Call for Proposals:
Through a Glass
Darkly:
European History and
Politics in Contemporary Crime Narratives
Monica Dall’Asta,
Jacques Migozzi, Federico Pagello, Andrew Pepper eds.
To talk about the crime genre—as opposed
to detective or spy or noir fiction—is to recognise the comprehensiveness of a
category that speaks to and contains multiple sub-genres and forms (Ascari,
2007). In this volume, we want to uncover the ways in which the crime genre, in
all of its multiple guises, forms and media/transmedia developments, has
investigated and interrogated the concealed histories and political
underpinnings of national and supranational societies and institutions in
Europe, particularly after the fall of the Berlin Wall in 1989.
Two most popular expression of the crime
genre, the detective novel and the spy novel, have long been identified as
‘sociological’ in their orientation (Boltanski, 2012). These forms often tackle
enigmas or uncover conspiracies that are concealed by and within states, asking
searching questions about the failures of democracy and the national and
international criminal justice systems to deliver just societies. Similarly,
following the example of U.S. hard-boiled fiction, the ‘noir’ variant of the
genre has also established itself as a ‘literature of crisis’ (according to
Jean-Patrick Manchette’s formula), where the shredding of official truths and
of ‘reality’ itself ends up revealing dark political motives that elicit an
even starker set of ethical and affective interrogations (Neveu, 2004). While
the obvious links between the ‘noir’ and the ‘hard-boiled’ traditions of crime
fiction (e.g. between Manchette and Hammett) suggest an American-French or
trans-Atlantic connection, we are keen to stress that the sociological and
political orientation of the European crime genre—especially since 1989 and the
corresponding opening up of national borders and markets—requires examining
both global/glocal and multi-national (and state-bound) issues and challenges.
It is here that the European dimension of the proposed volume is best
articulated because, to do justice to this context, we need to pay attention
not just to discreet national traditions, but the ways in which contemporary
iterations of the genre interrogate the workings of policing, law, criminality
and justice across borders and nations (Pepper and Schmid, 2016).
The transnational framework of the DETECt
project (Detecting Transcultural Identities in Popular European Crime
Narratives) is necessarily and acutely concerned with civic and ethical issues
linked to the construction of new European new identities. The proposed volume
aims to explore the ways in which these new identities are formulated and
thematised in European crime novels, films or TV series, particularly in
relation to the interrogations raised by the uncovering of hidden aspects of
both the historical past and the contemporary political landscapes.
Contributions are encouraged which look at particular case studies or identify
larger national and/or transnational trends or synthesise the relationship
between individual texts and these larger trends. It is envisaged that the volume
will be organised into the three sections outlined below. Prospective
contributors are invited to identify where their articles might sit within this
structure as well as to outline the particular focus adopted by their essay in
relation to the general topic. The list of topics in each section is to be
regarded as indicative rather than exhaustive.
1. Crime Narratives
and the History of Europe
European crime narratives from the last
thirty years have frequently referred to collective traumas and conflicts that
have torn European societies apart throughout the 20th century. Contributions
are invited that look at the ways in which these fictional works have restaged
and critically reinterpreted some of the most tragic pages in European recent
history, including (but not limited to) the following iterations of violent
rupture and social breakdown:
- The Civil War and Francoist dictatorship
in Spanish crime narratives (e.g. Montalbán, La isla minima);
- Fascism, surveillance and the
police-state (e.g. Lucarelli, Gori, De Giovanni) and the role of oppositional
memory (e.g. Morchio, Dazieri) in Italian detective fiction;
- Fascistic/right-wing nationalist
movements in interwar Scandinavia (e.g. Larsson, Mankell);
- The Third Reich as the historical
biotope of crime fiction (e.g. Kerr, Gilbers);
- The constant presence of wars as a
breeding ground for crime in French crime novels: World War I and II,
collaboration, the Algerian War, colonisation, post-colonisation (e.g.
Daeninckx, Férey);
- The heavy presence of Cold War images
and axiology in spy novels and films, including those appeared after the fall
of the Berlin Wall, both in Western and Eastern Europe (e.g. Kondor, Furst);
- The ‘Troubles’ in Irish and British
crime fiction (e.g. Peace, McNamee).
