By C. Gregoriou
Nominated for the secret Writers of the USA ‘Edgar Awards’! This booklet without delay explores the 3 points of deviance that modern American crime fiction manipulates: linguistic, social, and popular. Gregoriou conducts case experiences into crime sequence by means of James Patterson, Michael Connelly and Patricia Cornwell, and investigates the best way those novelists correspondingly problem linguistic norms, the limits of appropriate social habit, and the suitable universal conventions.
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Additional info for Deviance in Contemporary Crime Fiction (Crime Files)
In Chapter 3, ‘Linguistic Deviance: The Stylistics of Criminal Justiﬁcation’, I draw on two studies of the language of extracts portraying the criminal consciousness. The ﬁrst draws on the notion of mind style as a vital medium for one to get from the stylistic analysis of such extracts to the moral justiﬁcation of crimes. The second addresses the nature of the criminal mind in Patterson and investigates the ﬁgurative language employed in such extracts. In Chapter 4, ‘Social Deviance in Contemporary Crime Fiction’, I examine the rule-breaking of the social perspective of abnormality, with a focus on Connelly’s Bosch series.
Centripetal forces pull inwards towards a standard language, an authoritative canon and political and structural centralisation, while centrifugal forces push outwards towards variation, resistance and disuniﬁcation. 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).
Roth (1995: xii) Roth, however, not only fails to name this group of so-called ‘popular cultural critics’, but further seems to insinuate that it is only those who dislike the genre that are able to see how one subgenre often blends with another, and thus how difﬁcult it is to ascertain the differences keeping one distinct from another. Bo ¨ nnemark (1997: 59–60) attempted to distinguish the characteristic features of detective ﬁction, and set out the differences between that and suspense ﬁction.
Deviance in Contemporary Crime Fiction (Crime Files) by C. Gregoriou