Whether or not this aggravated inclusivity is in itself a fiction, any attempt to elaborate an academically-oriented aesthetics of crime writing will be obliged to work with the grain of a popular reading consciousness. Conversely, Simenon is afforded less than one page of comment, and even Jean-Patrick Manchette, perhaps the most influential of modern French crime writers, receives only two—admittedly laudatory—pages.
Notable examples of the latter include in America the HBO series The Wire , which ran over five seasons from to , and in Europe the Danish cult series The Killing , which ran over three seasons from to It raises two related questions, firstly on the mechanics of the operation, on how these linguistic and cultural transitions are engineered, and secondly on whether the crime story of itself, as an apparent vector for transnationalism, has at its core a set of universal properties.
Sir Arthur Conan Doyle, who commands a respectable two pages of text, is inevitably eclipsed by his creation. Sherlock is not the only character in the Dictionnaire who overshadows his creator; Father Brown outdoes G. On the other hand, it rhymes with the funky approach adopted by Pierre Bayard, who speaks happily of his associations with literary characters: A pivotal moment, Ryan ascertains, would have occurred when the discovery of the laws of perspective effectively banished the neo-platonic abstraction of pre-Renaissance art.
However, the equation between detective and reader, if it can be sustained, would imply that immersion in the world of a crime novel is anything but a passive experience, for the detective is a privileged character endowed with special cognitive powers. Would this imply therefore that crime fiction offers a distinctively different kind of reading experience? For the moment we might posit that keen readers of crime fiction would not necessarily be good detectives but that the reader of the crime novel is inevitably caught up in the process, operating rather like the translator is obliged to do, beneath the arc of the narrative, in the world of the text and trying to make sense of it.
Auguste Dupin and his companion are taking their usual postprandial stroll through the dark Parisian streets. In studies of the crime genres Dupin is seen as the prototype of the rational, dispassionate detective. However, what impresses with regard to this incident is less the cool of his reason, and more the intensity of his performance and the extent to which he penetrates the mind of his companion.
Dupin performs a routine of mental gymnastics involving a number of different moves which include: This heterogeneous mass of observations, intuitions and deductions supplies evidence which Dupin is able to reassemble almost instantaneously, allowing him to articulate the thought of his companion, who was wondering why a theatre actor of diminutive stature had been cast in the starring role of a tragedy.
Dupin operates in the manner of a simultaneous interpreter, though for the most part silently and without the help of words. If a reader can be said to identify or empathise with a literary character, then he or she at the very least connives with what we might call a whole-world view of the text. Crime fiction involves a journey of the mind which is both cerebral and potentially empathetic, but like any other kind of novel it presents an imagined world which, when reading, we are apprehending.
The antennae of the crime reader may be twitching with anticipation before the first page is turned, the investigative experience may be more concentrated, but the presence of the reader in an imagined world is like that of any traveller. We start a novel, then we accept or reject it. We turn back or push on and acclimatise. With textual analysis, in seminars or at conferences, or when we apply various theoretical models, we tend to fragment literature, chop up text, and although this allows us to disaggregate parts, we also lose the sense of the novel or poem as a holistic entity.
The supposition advanced here is that translators, who work line by line, cannot afford to lose that sense of wholeness about a work. Her favourite, le commissaire Adamsberg, is a famously irrational, intuitive sleuth, who is presented as the antithesis of reasoning machines like Dupin. In contrast her stories coil around the nuggets of popular folklore, myth, legend that she continues to unearth.
Le roman policier ou la modernité / Jacques Dubois. - Version details - Trove
Indeed no other living writer explores more deftly our reluctance to jettison superstition, and our concomitant fascination with the uncanny and the ethereal. In appraising her approach to characterisation, a useful distinction is the philosophical one between percepts —outputs of perception, which are sense-orientated—and images —outputs of the imagination, which are mental actions. Adamsberg is sensitive to percepts, indeed he seems at times assailed by percepts.
Thus he seems remote, an alien in his surroundings, an antidote to the narcissism of the romantic poet or writer of autofiction. The reader may be keen to get to know him but he seems to resist empathy. Alvin Goldman makes a distinction between what he calls suppositional imagination S-Imagination and enactment imagination E-Imagination. S-Imagination—to suppose that something could happen—invokes the minimum investment of self in the fictional world.
She invites and obstructs an immersive practice of reading. Of her two investigators, the one, mysterious and enigmatic, invites an empathy which can never be fulfilled, while the other, Danglard, whose predicaments are depressingly familiar, pleads for sympathy rather than empathy. As a perpetual outsider, Adamsberg assumes a very readerly presence but one more akin to a literary critic, picking bits out here and there, chasing hares, forming judgements, following obsessions, but not required to render the totality of the reading experience.
And yet theorists of translation have consistently stressed that good translators must go beyond the literal transmission of sense into the area of cultural difference and cultural exchange. Faced with this challenge Bellos could either produce a text of accurate non-sense or embark on some revision.
However, for Bellos So the translator, like the reader, must embrace a whole-world view of the text. In this he effectively renews the pact between detective writer and reader established by the Golden Age theorist S. In fact he takes several plunges. However, on the basis of evidence given in the text he finds fault with her choice of solution, before proceeding to identify the real murderer who has escaped scot free for the best part of seventy years! Then, much in the manner of a translator, he advances linearly through the text of The Hound of the Baskervilles , meticulously sifting information and building a complex mental picture of the fictional world.
Here the reader-detective is stimulated by an abundance of clues, an extravagance which Bayard attributes to the vanity of Sherlock rather than to the imagination of Conan Doyle: His view of literary characters as autonomous, flesh-and-blood creatures rather than imprisoned textual constructs, which would be preposterous to some, is explained in terms of the conscious and unconscious mind.
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Consciously of course we know that fictional characters do not exist, but they have a different relationship to the unconscious mind. Although the Unconscious is impervious to ontological distinctions, it does register the effect that others, real or unreal, have on the psyche. Bayard points out that many people are deeply affected at stages in their lives by literary characters. Moreover, the exoticism of the literary character evokes the chance encounter, the excitement of meeting someone new, and potentially threatening.
At one point he pans away from his near relentless pursuit of the real culprit—which is neither a large dog nor its owner—in order to frame his methodology within a broader theoretical context. Christiane Veschambre, Sur les "Impressions d'Afrique" ,. Tzvetan Todorov, Le nombre, la lettre, le mot ,. Tzvetan Todorov, Les transformations narratives ,. Michel Deguy, Le corps de Jeanne ,. Jeffrey Mahlman, Entre psychanalyse et psychocritique ,. Wolfgang Kayser, Qui raconte le roman? Booth, Distance et point de vue. Jacques Derrida, La mythologie blanche ,.
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