Broken River Kickstarter from Zanzibar! Media on Vimeo.
Wer regelmäßig bei den Krimi-Depeschen reinschaut, kennt das: Ab und zu gibt es hier einen Hinweis auf ein interessantes Crowdsourcing-Projekt. Dieses hier von J. David Osborne hat das gesteckte Ziel von 5.000 Dollar bei Kickstarter zwar schon erreicht, dennoch lohnt ein Blick darauf. Mr. Osborne möchte einen kleinen Verlag für eher finstere Krimis gründen. Broken River Books hat gleich fünf (ältere) Titel am Start und die Vorschauen lesen sich höchst interessant.
Mehr dazu bei Kickstarter
»But Sjöwall believes the crime genre has been dirtied by kissing, because »everyone wants their books to be films, so they think about it from the start.« Let us be frank. She isn’t wrong.«
Sweden’s crime writers too interested in love, says Maj Sjöwall. A riposte to her opinion by Anna Maxted. The best crime is one of passion, she says. Her view at The Telegraph.
»When we began, there were no police procedurals, just Agatha Christie-type stories with amateur detectives. (…) But we wanted to present a view of our society and to describe an era and a time in Sweden.«
Sweden’s crime writers too interested in love, says Maj Sjöwall. Charlotte Higgins about the grandmother of Scandinavian crime writing. Her article at The Guardian.
»Perhaps the greatest signal of how comfortably Tampa fits within the genre is its affinity with another Florida tale of a »sexually out of control« woman, taboo-breaking and crime: Miami Purity (1995), by Vicki Hendricks, the novelist J. David Gonzalez recently dubbed the »most macabre mistress to ever pen Florida crime fiction.««
The taboo female desire at the heart of Tampa is rare in books — but not in classic crime fiction, says Megan Abbott. Her view on the novel by Alissa Nutting and her recommendation for the novel Miami Purity by Vicki Hendricks you can read at salon.com.
»I think it was P. D. James who once remarked that the formula for a successful detective story is 50 per cent good detection, 25 per cent character and 25 per cent what the author knows best. In much recent crime fiction, what the author knows best seems to be torture, rape and mutilation, possibly because many younger authors’ teenage diet, unlike mine, did not consist of BBC adaptations of John le Carré novels or Inspector Morse but rather Reservoir Dogs, Pulp Fiction and Seven. I tend to write what Americans call, rather nauseatingly, ›cosy mysteries‹ and what my British publishers prefer to refer to coyly as ›series novels‹. I’m a fan of the so-called golden age of detective fiction – that period between the wars when detectives were relatively untroubled, the settings were pleasantly enclosed, romance was rare and murder most foul was not grisly.«
A worth reading and quite entertaining essay: Writer Ian Sansom (latest novel: The Norfolk Mystery about the consolations of crime fiction, past and present. His fine articel you can read at the New Statesman.
Top 50 classic crime novels – what would make your list? Penguin have reissued 50 classic crime novels as a new Green Popular Penguins series in Australia. What do you make of their list – and what would you add to yours?
Andrew Nette at The Australia Culture Blog at The Guardian.
»I think in the best crime fiction there’s always a truth, a reality.«
Where stories begin: Jackie McGlone talked with writer Denise Mina about crime fiction, nordic noir and her latest novel The Red Room. Read the portrait at The Herald Scotland.
»The state of Texas has long been a hotbed for crime fiction, as evidenced by the enduring reputations of two the greatest noir novelists of the 20th century.«
Orphans, drug wars and other mysteries: Christopher Kelly about crime fiction from Texas. Including this novels:
- The Right Side of Wrong by Reavis Z. Wortham
Lie Still by Julia Heaberlin
These Mortal Remains by Milton T. Burton
Long Fall From Heaven by George Wier and Milton T. Burton
Compound Murder by Bill Crider
Strong Rain Falling by Jon Land
The Thicket by Joe R. Lansdale
Read more at The New York Times.
»If there is one thing we can learn from that last decade of crime fiction it’s that there’s no limit to the creativity of its practitioners.«
Addicted: Val McDermid about new voices in crime fiction. Her view at The Guardian.