Elements in Crime Narratives – serie

This Element examines how contemporary ecological crime narratives are responding to the scales and complexities of the global climate crisis. It opens with the suggestion that there are certain formal limits to the genre's capacity to accommodate and interrogate these multifaceted dynamics within its typical stylistic and thematic bounds. Using a comparative methodological approach that draws connections and commonalities between literary crime texts from across a range of geographical locales - including works from Asia, Europe, Africa, South America, North America and Oceana - it therefore seeks to uncover examples of world crime fictions that are cultivating new forms of environmental awareness through textual strategies capable of conceiving of the planet as a whole. This necessitates a movement away from considering crime fictions in the context of their distinct and separate national literary traditions, instead emphasising the global and transnational connections between works.

Feminist anger is having a moment, but the double meaning of 'mad' as angry and crazy has shaped the representation of women in popular crime fiction since Lady Audley burned down the house over 150 years ago. But when is anger just, when is it revenge, and when is it maddening? This Element will explore the ethics and efficacy of anger in female-centered crime fiction from its first stirrings in the 19th century through second wave feminism's angry, individualist heroes until today's current explosion of women who reject respectability and justification. It will also examine recent challenges to our understanding of the genre posed both by feminist care ethics and by intersectional crime fiction. This Element considers anger as the appropriate affect for women fighting for justice and explores how it shapes the representation of female detectives, relates to the crimes they investigate, and complicates ideas around justice.

This study explores the relationship between crime fiction and adoption. A primary goal of this study is to investigate how the adoption trope reveals current cultural fears and fascination with kinship formations and essentialist notions of belonging, DNA and ancestry searches, and the controversial practice of adoption. Popular fiction, namely crime/detective fiction and the subgenre of adoption crime fiction, reflect scholarly debates within the field of Critical Adoption Studies, including but not limited to the ethics behind the adoption industrial complex and calls for its demise, struggles for reproductive justice, and redefinitions of parenting and kinship formations evidenced by LGBTQ and racialized identities. Another goal of this study is to highlight adoptee and birthparent voices and perspectives, illustrating how genre fiction can help to agitate for more inclusive representation. By intersecting elements of crime into the adoption story, these narratives illuminate the human cost and condition of current adoption practices.

This Element provides an in-depth analysis of digital mystery game narratives through the lens of game studies approaches, game design principles, and literary theory. Beginning with an overview of important game studies concepts, the Element argues that the narrative effects of video games cannot be fully understood without an understanding of these principles. Next, the Element incorporates these ideas into a detailed analysis of digital mystery stories, illustrating how game design elements augment and enhance narrative impact. Finally, the Element applies these principles to several print texts, illustrating how game studies principles help to articulate interactive strategies. Ultimately, this Element argues that incorporating digital mystery narratives into the field of crime studies goes beyond simply broadening the canon, but rather that an understanding of game studies principles has the potential to augment discussions of interactivity and reader participation in all crime narratives, regardless of media form.

This study of forensic crime fiction from the US and the UK examines the prominent roles that women play in many of these novels, arguing that there are historical continuities with earlier forms of contact with the dead body. Refuting claims that the female forensic examiner exhibits traits of typically masculine behaviour, it suggests that the female gaze humanises the victims of crime and alters their representations. Utilising the views of a world-famous forensic scientist interviewed for this Element, this study also explores the role and treatment of science in forensic crime fiction, shedding light on an area of the genre. Finally, there is a consideration of killers in forensic crime novels, proposing that the relationship between killer and investigator is different from that of the classic crime novel. There are also two Appendices containing interviews with Professor Niamh Nic Daeid and with Val McDermid.

In the preface to Feminist Surveillance, Mark Andrejevic argues: 'if in the physical environment the pressing issue of the next several decades is likely to be the dramatic transformation of the global climate, in the social realm, the main issue will be the shifting surveillance climate.' This Element outlines this emerging climate by articulating a subgenre that may be termed 'Surveillance Noir.' Surveillance Noir traces the effects of living in a world where individuals are judged through their data, which is continually and often invisibly collected, interpreted, and redistributed throughout a network. This installment examines these effects by exploring the relationship between contemporary fiction - including The Candy House, Against a Loveless World and Shadow Ticket - and developments in international politics. Specifically, it considers the impact of surveillance regimes on the bodies of women and minority groups, as well as the broader threat that surveillance technologies pose to individual agency.

