

Accessible yet comprehensive, this first systematic account of crime fiction across the globe offers a deep and thoroughly nuanced understanding of the genre's transnational history. Offering a lucid account of the major theoretical issues and comparative perspectives that constitute world crime fiction, this book introduces readers to the international crime fiction publishing industry, the translation and circulation of crime fiction, international crime fiction collections, the role of women in world crime fiction, and regional forms of crime fiction. It also illuminates the past and present of crime fiction in various supranational regions across the world, including East and South Asia, the Arab World, Sub-Saharan Africa, Europe and Scandinavia, as well as three spheres defined by a shared language, namely the Francophone, Lusophone, and Hispanic worlds. Thoroughly-researched and broad in scope, this book is as valuable for general readers as for undergraduate and postgraduate students of popular fiction and world literature.

Accessible yet comprehensive, this first systematic account of crime fiction across the globe offers a deep and thoroughly nuanced understanding of the genre's transnational history. Offering a lucid account of the major theoretical issues and comparative perspectives that constitute world crime fiction, this book introduces readers to the international crime fiction publishing industry, the translation and circulation of crime fiction, international crime fiction collections, the role of women in world crime fiction, and regional forms of crime fiction. It also illuminates the past and present of crime fiction in various supranational regions across the world, including East and South Asia, the Arab World, Sub-Saharan Africa, Europe and Scandinavia, as well as three spheres defined by a shared language, namely the Francophone, Lusophone, and Hispanic worlds. Thoroughly-researched and broad in scope, this book is as valuable for general readers as for undergraduate and postgraduate students of popular fiction and world literature.

The Routledge Companion to Crime Fiction is a comprehensive introduction to crime fiction and crime fiction scholarship today. Across forty-five original chapters, specialists in the field offer innovative approaches to the classics of the genre as well as ground-breaking mappings of emerging themes and trends.The volume is divided into three parts. Part I, Approaches, rearticulates the key theoretical questions posed by the crime genre. Part II, Devices, examines the textual characteristics of the genre. Part III, Interfaces, investigates the complex ways in which crime fiction engages with the defining issues of its context – from policing and forensic science through war, migration and narcotics to digital media and the environment. Engagingly written and drawing on examples from around the world, this volume is indispensable to both students and scholars of crime fiction.

Criminal Moves: Modes of Mobility in Crime Fiction offers a major intervention into contemporary theoretical debates about crime fiction. It seeks to overturn the following preconceptions: that the genre does not warrant critical analysis, that genre norms and conventions matter more than textual individuality, and that comparative perspectives are secondary to the study of the British-American canon. Criminal Moves challenges the distinction between literary and popular fiction and proposes that crime fiction be seen as constantly violating its own boundaries. Centred on three axes of mobility, the essays ask how can we imagine a mobile reading practice that realizes the genre’s full textual complexity, without being limited by the authoritative self-interpretations provided by crime narratives; how we can overcome restrictive notions of ‘genre’, ‘formula’ or ‘popular’; and how we can establish transnational perspectives that challenge the centrality of the British-American tradition and recognize that the global history of crime fiction is characterized, not by the existence of parallel national traditions, but rather by processes of appropriation and transculturation. Criminal Moves presents a comprehensive reinterpretation of the history of the genre that also has profound ramifications for how we read individual crime fiction texts.

Criminal Moves: Modes of Mobility in Crime Fiction offers a major intervention into contemporary theoretical debates about crime fiction. It seeks to overturn the following preconceptions: that the genre does not warrant critical analysis, that genre norms and conventions matter more than textual individuality, and that comparative perspectives are secondary to the study of the British-American canon. Criminal Moves challenges the distinction between literary and popular fiction and proposes that crime fiction be seen as constantly violating its own boundaries. Centred on three axes of mobility, the essays ask how can we imagine a mobile reading practice that realizes the genre’s full textual complexity, without being limited by the authoritative self-interpretations provided by crime narratives; how we can overcome restrictive notions of ‘genre’, ‘formula’ or ‘popular’; and how we can establish transnational perspectives that challenge the centrality of the British-American tradition and recognize that the global history of crime fiction is characterized, not by the existence of parallel national traditions, but rather by processes of appropriation and transculturation. Criminal Moves presents a comprehensive reinterpretation of the history of the genre that also has profound ramifications for how we read individual crime fiction texts.