By C. Gregoriou
Nominated for the secret Writers of the US ‘Edgar Awards’! This booklet at once explores the 3 features of deviance that modern American crime fiction manipulates: linguistic, social, and widespread. Gregoriou conducts case experiences into crime sequence via James Patterson, Michael Connelly and Patricia Cornwell, and investigates the way those novelists correspondingly problem linguistic norms, the bounds of applicable social habit, and the correct commonly used conventions.
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Extra info for Deviance in Contemporary Crime Fiction (Crime Files)
Later on, however, Priestman came to argue in favour of the ‘interpermeability of genres’ (1998: 50), that is, the ﬂuidity of the barriers supposedly separating one popular genre from another. Roth, on the other hand, acknowledged three general categories of detective ﬁction – the analytic, the hard-boiled, and the spy thriller (1995: xii) – and yet pointed out that, in making this categorisation, his critical task was ‘one of adjustment rather than that of an institutional inscription of differences’.
Since carnival provides a dialogic response to the ofﬁcial structures of fear, intimidation and prohibition (Bakhtin views the legalisation of carnival not as a static state of affairs but as an ongoing process of negotiation), it can be said to be similar to his 28 Deviance in Contemporary Crime Fiction concept of heteroglossia (a term referring to the ‘internal differentiation or stratiﬁcation of language’, Wales, 2001: 186–7); there are ongoing struggles in carnival, just like there are ongoing struggles at the level of language between centripetal and centrifugal forces.
Taylor (1995: 17) suggests that whereas centripetal forces perpetuate the myth of a unitary language and thus contribute to the process of social and historical cohesion, centrifugal forces lay bare the full range and diversity of speech types. Bakhtin’s carnival(esque) is a term popularised ‘to signal any demotic heteroglossic or “multi-voiced” counter-culture in comic or exuberant opposition to a hegemonic ofﬁcial culture: a kind of subversive anticulture, often with its own anti-language’ (Wales, 2001: 48).
Deviance in Contemporary Crime Fiction (Crime Files) by C. Gregoriou