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Detecting the South in Fiction, Film, & Television, edited by
Deborah E. Barker and Theresa Starkey, examines the
often-overlooked and undervalued impact of the U.S. South on the
origins and development of the detective genre and film noir. This
wide-ranging collection engages with ongoing discussions about
genre, gender, social justice, critical race theory, popular
culture, cinema, and mass media. Focusing on the South, these
essays uncover three frequently interrelated themes: the
acknowledgment of race as it relates to slavery, segregation, and
discrimination; the role of land as a source of income, an
ecologically threatened space, or a place of seclusion; and the
continued presence of the southern gothic in recurring elements
such as dilapidated plantation houses, swamps, family secrets, and
the occult. Twenty-two critical essays probe how southern detective
narratives intersect with popular genre forms such as neo-noir,
hard-boiled fiction, the dark thriller, suburban noir, amateur
sleuths, journalist detectives, and television police procedurals.
Alongside essays by scholars, Detecting the South in Fiction, Film,
and Television presents pieces by authors of detective and crime
fiction, including Megan Abbott and Ace Atkins, who address the
extent to which the South and its artistic traditions influenced
their own works. By considering the diversity of authors and
characters associated with the genre, this accessible collection
provides an overdue examination of the historical, political, and
aesthetic contexts out of which the southern detective narrative
emerged and continues to evolve.
Contributions by Jacob Agner, Sarah Gilbreath Ford, Katie Berry
Frye, Michael Kreyling, Andrew B. Leiter, Rebecca Mark, Suzanne
Marrs, Tom Nolan, Michael Pickard, Harriet Pollack, and Victoria
Richard Eudora Welty's ingenious play with readers' expectations
made her a cunning writer, a paramount modernist, a short story
artist of the first rank, and a remarkable literary innovator. In
her signature puzzle-texts, she habitually engages with familiar
genres and then delights readers with her transformations and
nonfulfillment of conventions. Eudora Welty and Mystery: Hidden in
Plain Sight reveals how often that play is with mystery, crime, and
detective fiction genres, popular fiction forms often condescended
to in literary studies, but unabashedly beloved by Welty throughout
her lifetime. Put another way, Welty often creates her stories'
secrets by both evoking and displacing crime fiction conventions.
Instead of restoring order with a culminating reveal, her
story-puzzles characteristically allow mystery to linger and
thicken. The mystery pursued becomes mystery elsewhere. The essays
in this collection shift attention from narratives, characters, and
plots as they have previously been understood by unearthing enigmas
hidden within those constructions. Some of these new readings
continue Welty's investigation of hegemonic whiteness and southern
narratives of race-outlining these in chalk as outright crime
stories. Other essays show how Welty anticipated the regendering of
the form now so characteristic of contemporary women mystery
writers. Her tender and widely ranging personal correspondence with
the hard-boiled American crime writer Ross Macdonald is also
discussed. Together these essays make the case that across her
career, Eudora Welty was arguably one of the genre's greatest
double agents, and, to apply the titles of Macdonald's novels to
her inventiveness with the form, she is its "underground woman,"
its unexpected "sleeping beauty.
Contributions by Jacob Agner, Sarah Gilbreath Ford, Katie Berry
Frye, Michael Kreyling, Andrew B. Leiter, Rebecca Mark, Suzanne
Marrs, Tom Nolan, Michael Pickard, Harriet Pollack, and Victoria
Richard Eudora Welty's ingenious play with readers' expectations
made her a cunning writer, a paramount modernist, a short story
artist of the first rank, and a remarkable literary innovator. In
her signature puzzle-texts, she habitually engages with familiar
genres and then delights readers with her transformations and
nonfulfillment of conventions. Eudora Welty and Mystery: Hidden in
Plain Sight reveals how often that play is with mystery, crime, and
detective fiction genres, popular fiction forms often condescended
to in literary studies, but unabashedly beloved by Welty throughout
her lifetime. Put another way, Welty often creates her stories'
secrets by both evoking and displacing crime fiction conventions.
Instead of restoring order with a culminating reveal, her
story-puzzles characteristically allow mystery to linger and
thicken. The mystery pursued becomes mystery elsewhere. The essays
in this collection shift attention from narratives, characters, and
plots as they have previously been understood by unearthing enigmas
hidden within those constructions. Some of these new readings
continue Welty's investigation of hegemonic whiteness and southern
narratives of race-outlining these in chalk as outright crime
stories. Other essays show how Welty anticipated the regendering of
the form now so characteristic of contemporary women mystery
writers. Her tender and widely ranging personal correspondence with
the hard-boiled American crime writer Ross Macdonald is also
discussed. Together these essays make the case that across her
career, Eudora Welty was arguably one of the genre's greatest
double agents, and, to apply the titles of Macdonald's novels to
her inventiveness with the form, she is its "underground woman,"
its unexpected "sleeping beauty.
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