CRIME TIME
February 21st 2009 08:51
LADIES LOVE CRIME FICTION
A shelf count, or a perusal of the front-of-store displays at major bookstores reveals just how popular crime fiction in Australia has become. Nielsen Bookscan figures for crime-fiction sales show an increase of about 25% in the last 4 or so years.
Mary Dalmau of Readers Feast in Melbourne, a bookseller for 30 years, says
‘A lot of crime fiction used to be very pedestrian but more and more good writers have been attracted to the genre and this has changed the profile of what a crime novel is. European and Nordic writers such as Henning Mankell, who has been translated from the Swedish, have broadened the demographic of crime fiction readership to encompass a younger age group and more men.’ But she thinks that the readership is still predominantly women.
Bookseller of 50 years, Peter Milne of Abbey’s Bookshop in Sydney, says that the imbalance may be only slight. He thinks that men are disinclined to read books by female authors, whereas women will read novels written by either sex.
Sue Turnbull, Associate Professor of Media Studies at La-Trobe University, and long time co-convenor with Sisters in Crime in Melbourne, does not believe that women read more crime-fiction than men. Could it simply be that women do more of the buying?
When Abbey’s hosted an event with Janet Evanovich - who writes from the perspective of a smart-talking young woman - the place was filled with teenage boys!
Analyses of the popularity of crime fiction seems to regularly throw-up the idea that reading a fictionalized account of crime allows the reader to defuse fear of violence by experiencing it vicariously and resolving it in a safe manner. This is also meant to explain the appeal of the genre to women.
Sue Turnbull says that there is a stronger argument that crime fiction (and true-crime) is popular because it makes us believe that we have knowledge and understanding of why crimes are committed and therefore we feel more in control and with more power.
People agree that women are more interested in the undercurrents of relationships and in the dark workings of the mind. Crime fiction is certainly the choice platform to explore psychological and socio-political issues. Who better to investigate than a detective?
Crime fiction offers pure escapism and readers relish the detailed plot strands and the structure of beginning middle and end that are conventions of crime fiction. Peter Milne points out that crime novels are often short, which means they appeal to our modern busy world.
Crime-fiction has an endless capacity to spawn sub-genre and character. There’s the serial killer, the forensic investigator, the supernatural mysteries, the cosies, the comical PI, the maverick cop, the wisecracking detective, the jaded, the psychologically wounded … the exploring of ethical values and the musings on human nature and motivation. And that’s just for starters.
Sex-appeal, violence, extremes of emotion and the complexities of the mind - crime fiction has it all.
One sub-genre that has developed with regard to very specific cultural concerns is lesbian crime fiction. The popularity of this genre has been, in part, attributed to identification with the outsider protagonist.
Sexuality is but one aspect of this. Author Lindy Cameron believes that sex is a vital part of the lesbian crime novel because it is integral to lesbian identity. She also thinks, perhaps not surprisingly, that lesbians write the best sex scenes. The sexuality of the protagonist in lesbian crime novels is almost always unobtrusive because it remains incidental to the plot.
The juxtaposition of sex and crime is a cause of some discomfort and debate amongst women. Some readers prefer no sex at although the humorous approach, a la Shane Maloney, has many fans. Crime author Kathryn Fox says that many readers have asked when certain of her characters were going to resolve their sexual tension and actually do it. She gives an unequivocal ‘Never!’
Given the introspective necessity of writing, the ability of so many writers to face an audience with confidence may be somewhat surprising. Authors these days are expected to promote their work and some - like Rebus creator Ian Rankin, who compares authors to travelling salesmen - are gifted raconteurs. Crime fiction writers are being included more and more in literary events.
Last year, the number of crime writers who guested at the Melbourne Writers’ Festival reflected a growing trend. Rosemary Cameron, Director, says
‘I didn’t really get it until I had to interview Minette Walters one day for a Brisbane’s Better Bookshops event and I decided I’d better start reading. Well, that was it, I was hooked.'
‘A lot of crime fiction used to be very pedestrian but more and more good writers have been attracted to the genre and this has changed the profile of what a crime novel is. European and Nordic writers such as Henning Mankell, who has been translated from the Swedish, have broadened the demographic of crime fiction readership to encompass a younger age group and more men.’ But she thinks that the readership is still predominantly women.
Bookseller of 50 years, Peter Milne of Abbey’s Bookshop in Sydney, says that the imbalance may be only slight. He thinks that men are disinclined to read books by female authors, whereas women will read novels written by either sex.
Sue Turnbull, Associate Professor of Media Studies at La-Trobe University, and long time co-convenor with Sisters in Crime in Melbourne, does not believe that women read more crime-fiction than men. Could it simply be that women do more of the buying?
When Abbey’s hosted an event with Janet Evanovich - who writes from the perspective of a smart-talking young woman - the place was filled with teenage boys!
Sue Turnbull says that there is a stronger argument that crime fiction (and true-crime) is popular because it makes us believe that we have knowledge and understanding of why crimes are committed and therefore we feel more in control and with more power.
People agree that women are more interested in the undercurrents of relationships and in the dark workings of the mind. Crime fiction is certainly the choice platform to explore psychological and socio-political issues. Who better to investigate than a detective?
Crime fiction offers pure escapism and readers relish the detailed plot strands and the structure of beginning middle and end that are conventions of crime fiction. Peter Milne points out that crime novels are often short, which means they appeal to our modern busy world.
Crime-fiction has an endless capacity to spawn sub-genre and character. There’s the serial killer, the forensic investigator, the supernatural mysteries, the cosies, the comical PI, the maverick cop, the wisecracking detective, the jaded, the psychologically wounded … the exploring of ethical values and the musings on human nature and motivation. And that’s just for starters.
Sex-appeal, violence, extremes of emotion and the complexities of the mind - crime fiction has it all.
One sub-genre that has developed with regard to very specific cultural concerns is lesbian crime fiction. The popularity of this genre has been, in part, attributed to identification with the outsider protagonist.
Sexuality is but one aspect of this. Author Lindy Cameron believes that sex is a vital part of the lesbian crime novel because it is integral to lesbian identity. She also thinks, perhaps not surprisingly, that lesbians write the best sex scenes. The sexuality of the protagonist in lesbian crime novels is almost always unobtrusive because it remains incidental to the plot.
The juxtaposition of sex and crime is a cause of some discomfort and debate amongst women. Some readers prefer no sex at although the humorous approach, a la Shane Maloney, has many fans. Crime author Kathryn Fox says that many readers have asked when certain of her characters were going to resolve their sexual tension and actually do it. She gives an unequivocal ‘Never!’
Given the introspective necessity of writing, the ability of so many writers to face an audience with confidence may be somewhat surprising. Authors these days are expected to promote their work and some - like Rebus creator Ian Rankin, who compares authors to travelling salesmen - are gifted raconteurs. Crime fiction writers are being included more and more in literary events.
Last year, the number of crime writers who guested at the Melbourne Writers’ Festival reflected a growing trend. Rosemary Cameron, Director, says
‘I didn’t really get it until I had to interview Minette Walters one day for a Brisbane’s Better Bookshops event and I decided I’d better start reading. Well, that was it, I was hooked.'
| 131 |
| Vote |
Comments (9)
Add Comments
