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American Crime Fiction [electronic resource] : A Cultural History of Nobrow Literature as Art / by Peter Swirski.

By: Contributor(s): Material type: TextTextLanguage: English Publication details: Cham : Springer International Publishing(Imprint) 2016.Description: XIII, 222 p. 12 illus. online resourceISBN:
  • 9783319301082(ebook:PDF)
Subject(s): DDC classification:
  • 809.04 23
Online resources:
Contents:
Nobrow: Contents and Discontents -- Briefcases for Hire: Dashiell Hammett and John Grisham -- Boilerplate Potboilers: William Faulkner and Ernest Hemingway -- The Not So Simple Art of Murder: Raymond Chandler -- The Urban Procedural: Ed McBain -- Take Two: Nelson DeMille and F. Scott Fitzgerald -- Bibliography.
Summary: This book looks at American crime fiction as an artform that expresses and reflects the social and aesthetic values of its authors and readers. As such it documents the manifold ways in which such authorship and readership are a matter of informed literary choice and not of cultural brainwashing or declining literary standards. Asking, in effect, a series of questions about the nature of genre fiction as art, successive chapters look at American crime writers whose careers throw light on the hazards and rewards of nobrow traffic between popular forms and highbrow aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.
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Item type Current library Call number Materials specified Status Date due Barcode Item holds
Books Books National Library of India Available EBK000027988ENG
Total holds: 0

Nobrow: Contents and Discontents -- Briefcases for Hire: Dashiell Hammett and John Grisham -- Boilerplate Potboilers: William Faulkner and Ernest Hemingway -- The Not So Simple Art of Murder: Raymond Chandler -- The Urban Procedural: Ed McBain -- Take Two: Nelson DeMille and F. Scott Fitzgerald -- Bibliography.

This book looks at American crime fiction as an artform that expresses and reflects the social and aesthetic values of its authors and readers. As such it documents the manifold ways in which such authorship and readership are a matter of informed literary choice and not of cultural brainwashing or declining literary standards. Asking, in effect, a series of questions about the nature of genre fiction as art, successive chapters look at American crime writers whose careers throw light on the hazards and rewards of nobrow traffic between popular forms and highbrow aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.

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