Crime fiction first emerged in the Victorian era and its series form continues to dominate the genre. Despite the prevalence of crime series, very little research has been done on how character is conceived. The Element's focus is contemporary, from the 1970s onward, and it determines the theory and conventions behind writing the detectives in these modern meganarratives. Exemplary series and a range of subgenres are analysed, thriller to cosy crime, professional investigator to amateur sleuth, embracing diversity and different gender identities. Previous examinations have tended to interpret the detective figure as either mythic or realist, but the author argues that both modes are combined in the contemporary crime series, generating a mythorealist protagonist. This creative-critical Element celebrates the vibrancy of the form and its capacity to investigate the human condition. It also considers future trends and concludes with the author's own guide to writing a crime fiction series.

Crime fiction first emerged in the Victorian era and its series form continues to dominate the genre. Despite the prevalence of crime series, very little research has been done on how character is conceived. The Element's focus is contemporary, from the 1970s onward, and it determines the theory and conventions behind writing the detectives in these modern meganarratives. Exemplary series and a range of subgenres are analysed, thriller to cosy crime, professional investigator to amateur sleuth, embracing diversity and different gender identities. Previous examinations have tended to interpret the detective figure as either mythic or realist, but the author argues that both modes are combined in the contemporary crime series, generating a mythorealist protagonist. This creative-critical Element celebrates the vibrancy of the form and its capacity to investigate the human condition. It also considers future trends and concludes with the author's own guide to writing a crime fiction series.

This Element argues that the sex worker character in crime narratives, often dismissed as a flat stereotype or mere plot device, actively performs crucial narratological labor that shapes the novel's realism and challenges conventional understandings of character, agency, and social reproduction. By applying Alex Woloch's theory of character-space and drawing on contemporary Black feminist scholarship that privileges power, pleasure, and desire, this study reveals how sex worker characters, through their evolving representation from marginal figures to central agents, resist narrative containment and illuminate broader socio-cultural tensions surrounding gender, class, and authority within the genre.

This Element argues that the sex worker character in crime narratives, often dismissed as a flat stereotype or mere plot device, actively performs crucial narratological labor that shapes the novel's realism and challenges conventional understandings of character, agency, and social reproduction. By applying Alex Woloch's theory of character-space and drawing on contemporary Black feminist scholarship that privileges power, pleasure, and desire, this study reveals how sex worker characters, through their evolving representation from marginal figures to central agents, resist narrative containment and illuminate broader socio-cultural tensions surrounding gender, class, and authority within the genre.

This study of forensic crime fiction from the US and the UK examines the prominent roles that women play in many of these novels, arguing that there are historical continuities with earlier forms of contact with the dead body. Refuting claims that the female forensic examiner exhibits traits of typically masculine behaviour, it suggests that the female gaze humanises the victims of crime and alters their representations. Utilising the views of a world-famous forensic scientist interviewed for this Element, this study also explores the role and treatment of science in forensic crime fiction, shedding light on an area of the genre. Finally, there is a consideration of killers in forensic crime novels, proposing that the relationship between killer and investigator is different from that of the classic crime novel. There are also two Appendices containing interviews with Professor Niamh Nic Daeid and with Val McDermid.

This Element traces the evolution of honkaku (orthodox) detective fiction in Japan, examining how a Western-derived puzzle genre was adapted, contested, and transformed within Japan's twentieth-century cultural climate. It begins with the genre's prewar formation, focusing on Edogawa Rampo's shift from a faithful practitioner of honkaku to a representative figure of Japan's henkaku (unorthodox) mode. The second section analyzes the postwar honkaku movement, demonstrating how Seishi Yokomizo and Seichō Matsumoto revitalized the genre while revealing the limits of the classical puzzle model. The final section turns to the New Orthodox School of the 1990s, whose writers pushed honkaku to its limits by reworking narrative structures and subverting genre conventions. By foregrounding debates surrounding honkaku, this Element theorizes detective fiction as a historically contingent system of formal constraints and cultural negotiations, positioning modern Japanese literature as a crucial site for rethinking genre, narrative logic, and the global circulation of literary forms.

