Crime fiction is so often, and too easily, defined as a genre, and thus in opposition to literature; narratologically, it is considered end-oriented, linear. For its part, French crime fiction stands as a subgenre of crime fiction, its Anglo-American, and/but also neutral, unmarked, other. Like the fait divers, which for Barthes simultaneously resists and moves towards classification, crime fiction has a tense and continuously shifting relationship with literature, politics and history. Towards a New History of World Crime Fiction in French seeks to expand the parameters of crime fiction scholarship. Eschewing linearity in favour of a recursive historiographical approach, it offers a fresh perspective on ‘crime fiction’. It reevaluates overlooked texts inside and outside of the genre, fostering discussions about inclusivity, both in literary analysis and the crime fiction genre itself. It contributes to ongoing debates about ‘world crime fiction’ by examining the genre’s historical, political and literary dimensions. Finally, it expands the scope of ‘French crime fiction’ by emphasising its connections to the broader Francophone World, moving beyond the Metropolitan centre.
For its part, French crime fiction stands as a subgenre of crime fiction, its Anglo-American, and/but also neutral, unmarked, other. Towards a New History of World Crime Fiction in French seeks to expand the parameters of crime fiction scholarship.
