Crime fiction and the environment

Puxan-Oliva, Marta

doi:10.4324/9780429453342-44

Cited by 4 publications

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“…The shift in crime fiction scholarship from a nationalizing practice to one that engages with different spatial scales is largely replicated in studies on environmental crime fictions. With the exception of those studies that explore the theoretical dimensions of environmental crime fictions (Hollister; Murphy; Parham; Puxan‐Oliva), scholarship on ecological concerns in the genre is still largely circumscribed by the local, regional, or national framework identified previously. In one of the first analyses of crime fiction and environmentalism, for example, Peter Jordan situates Carl Hiassen’s novels, such as Double Whammy (1988), entirely within the Florida context in which they are set (61–70).…”

Section: Place and Environmental Crime Fictionmentioning

confidence: 99%

“…More recent scholarship, however, has sought to understand not only the emergence of these concerns in crime fiction but also the ways in which generic conventions can shape our perceptions of the environment (Trexler 13; Walton and Walton 1). Critics like Lucas Hollister and Marta Puxan‐Oliva, for example, note that while the genre’s conventions—“frames of intelligibility, … temporal and spatial delimitations, … actantial and narrative causalities, and … definitions of violence”—are seemingly “incompatible with or useful to contemporary ecological thought” (Hollister 1012), these conventions can also provide a “a unique tool not only for depicting and discussing ecological crises and abuses, but also for directly exposing the criminal acts they involve and their violent effects on people and the environment” (Puxan‐Oliva 362).…”

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confidence: 99%

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CrimateFiction and the Environmental Imagination of Place

King¹

2021

The J of Popular Culture

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HE THEME OF ENVIRONMENTAL DESTRUCTION AND HUMAN-INDUCEDclimate change has become a staple of fiction and visual culture in the first decades of the twenty-first century. Indeed, the seeming ubiquity of environmental and climate fiction-or cli-fi for short-has led Mads Rosendahl Thomsen to identify it as one of four prominent themes in contemporary world literature (98,. 1 To date, critical attention to this phenomenon has centered primarily on "'literary' and middle-brow" fiction (Trexler 7) as well as science fiction (Milner and Burgmann). Nevertheless, there is also a substantial corpus of crime novels from around the world that investigate and interrogate issues of environmental damage and ecological (in)justice. These novels have been identified variously as environmental crime fiction, "nature-oriented mystery novels" (Murphy 143), "eco-thrillers" (McKie), "econoir" (K. Bishop 9), "ecologically conscious detective fiction" (Bandyopadhyay 70), and "ecological crime fiction" (Walton 115).These works of environmental, etc., crime fiction have not gone unnoticed by ecocritical scholars or by crime fiction scholars who employ ecocritical approaches to these novels. At its most basic, ecocriticism combines literary, film, and art analysis with environmental studies in order to better comprehend the ways in which the imaginative arts facilitate or, indeed, hinder interspecies connections (Buell et al. 418). Ecocritical approaches range from the study of representations of nature, understood as both wilderness and built environments (Buell, Future 22), to exploring expressions of environmental concerns (land degradation, pollution, species extinction, etc.) and,

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Section: Place and Environmental Crime Fictionmentioning

confidence: 99%

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confidence: 99%

CrimateFiction and the Environmental Imagination of Place

King¹

2021

The J of Popular Culture

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Of Capitalism and Animal Oppression: Exploring the Ecological Engagements with Select Crime Fictions of Sunil Gangopadhyay and Samaresh Majumdar

Sarkar¹,

Karmakar²

2021

South Asian Review

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Detecting Post-Nuclear Crisis in Hanna Jameson’sThe Last

Zsámba

2021

Acta Universitatis Sapientiae, Philologica

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Hanna Jameson’s post-apocalyptic detective novel, The Last (2019), addresses contemporary issues that affect us on both a collective and an individual level. The author diagnoses the denial of nuclearism and calls for an awareness of the nuclear age combined with the looming threat of climate change. The novel negotiates alternative strategies for the treatment of crisis brought about by the nuclear attack and borrows many of the thematic and structural elements from twentieth-century nuclear fictions in which the apocalypse is not necessarily regarded in negative terms but as a chance for regeneration. The events of the post-nuclear months in a Swiss hotel are narrated by an American historian whose written account serves several goals. It gives the illusion of delaying crisis, but it also reveals his fears and traumas conjured up by radioactive spectres. There are two different types of narratives at work, the narrative of the crisis and that of the investigation. The narrator-protagonist becomes obsessed with finding the solution to a murder mystery, which in a metaphorical sense is to give a soothing answer to the death of millions. However, this attempt keeps failing, and thus the narrative of the crisis devours all kinds of rational initiatives to resolve chaos. In order to elaborate on the psychological impact of the post-nuclear crisis in subject construction, I do not only examine the character of the amateur detective of the whodunit whose intervention aims to restore order, but I also apply Gabriele Schwab’s concepts of post-nuclear subjectivity and nuclear hauntology.

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Crime fiction and the environment

Cited by 4 publications

References 0 publications

CrimateFiction and the Environmental Imagination of Place

CrimateFiction and the Environmental Imagination of Place

Of Capitalism and Animal Oppression: Exploring the Ecological Engagements with Select Crime Fictions of Sunil Gangopadhyay and Samaresh Majumdar

Detecting Post-Nuclear Crisis in Hanna Jameson’sThe Last

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