Violent minds: modernism and the criminal
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge, United Kingdom
Cambridge University Press
2019
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | ix, 239 Seiten |
| ISBN: | 9781108428866 |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents
Acknowledgments page vii
Introduction: Modernism’s Violent Minds i
Criminal Histories 5
Criminal Eras n
Criminal Forms 14
Notes 23
1 Modernist Detection: Minds, Mindlessness, and the
Logic of Criminal Pursuit 26
Poe’s Games 31
Doyle’s Calculating Machine 40
Dorothy L. Sayers and the Artificial Sleuth 49
Notes 67
2 Criminal Types: Anarchism, Terrorism, and the
Violence of Chance 72
Terror as a Type 78
Henry James and the Born Criminal 84
Conrad’s Accidental Anarchist 94
The Pure Emblem of Terror 106
Notes 117
3 The Modernist Crime Novel: Popular Literature and the
Forms of Experiment 123
Highbrow, Lowbrow, Middlebrow, Modernism 125
Wyndham Lewis and the Modernist Potboiler 129
Crime, for Stein 146
Notes 162
4 Cases of Identity: Late Modernism and the Life of Crime 169
Dashiell Hammett’s Career Criminals 174
Violent Entertainments 182
VI
Contents
Murderous Self-Fashioning 197
Notes 210
Conclusion: The Criminal after Modernism 215
Notes 221
Bibliography 222
Index 23 6
Just as cultural attitudes toward criminality were undergoing profound
shifts in the late nineteenth and earlv twentieth centuries, modernist
4
authors became fascinated by crime and its perpetrators, as well as the
burgeoning genre of crime fiction. Throughout the period, a diverse rang
of British and American novelists took the criminal as a case studv for
experimenting with forms of psychological representation, while also
drawing on the conventions of crime fiction in order to imagine new
ways of conceptualizing the criminal mind. Matthew Levay traces the
history of that attention to criminal psychology in modernist fiction,
placing understudied authors such as Wvndham Lewis, Dorothy
Savers, Graham Greene, and Patricia Highsmith in dialogue with more
canonical contemporaries such as Joseph Conrad, Henry James, Dashieli
Hammett, and Gertrude Stein. Levav demonstrates criminalitv s pivotal
role in establishing quintessential!} modernist forms of psychological
representation and brings to light modernism s deep but understudied
connections to popularliterature, especially crime fiction.
|
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