David Platten

Gigliola Sulis

Christiana Gregoriou

In recent decades crime fiction has enjoyed a creative boom. Although, as Alison Young argues in her book Imagining Crime (1996), crime stories remain strongly identified with specific locations, the genre has acquired a global reach, illuminating different corners of the world for the delectation of international audiences. The recent fashion for Nordic noir has highlighted the process by which the crime story may be franchised, as it is transposed from one culture to another. Crime fiction has thus become a vehicle for cultural exchange in the broadest of senses; not only does it move with apparent ease from one country to the next, and in and out of different languages, but it is also reproduced through various cultural media. What is involved in these processes of transference? Do stories lose or gain value? Or are they transformed into something else altogether? How does the crime story that originates in a specific society or culture come to articulate aspects of very different societies and cultures? And what are the repercussions of this cultural permeability?

Crime Fiction in the Global Era

Retold Resold Transformed

Philippe Djian, 37o 2 Le Matin

Jean-Pierre Boulé

Michel Tournier is a writer who explores complex philosophical questions in the guise of concrete, imagistic narratives. This comprehensive study privileges the notion of literary reference, by which the world of text is understood or experienced in metaphorical relation to the world outside of it. Metaphor, in the context of Tournier’s fiction, shows how the fantastic merges with the real to provide new perspectives on many diverse aspects of the modern world: the Crusoe myth, Nazism, the value to society of art and religion, and the nature of education. This book elucidates an aesthetic of Tournier’s fiction that encompasses the writer’s stated ambition to ‘go beyond literature’.

Michel Tournier and the Metaphor of Fiction

For 150 years the French public and literati have enjoyed a love affair with crime fiction. This book investigates the nature of this relationship and how through periods of dramatic social and political change in France it has flourished. It challenges the conventional view of a popular genre feeding a niche market, depicting crime fiction instead as a field of creative endeavour, which has gradually matured into one of considerable literary fertility. By inviting us to share secrets and crack codes, creating suspense and (at times) not shirking from presenting horrific events in graphic language, the crime story brings into play the intellect and emotions of its readership. This book explores both this intrinsic literary value of the crime novel and its extrinsic witness to historical events and cultural trends, arguing that these apparently distinct aspects are in fact dynamic, interrelated parts of the same whole. This blend of cultural history with literary analysis allows for the discussion of themes such as politics, memory, the urban environment and youth cultures, mixed with case studies of major French crime writers, including Gaston Leroux, Georges Simenon, Jean-Patrick Manchette, Daniel Pennac and Fred Vargas.

Reading Modern French Crime Fiction

The Pleasures of Crime

Diana Holmes

“Plot”, writes Peter Brooks, “is so basic to our very experience of reading, and indeed to our articulation of experience in general, that criticism has often passed it over in silence…” (Reading for the Plot, xi). Finding the Plot both explores and helps to redress this critical neglect. The book brings together an international group of scholars to address the nature, effects and specific pleasures of consuming stories. If the central focus is on France and popular literary fiction, the book’s scope – like contemporary fiction itself – observes no national frontiers, and extends across a variety of media. The book addresses both the empirical question of which genres and types of text have been and are most “popular”, and the theoretical questions of how plots work, what pleasures they offer to readers, and why it matters that the plot should not be lost.

Storytelling in Popular Fictions

Finding the Plot

Michel Tournier is a writer who explores complex philosophical questions in the guise of concrete, imagistic narratives. This comprehensive study privileges the notion of literary reference, by which the world of text is understood or experienced in metaphorical relation to the world outside of it. Metaphor, in the context of TournierOCOs fiction, shows how the fantastic merges with the real to provide new perspectives on many diverse aspects of the modern world: the Crusoe myth, Nazism, the value to society of art and religion, and the nature of education. This book elucidates an aesthetic of TournierOCOs fiction that encompasses the writerOCOs stated ambition to OCygo beyond literatureOCO."

David Platten

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