2. Crime Narratives
and the Present of Europe
Our present time is characterized by a
number of social, political, financial/economic crises that threaten the
construction of a cosmopolitan pan-European identity in line with the EU’s
founding ideals. Crime narratives attempt to offer realistic representations of
such contemporary crises by putting in place a number of ‘chronotopes’ that
symbolise social divisions and peripheral and marginalized identities. We
encourage essays that examine the ways in which post-1989 European crime
narratives have represented the emergence of nationalisms, xenophobia, racism
and other threats to the social cohesiveness of European democracies. We also
invite contributions that use the trope of the crisis to explore how the links
between crime, business and politics have polluted or corrupted the democratic
imperatives of European social democracies and institutions from the outset.
Topics might include:
- The Kosovo War, and more broadly the
Balkan conflicts of the 1990s, as the first signs of a generalised geopolitical
chaos (e.g. in French noir novels);
- The financial crisis of 2008 and its
devastating consequences for individuals, communities and whole societies (e.g.
Bruen and French in Ireland; Markaris in Greece; Dahl in Sweden; Lemaître in
France);
- The migrant crisis (within and outside
the EU) and the emergence of new anxieties about belonging and/or otherness
(e.g. Mankell, Dolan, Rankin);
- Climate change, pollution, and
environmental destruction (e.g. Tuomainen, Pulixi);
- The blurring of crime and capitalism and
the depiction of crime as a form of social protest vis-à-vis the effects of
global capitalism and neoliberal deregulation and privatisation (e.g. Manotti,
Carlotto, Heinichen, the TV series Bron);
- Inquiries into the effects of
contemporary forms of patriarchy, gendered violence and misogyny and their
links to other forms of oppression and domination (e.g. Lemaître, Slimani,
Macintosh, Gimenez-Bartlett Larsson, McDermid).
3. Crime Narratives
and the Future of Europe
European crime narratives explore a broad
range of social and cultural identities across different scales: from the more
stable identities attached to local contexts through the new mobile, precarious
and mutating identities fostered by the dynamics of globalization. This section
will look into how these different identities and their complex interplay can
suggest ways to frame the future of Europe. Contributions could address how
crime narratives try to make sense of the complex, if yet perhaps contradictory,
set of representations circulating across different European public spaces and
collective imaginaries. On the one hand, we might ask whether something like a
European crime genre even actually exists, given that these works typically
demonstrate suspicions about ‘outsiders’ and only rarely offer positive
representations of post-national transcultural identities. On the other hand,
however, the genre does give us glimpses into what might be achieved through
cross-border policing initiatives, organised under or by Interpol and Europol,
in the face of organised crime gangs involved in transnational smuggling and
trafficking networking. Contributions to this final section are encouraged to
reflect upon how crime narratives produced by and in between the discreet
nation-states frame the hopes and limits of European cohesiveness and the
continent’s future or futures. Essays could focus on one or more of the
following topics:
- The interplay between local, regional,
national and transnational identities as represented through specific narrative
tropes, such as in particular the local police station, the interrogation room,
the frontier or border, and so on;
- The connection between social
deprivation at the local end of the geopolitical scale and different global
systems and networks at the other end;
- The role of borders, cities, violence,
rebellion, policing and surveillance in producing new identities and
subjectivities not wholly anchored in discreet nation-states. Attention could
also be given to formal innovations insofar as these allow or enable the
expression of new identities;
- The hope and consolation offered by the
resilient community or village (Broadchurch, Shetland) or the extended family
(Markaris’s Kostas Charistos series) in the face of the messy, brutal
contingencies of a world ruled by criminal and business elites;
- Social banditry as a form of
contestation directed against social inequalities produced by capitalism
(Carlotto’s Alligator series; La casa de papel).
If you are interested in submitting a
proposal to be considered for inclusion in this volume, please send an
abstract of no more than 300 words and a short biography to info@detect-project.eu by May 31,
2020. We would encourage you to identify the section of the proposed volume
where your essay would be best situated. We are looking to commission up to 14
essays in total of 7000 words each including footnotes and bibliographic
references.
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