Feminist Issues In Crime Fiction

When Gayle Wald wrote, “Sayers’s career writing detective stories effectively ends with Gaudy Night” (108), she did not present a new argument, but continued the tradition that Gaudy Night does not center on the detective story.  Barbara Harrison even labeled Dorothy Sayers’s Lord Peter/Harriet Vane books, Strong Poison, Gaudy Night, and Busman’s Honeymoon, as “deliriously happy-ending romances” (66).  The label stretches the definition of a romance, but Gaudy Night indeed has very little to do with crime.  Sayers encrypted the real story within her detective novel.  This story behind the story narrates love and human relationships.  In fact, the crimes in Gaudy Night only supply a convenient way for

The detective genre is recognizable by the mystery that it represents or establishes. Every word of a fiction novel is chosen with a purpose, and that purpose on a detective novel is to create suspense. The excerpts from The Big Sleep by Raymond Chandler, Murder Is My Business by Lynette Prucha, and Devil in a Blue Dress by Walter Mosley, create an atmosphere of suspense and mystery. Even though they all fit into this category, there are some differences that make each novel unique. The imagery that the authors offer in the excerpts helps the reader to distinguish the similarities and the differences.

Lastly, feminism is viewed in The Body in the Library. The detective, Jane Marple is the one who figures out the answer the question of who is the murderer. Agatha Christie creates this book to be more women friendly with more feministic views than some of Christie’s other books. One

“A Jury of Her Peers” is a short story written by Susan Glaspell in 1917 illustrates early feminist literature. The two female characters, Mrs. Peters and Mrs. Hale, is able to solve the mystery of who the murderer of John Wright while their male counterparts could not. This short story had been adapted from Glaspell’s one-act play Trifles written the previous year. The play consists of the same characters and plotline as the story. In both works, Glaspell depicts how the men, Sheriff Peters and Mr. Hale, disregard the most important area in the house, the kitchen, when it comes to their investigation. In the end, the women are the ones who find clues that lead to the conclusion of Minnie Wright, John Wright’s wife, is the one who murdered him. Both of Glaspell’s female characters illustrate the ability to step into a male dominated profession by taking on the role of detective. According to Critical Theory Today: A User-Friendly Guide, written by Lois Tyson, a reader-response critique “focuses on readers’ response to literary texts” and it’s a diverse area (169). Through a reader-response criticism from a feminist lens, we are able to analyze how “A Jury of Her Peers” and Trifles depict how a patriarchal society oppresses women in the early twentieth century, gender stereotypes confined both men and women and the emergence of the New Woman is illustrated.

Day’s, ‘The Life and Crimes of Harry Lavender’, powerfully engages with the responder and effectively subverts the crime fiction genre to create a new era of crime fiction. Day critics modern society through the protagonistic voices of Claudia Valentine and Harry Lavender to challenge the audience's perception of what crime and criminality is. Day uses the subversion of female characters to challenge and question our perceptions of gender stereotypes. Day also effectively synthesises the insight that the dynamic personality of criminals, like Sydney, is evolving. Ultimately, “The Life and Crimes of Harry Lavender” highlights these fundamental ideas to examine the impact of the narrative voices in order to gain insight into crime fiction and to address traditional conventions of modern society.

For example, in Paper 1, I discussed how the police were used to illustrate the detective. It seems that The Long Goodbye presents a story about “love and loss,” but in fact, what Chandler tries to depict is the friendships between Detective Marlowe and the mysterious Terry Lennox. In other words, the story is not about love, but about masculinity. For example, Plain points out that even Roger Wade shows his masculinity by “drinking himself into an easily killable stupor” after he feels disappointed and is “refusing to complete a debased cultural product” (p. 81). The main theme of masculinity thus forms the female characters in the novel. The female characters could also be regarded as significant elements for building the traits of the detective and/or the novel, and to differentiate the masculinity that Chandler wishes to illustrate in the

The media today, is highly selective in their constructions of offences, offenders and victims. Media representations of crime are moulded and women are portrayed in a way that is entertainment driven and is appealing to the audience. Despite the fact that women seldom stalk, murder outsiders or commit sequential murders- in fact they are rarely vehement, “accounting for only ten percent of convicted violent offenders- those who do so are highly newsworthy because of their novelty” (Jewkes 2011, p. 123) Present day media admits that because fierce women are comparatively uncommon, they are all the more appealing and diabolical to the audience as a result. The essay shall discuss the reason and presentation in the media of female offenders, female victims and women specific crimes.

