This book represents the first serious consideration of the 'domestic noir' phenomenon and, by extension, the psychological thriller. The only such landmark collection since Lee Horsley's The Noir Thriller, it extends the argument for serious, academic study of crime fiction, particularly in relation to gender, domestic violence, social and political awareness, psychological acuity, and structural and narratological inventiveness. As well as this, it shifts the debate around the sub-genre firmly up to date and brings together a range of global voices to dissect and situate the notion of 'domestic noir'. This book is essential reading for students, scholars, and fans of the psychological thriller.
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1 Introduction to Domestic Noir |
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1 | (8) |
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Part I The Origins of Domestic Noir |
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9 | (42) |
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2 The Literary Antecedents of Domestic Noir |
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11 | (16) |
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3 Hollywood and the Trailblazers of Domestic Noir: The Case of Vera Caspary's Laura (1943) |
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27 | (24) |
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Part II The Influences of Gillian Flynn's Gone Girl |
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51 | (36) |
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4 Gone Genre: How the Academy Came Running and Discovered Nothing Was As It Seemed |
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53 | (18) |
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5 From Cool Girl to Dead Girl: Gone Girl and the Allure of Female Victimhood |
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71 | (16) |
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Part III Gendered, Sexual, and Intimate Violence in Domestic Noir |
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87 | (72) |
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6 "How Much Do You Want to Pay for This Beauty?": Domestic Noir and the Active Turn in Feminist Crime Fiction |
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89 | (26) |
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7 Teenage Kicks: Performance and Postfeminism in Domestic Noir |
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115 | (22) |
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8 The Violent Mother in Fact and Fiction |
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137 | (22) |
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Part IV Home as a Site of Violence |
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159 | (60) |
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9 "[ T]he People that Should Have Lived Here": Haunting, the Economy, and Home in Tana French's Broken Harbour |
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161 | (20) |
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10 The Subversion of the Male Tradition in Crime Fiction: Liane Moriarty's Little Lies |
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181 | (18) |
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11 Domestic Noir and the US Cozy as Responses to the Threatened Home |
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199 | (20) |
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Part V Geographies of Domestic Noir |
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219 | (62) |
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12 The House and the Hallucination in Tana French's New Irish Gothic |
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221 | (18) |
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Rosemary Erickson Johnsen |
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13 Crime, the Domestic, and Social Commentary in Pierre Lemaitre's Thrillers |
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239 | (22) |
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14 Carmen's Final Problem: Contesting Crime Fiction and Gender Roles in Marcela Serrano's Nuestra Senora de la Soledad |
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261 | (20) |
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| Afterword: The Woman Through the Window |
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281 | (4) |
| Index |
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285 | |
Laura Joyce is Lecturer in Creative Writing at the University of East Anglia, UK. Her research focuses on representations of gendered, sexual and intimate violence. She has published two crime novels: The Museum of Atheism (2012) and The Luminol Reels (2014). Her forthcoming critical books are Luminol Theory and Deadly Landscapes. Henry Sutton is Senior Lecturer in Creative Writing at the University of East Anglia, UK, and Director of the new Creative Writing MA in Crime Fiction. He is the author of 10 novels, most recently Time to Win (2017) under the pseudonym Harry Brett. Previous novels include My Criminal World (2013), Get Me Out of Here (2010) and Kids Stuff (2003).
