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 commonly used. Gregoriou conducts case reports into crime sequence via James Patterson, Michael Connelly and Patricia Cornwell, and investigates the best way those novelists correspondingly problem linguistic norms, the limits of applicable social habit, and the proper ordinary conventions.
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Additional resources for Deviance in Contemporary Crime Fiction (Crime Files)
Whereas some, for instance, appreciate the formulaic nature of such texts, others value most those crime novels that depart from the formula’s restricting regularities. However, his claim as to the complicated categorisation of the socalled crime ﬁction genre does seem rather valid. Those who have been attracted to the genre have, in other words, come to face a variety of classiﬁcations, most of which have been limiting and confusing rather than helpful, while the deﬁnitions adopted were often of a rather overlapping nature.
The different viewpoint types are worth deﬁning here, as the analysis will later come to focus on those extracts that allow access to the criminal viewpoint, whilst elaborating on the nature of that viewpoint. Groups of indicators can be linked together interpretatively, namely in terms of spatio-temporal, psychological and ideological viewpoint (see Simpson, 1993: 11). Spatio-temporal viewpoint ‘refers to the impression which a reader gains of events moving rapidly or slowly, in a continuous chain or isolated segments’ (Fowler, 1986: 127).
Bo ¨ nnemark (1997: 59–60) attempted to distinguish the characteristic features of detective ﬁction, and set out the differences between that and suspense ﬁction. For instance she, among other things, claimed that detective stories primarily mystify and demystify, while suspense stories primarily create and release suspense. As Haycraft (1972: 81), however, argues, many stories are difﬁcult to categorise and some do in fact situate themselves on the border between detective and suspense ﬁction.
Deviance in Contemporary Crime Fiction (Crime Files) by C. Gregoriou