This Element traces the evolution of honkaku (orthodox) detective fiction in Japan, examining how a Western-derived puzzle genre was adapted, contested, and transformed within Japan's twentieth-century cultural climate. It begins with the genre's prewar formation, focusing on Edogawa Rampo's shift from a faithful practitioner of honkaku to a representative figure of Japan's henkaku (unorthodox) mode. The second section analyzes the postwar honkaku movement, demonstrating how Seishi Yokomizo and Seichō Matsumoto revitalized the genre while revealing the limits of the classical puzzle model. The final section turns to the New Orthodox School of the 1990s, whose writers pushed honkaku to its limits by reworking narrative structures and subverting genre conventions. By foregrounding debates surrounding honkaku, this Element theorizes detective fiction as a historically contingent system of formal constraints and cultural negotiations, positioning modern Japanese literature as a crucial site for rethinking genre, narrative logic, and the global circulation of literary forms.

This Element examines how contemporary ecological crime narratives are responding to the scales and complexities of the global climate crisis. It opens with the suggestion that there are certain formal limits to the genre's capacity to accommodate and interrogate these multifaceted dynamics within its typical stylistic and thematic bounds. Using a comparative methodological approach that draws connections and commonalities between literary crime texts from across a range of geographical locales - including works from Asia, Europe, Africa, South America, North America and Oceana - it therefore seeks to uncover examples of world crime fictions that are cultivating new forms of environmental awareness through textual strategies capable of conceiving of the planet as a whole. This necessitates a movement away from considering crime fictions in the context of their distinct and separate national literary traditions, instead emphasising the global and transnational connections between works.

Feminist anger is having a moment, but the double meaning of 'mad' as angry and crazy has shaped the representation of women in popular crime fiction since Lady Audley burned down the house over 150 years ago. But when is anger just, when is it revenge, and when is it maddening? This Element will explore the ethics and efficacy of anger in female-centered crime fiction from its first stirrings in the 19th century through second wave feminism's angry, individualist heroes until today's current explosion of women who reject respectability and justification. It will also examine recent challenges to our understanding of the genre posed both by feminist care ethics and by intersectional crime fiction. This Element considers anger as the appropriate affect for women fighting for justice and explores how it shapes the representation of female detectives, relates to the crimes they investigate, and complicates ideas around justice.

This study explores the relationship between crime fiction and adoption. A primary goal of this study is to investigate how the adoption trope reveals current cultural fears and fascination with kinship formations and essentialist notions of belonging, DNA and ancestry searches, and the controversial practice of adoption. Popular fiction, namely crime/detective fiction and the subgenre of adoption crime fiction, reflect scholarly debates within the field of Critical Adoption Studies, including but not limited to the ethics behind the adoption industrial complex and calls for its demise, struggles for reproductive justice, and redefinitions of parenting and kinship formations evidenced by LGBTQ and racialized identities. Another goal of this study is to highlight adoptee and birthparent voices and perspectives, illustrating how genre fiction can help to agitate for more inclusive representation. By intersecting elements of crime into the adoption story, these narratives illuminate the human cost and condition of current adoption practices.

This Element provides an in-depth analysis of digital mystery game narratives through the lens of game studies approaches, game design principles, and literary theory. Beginning with an overview of important game studies concepts, the Element argues that the narrative effects of video games cannot be fully understood without an understanding of these principles. Next, the Element incorporates these ideas into a detailed analysis of digital mystery stories, illustrating how game design elements augment and enhance narrative impact. Finally, the Element applies these principles to several print texts, illustrating how game studies principles help to articulate interactive strategies. Ultimately, this Element argues that incorporating digital mystery narratives into the field of crime studies goes beyond simply broadening the canon, but rather that an understanding of game studies principles has the potential to augment discussions of interactivity and reader participation in all crime narratives, regardless of media form.