An Attempt to De‐criminalize Muslims: The Detective Novels of Ausma Zehanat Khan

2021 ◽  
Vol 111 (2) ◽  
pp. 191-203
Author(s):  
Marcia Lynx‐Qualey
Keyword(s):  
2020 ◽  
Vol 1 (2) ◽  
pp. 157-172
Author(s):  
Thomas Leitch

Building on Tzvetan Todorov's observation that the detective novel ‘contains not one but two stories: the story of the crime and the story of the investigation’, this essay argues that detective novels display a remarkably wide range of attitudes toward the several pasts they represent: the pasts of the crime, the community, the criminal, the detective, and public history. It traces a series of defining shifts in these attitudes through the evolution of five distinct subgenres of detective fiction: exploits of a Great Detective like Sherlock Holmes, Golden Age whodunits that pose as intellectual puzzles to be solved, hardboiled stories that invoke a distant past that the present both breaks with and echoes, police procedurals that unfold in an indefinitely extended present, and historical mysteries that nostalgically fetishize the past. It concludes with a brief consideration of genre readers’ own ambivalent phenomenological investment in the past, present, and future each detective story projects.


Author(s):  
David Ehrenfeld

Some people have a drink when they get home from work—a martini, a beer. Maybe two or three. Life is especially stressful in the twenty-first century. The same indecent forces that are destroying nature are disrupting our working lives as well. Who will own the company tomorrow? Will there be a “reduction in force” or some other euphemism for the ax? When is the next reorganization coming? Is my ten or twenty years of faithful service an asset or, more likely, a sign of obsolescence and suspicious loyalty to bosses and co-workers now out of favor or working for other companies? How am I to answer the fax that arrived at 4:00 p.m., the one that seemed to contradict the fax that arrived at 11:00? When will I find time to fill out the questionnaire from the Resource Management Office, and does it take precedence over the Goals Enhancement Strategy questionnaire that came from the Administrative Services Division? Are my computer files compatible with the new software system, and, if so, why did the box on the screen say, “This paragraph is un-readable. Do you wish to substitute a standard paragraph?” Just what is our real work, anyway? Alcohol can take the edge off stress, but it is not everyone’s consolation. Some choose television or the Internet; mine is to pick up one of the scores of detective novels that I keep close to hand and plunge in. Then I can forget for a little while the vice presidents, deans, and other academic, corporate-style bosses who do their best to make life in the modern university an unproductive misery. In this way I can put out of mind, temporarily, the pleas of students who don’t understand why there are no courses to take and the ravings of colleagues who can’t figure out how to cope with the contradictory, impossible demands placed on them. Why should detective stories be, for so many, such a good and entertaining way of escaping from reality? That they are is clear; billions of copies have been sold.


Author(s):  
Tess Do

With a series of detective novels set in 17th century Dai-Viet that showcase the traditions, beliefs and customs of an exotic culture, in which the food and food habits of the Vietnamese people play a prominent role, Thanh-Van Tran-Nhut, an engineer-turned-novelist of Vietnamese origins, has carved a niche for herself in the popular crime fiction market in France. This paper focuses on the novel Les Travers du Docteur Porc, in which Doctor Porc, forensic investigator and gourmand extraordinaire, adopts the mantle of chief detective from Tran-Nhut’s usual protagonist, the loyal mandarin Tan. In this movement, we argue, the author has shaped two different but complementary approaches to her birth-country’s turbulent past that coalesce in the gargantuan figure of the (politically unencumbered) doctor and connoisseur of Vietnamese cuisine. Whereas the process of ‘solving the crime’ can be read as an attempt to seek answers and restore order in the wake of senseless bloodshed, it is food, we contend, that emerges, not only as a source of pleasure, succour and stability, but as a cultural heritage that war and upheaval failed to destroy.


Genealogy ◽  
2019 ◽  
Vol 3 (4) ◽  
pp. 70
Author(s):  
Christine Berberich

Crime writing is not often associated with Holocaust representations, yet an emergent trend, especially in German literature, combines a general, popular interest in crime and detective fiction with historical writing about the Holocaust, or critically engages with the events of the Shoah. Particularly worthy of critical investigation are Bernhard Schlink’s series of detective novels focusing on private investigator Gerhard Selb, a man with a Nazi background now investigating other people’s Nazi pasts, and Ferdinand von Schirach’s The Collini Case (2011) which engages with the often inadequate response of the post-war justice system in Germany to Nazi crimes. In these novels, the detective turns historian in order to solve historic cases. Importantly, readers also follow in the detectives’ footsteps, piecing together a slowly emerging historical jigsaw in ways that compel them to question historical knowledge, history writing, processes of institutionalised commemoration and memory formation, all of which are key issues in Holocaust Studies. The aims of this paper are two-fold. Firstly, I will argue that the significance of this kind of fiction has been insufficiently recognised by critics, perhaps in part because of its connotations as popular fiction. Secondly, I will contend that these texts can be fruitfully analysed by situating them in relation to recent debates about pious and impious Holocaust writing as discussed by Gillian Rose and Matthew Boswell. As a result, these texts act as exemplars of Rose’s contention that impious Holocaust literature succeeds by using new techniques in order to shatter the emotional detachment that has resulted from the use of clichés and familiar tropes in traditional pious accounts; and by placing detectives and readers in a position of moral ambivalence that complicates their understanding of the past on the one hand, and their own moral position on the other.


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