She validates her own story by pointing to similar experiences in others. Her point that she is considered delusional and “in a nutshell female” when she contradicts a man is authenticated when she retells a story her then boyfriend’s uncle had told her. He says one of his neighbor’s wife had run out into the street in the middle of the night exclaiming that her husband was trying to kill her. When Solnit ask why the uncle thinks this is impossible he explains that they were a respectable middle-class family. To him, it was far more likely that the women was crazy then that her husband was trying to kill her. This argument is farther disproven by Solnit when she explains that three women a day are murdered by spouses or ex-spouses in America. So, it is far more likely that her husband was trying to kill her than that she was crazy. The use of this story and other artistic proof, like the FBI agent Coleen Rowley’s story and Marine Lance Corporal Maria Lauterbach’s death, throughout the essay proves that this is not only a personal problem, but a larger issue effecting women every day. She shows us that a women’s word, therefore her very existence, is often taken to be less credible than a man’s. That “they are not reliable witnesses to their own lives.” Solnit also proves the cogency of her essay

Lisa Scottoline in the novel, Lady Killer, skillfully illustrates the reality between the law and relationships. Scottoline supports her demonstration by telling the story between Mary DiNunzio, her work, and friendships. Scottoline’s purpose is to capture the reader with realistic events that are normally not talked about in order to grasp the interest of her readers, and reveal the reality of criminal justice. Scottoline writes in a conversational tone for her young readers without previous knowledge about criminals nor law.

In traditional hard-boiled American detective fiction there are many themes that seem to transcend all novels. One of those themes is the concept of power and the role in which it plays in the interaction and development of characters. More specifically, the role of women within the novels can be scrutinized to better understand the power they hold over the other characters, their own lives and the direction of the story. Dashiell Hammett’s The Maltese Falcon exemplifies the varying ways in which female characters attempt to obtain and utilize power in hopes of influencing, manipulating and succeeding.

While most of the violent crimes that happens most are them are belongs to men, women have not been the wilting flowers promoted so heartily by Victorian adorers and (right or wrong) often evident in today's society. Before we get into detail about the fascinating phenomenon of the Black Widow, it is worth a brief overview of women's escalating role in the world of violent crime, particularly in the United States.

Though set in entirely dissimilar countries at different points in history, Margaret Atwood’s ‘Alias Grace’ and Hannah Kent’s ‘Burial Rites’ possess significant comparisons. Both for instance, are fictionalized historical novels following the tribulations of a female protagonist convicted of murder and both have been widely acclaimed for their incredible literary style which merges classic poetry, epigraphs, folklore and historical articles with fiction. The most striking parallel between each novel that can be drawn, however, is the way in which authors masterfully craft the stories of untrustworthy, cunning and deceptive criminals to elicit sympathy from their audiences. Readers of the novel and secondary characters alike are gradually pulled into sympathising with ambiguous and untrustworthy female leads, Grace Marks (Alias Grace) and Agnes Magnusdottir (Burial Rites). Despite the heavy suspicions of others and a lack of evidence to support their claims of innocence, these characters present artfully manipulated features of their defence stories to provoke empathy, sympathy and trust from those within the novel, and those reading it.

While American and British authors developed the two distinct schools of detective fiction, known as “hard-boiled and “golden age,” simultaneously, the British works served to continue traditions established by earlier authors while American works formed their own distinct identity. Though a niche category, detective works reflect the morality and culture of the societies their authors lived in. Written in the time period after World War I, Dashiell Hammett’s The Maltese Falcon and “The Gutting of Couffignal”, and Raymond Chandler’s “Trouble Is My Business” adapt their detectives to a new harsh reality of urban life. In “hard-boiled” works, the detective is more realistic than the detective in “golden age” works according to the

Feminist criminology emerged out of the realisation that criminology has from its inception centred on men and the crimes they commit. Although it can be argued female criminality was researched by Lombroso, as far back as 1800’s, female crime, it’s causes and the impact in which it had on society was largely ignored by the criminological futurity. Those Criminologist who did attempt to research female crime such as Thomas and Pollak were not only very damning of women but were also very condescending, choosing to stereotype them as either Madonna or whore (Feinman).

To categorise texts, allows us to view the world from another perspective, and make sense of the world. This is the function of genre. This allows the responder to class texts even further into sub genres, which have conventions they follow to. Such as Edgar Allen Poe’s ‘The Purloined Letter’ can be classified into the genre of crime, yet can also be interpreted to fit the conventions of detective crime writing, and mystery. This is made possible through Poe’s utilisation of devices used in mystery and detective novels such as red herrings and denouement.