#FACELESS KILLERS PDF SERIES#
Rather, the author situates Mankell's Wallander series in the literary tradition named by Ernest Mandel as the “disintegrative” thriller, which Mandel sees emerging in response to late capitalism's restructuring of electoral politics and in the context of Sweden's recent neoliberal turn. This essay complicates Mankell's claims, which have been widely accepted by critics. Henning Mankell describes his goal in the best-selling Wallander novels as an examination of the social antagonisms in his native Sweden, particularly with regard to race and immigration, within the commercial genre of the police procedural. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics). The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world.
#FACELESS KILLERS PDF WINDOWS#
Thoroughly-researched and broad in scope, this book is as valuable for general readers as for undergraduate and postgraduate students of popular fiction and world literature.Ī current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. It also illuminates the past and present of crime fiction in various supranational regions across the world, including East and South Asia, the Arab World, Sub-Saharan Africa, Europe and Scandinavia, as well as three spheres defined by a shared language, namely the Francophone, Lusophone, and Hispanic worlds. Offering a lucid account of the major theoretical issues and comparative perspectives that constitute world crime fiction, this book introduces readers to the international crime fiction publishing industry, the translation and circulation of crime fiction, international crime fiction collections, the role of women in world crime fiction, and regional forms of crime fiction.
Accessible yet comprehensive, this first systematic account of crime fiction across the globe offers a deep and thoroughly nuanced understanding of the genre's transnational history.
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