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Alternative title: Crime Fiction: The Creative/Critical Nexus
Issue Details: First known date: 2016... no. 37 October 2016 of TEXT Special Issue Website Series est. 2000 TEXT Special Issue Website Series
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Notes

  • Other works include :

    Jason Bainbridge : Lawyer as critic: analysing the legal thriller through the works of John Grisham, Erle Stanley Gardner and Harper Lee

    Alistair Rolls : Creative, critical, intertextual: Agatha Christie’s The Murder of Roger Ackroyd

    Heath A Diehl : ‘There are times when an old rule should be abandoned, or a current rule should not be applied’: narration, innovation and hardboiled fiction in Sue Grafton’s “T” is for Trespass

    Matthew McGuire : Narratives of apprehension: crime fiction and the aftermath of the Northern Irish Troubles

    Jean Anderson : Something old, something new, something borrowed: imitation, limitation and inspiration in French crime fiction

    Jamie Popowich : The endangered species list: the mercurial writing of Charles Willeford and the strange case of The Shark-Infested Custard

    KA Laity : Subtle hues: character and race in Dorothy B. Hughes’ The Expendable Man

Contents

* Contents derived from the 2016 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Editorial, Jesper Gulddal , Alistair Rolls , Rachel Franks , single work essay
Writing a Murderous Mother : A Case Study on the Critical Applications of Creative Writing Research to Crime Fiction, Carolyn Beasley , single work criticism
'Creative writing research offers a unique opportunity to draw together threads of inquiry from the realms of the creative, the practical and the critical (Kroll and Harper 2013). This article explores a writer’s interrogation of this process and how it was applied to creating representations of a murderous mother in a crime fiction narrative. Crime fiction provides a natural space for intersections of the creative, practical and critical due to the genre’s tendency towards social critique (Moore 2006) and the opportunity it offers to question the representations and cultural assumptions that surround us. This article aims to unpack these intersections and ask how common representations of the murderous mother can be deconstructed, challenged and repositioned through first separating, and then realigning, critical and creative processes. (Publication abstract)'
Learning All the Tricks : Critiquing Crime Fiction in a Creative Writing PhD, Rachel Franks , single work criticism
Trial by Jury and Newspaper Reportage : Re-writing Women’s Stories from Legal Transcripts and Contemporaneous Journalism, Donna Lee Brien , single work criticism
'High-profile criminal cases often pique intense public interest at the time they are being acted out in the courts, and some cases maintain a place in the popular imagination. A few cases will result in narratives that successfully re-narrate the protagonists’ stories in what could be described as fully fleshed, satisfying biographical studies. This article examines the high profile cases of Mary Dean (poisoned by her husband in 1895) and Mary Jane Hicks (sexually assaulted by a gang of men in 1886) and how their stories, reduced to the facts distilled from copious legal documentation and newspaper reportage, have seen these women fade; their stories, though repeatedly re-told, contain both Dean and Hicks as unimagined and obscure.' (Publication abstract)
There Was Nothing, There Was Nowhere to Go : Writing Australian Rural Noir, Leigh Redhead , single work criticism
'When I embarked on my doctorate in creative writing, I wanted to write about the decline of an alternative community in the 1980s, similar to the one in which I had grown up. A noir novel seemed the perfect vehicle for the dark themes I planned to explore, and promised to be very different from the private eye series I usually wrote. Typically, noir is located in urban environments and many studies of noir fiction and film maintain that an urban setting is integral to the genre, speaking as it does to the anxiety and alienation of modern life, feelings of anonymity and of being the outsider, and the corruption and criminality of the city. Much contemporary noir fiction still takes place in metropolitan areas; however, there is, increasingly, a sub-genre situated in rural locations, as illustrated by the rise of ‘Country’ or ‘Hillbilly Noir’ in the USA. Australian crime fiction has long made use of the bush and outback as a location – usually as a site of conquest where the hero ultimately triumphs over the antagonist; however, noir narratives are different, invariably ending in destruction and defeat. This article will investigate Australian Rural Noir through a comparative textual analysis of Kenneth Cooke’s Wake in Fright, Chris Womersley’s The Low Road and Hannah Kent’s Burial Rites. It will consider the ways in which Australian rural noir uses landscape to subvert the pastoral paradigm and will examine the tensions between the exterior landscape and the interior life of the protagonists, reflecting on the particularly Australian cultural anxieties implicit in these texts. I also discuss my own research-led practice, the challenges involved in being an insider researcher and, finally, consider whether this nexus between the critical and creative helps or hinders the creative writing process.' (Publication abstract)
Detective Fiction and the Critical-creative Nexus, Jesper Gulddal , Alistair Rolls , single work criticism

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Last amended 14 Nov 2016 12:18:23
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