Advertisement

Women and Irish Crime Fiction

  • Brian Cliff
Chapter
Part of the Crime Files book series (CF)

Abstract

This chapter examines Irish crime fiction by women and the varied roles played by women characters. This focus introduces specific ethical and political considerations that are at the heart of persistent debates in crime fiction studies, including the representation of violence against and by women, and the genre’s relationship to its readers. The focal point here is the work of Alex Barclay, while other authors discussed include Arlene Hunt, Claire McGowan, and Jane Casey. These authors use familiar genre elements including serial killers and medical conspiracies, but also take their characters through less genre-defined narratives around mental health and domestic abuse, as well as experiences tied directly to Irish society, including maternity, abortion, and the regulation of sexuality through institutions like the Magdalen laundries.

References

  1. Abbott, Megan E. The Street Was Mine: White Masculinity and Urban Space in Hardboiled Fiction and Film Noir. Basingstoke: Palgrave Macmillan, 2002.CrossRefGoogle Scholar
  2. American Psychiatry Association. DSM-5: Diagnostic and Statistic Manual of Mental Disorders. Fifth Edition. Arlington: American Psychiatry Association, 2013.CrossRefGoogle Scholar
  3. Backus, Margot. The Gothic Family Romance: Heterosexuality, Child Sacrifice, and the Anglo-Irish Colonial Order. Durham: Duke University Press, 1999.Google Scholar
  4. Barclay, Alex. Darkhouse. New York: Delacorte, 2007.Google Scholar
  5. ———. Blood Runs Cold. London: Harper, 2008.Google Scholar
  6. ———. Time of Death. London: HarperCollins, 2010.Google Scholar
  7. ———. Blood Loss. London: HarperCollins, 2012.Google Scholar
  8. ———. Harm’s Reach. London: HarperCollins, 2014.Google Scholar
  9. ———. Killing Ways. London: HarperCollins, 2015.Google Scholar
  10. ———. ‘How a line you hear, read or write can light a fuse.’ Irish Times, 7 April 2015. http://www.irishtimes.com/culture/books/how-a-line-you-hear-read-or-write-can-light-a-fuse-1.2167392 (accessed 1 May 2017).
  11. ———. The Drowning Child. London: HarperCollins, 2016.Google Scholar
  12. Black, Benjamin. Christine Falls. London: Picador, 2006. Reprint, 2007.Google Scholar
  13. Bord Gáis Energy Irish Book Awards. http://www.irishbookawards.irish/crime-fiction-award (accessed 3 December 2017).
  14. Burke, Declan, ed. Down These Green Streets: Irish Crime Writing in the 21 st Century. Dublin: Liberties, 2011.Google Scholar
  15. Casey, Jane. The Reckoning. London: Ebury, 2011.Google Scholar
  16. ———. The Last Girl. London: Ebury, 2012.Google Scholar
  17. ———. The Stranger You Know. London: Ebury, 2013.Google Scholar
  18. ———. The Kill. London: Ebury, 2014.Google Scholar
  19. ———. After the Fire. London: Ebury, 2015.Google Scholar
  20. ———. Let the Dead Speak. London: HarperCollins, 2017.Google Scholar
  21. Connolly, John. A Time of Torment. New York: Emily Bestler/Atria, 2016.Google Scholar
  22. Crowley, Sinéad. Can Anybody Help Me? London: Quercus, 2014. Reprint, 2015.Google Scholar
  23. Curran, John. ‘Happy Innocence: Playing Games in Golden Age Detective Fiction, 1920–1945.’ PhD thesis, Trinity College Dublin, 2014.Google Scholar
  24. Dell’Amico, Carol. ‘John Banville and Benjamin Black: The Mundo, Crime, Women.’ In Meier and Ross, ‘Irish Crime Since 1921’: 106-120.Google Scholar
  25. Dillon, Eilís. Death at Crane’s Court. London: Faber, 1953. Reprint, Boulder: Rue Morgue, 2009.Google Scholar
  26. ———. Death in the Quadrangle. London: Faber, 1956. Reprint, Boulder: Rue Morgue, 2010.Google Scholar
  27. Ferriter, Diarmaid. Occasions of Sin: Sex and Society in Modern Ireland. London: Profile, 2009.Google Scholar
  28. French, Tana. In the Woods. London: Hodder & Stoughton, 2007. Reprint, New York: Penguin, 2008.Google Scholar
  29. ———. Faithful Place. New York: Penguin, 2010. Reprint, 2011.Google Scholar
  30. ———. Broken Harbour. Dublin: Hachette, 2012. Reprint, New York: Penguin, 2012.Google Scholar
  31. ———. The Secret Place. New York: Viking, 2014.Google Scholar
  32. ———. The Trespasser. Dublin: Hachette, 2016.Google Scholar
  33. Gavin, Adrienne E. ‘Feminist Crime Fiction and Female Sleuths.’ In A Companion to Crime Fiction, edited by Charles J. Rzepka and Lee Horsley, 258–269. Chichester: Blackwell, 2010.CrossRefGoogle Scholar
  34. Horsley, Lee. Twentieth-Century Crime Fiction. Oxford: Oxford University Press, 2005.Google Scholar
  35. Hughes, Declan. The Wrong Kind of Blood. London: John Murray, 2006. Reprint, 2007.Google Scholar
  36. ———. City of Lost Girls. London: John Murray, 2010. Reprint, 2011.Google Scholar
  37. ———. All the Things You Are. Surrey: Severn House, 2014.Google Scholar
  38. Hunt, Arlene. False Intentions. Dublin: Hodder Headline, 2005.Google Scholar
  39. ———. Black Sheep. Dublin: Hodder Headline, 2006. Reprint, 2007.Google Scholar
  40. ———. Missing Presumed Dead. Dublin: Hodder Headline, 2007.Google Scholar
  41. ———. Undertow. Dublin: Hachette, 2008. Reprint, 2009.Google Scholar
  42. ———. Blood Money. Dublin: Hachette, 2010.Google Scholar
  43. ‘Irish Crime Fiction Abroad.’ Panel discussion with Declan Burke, Jane Casey, John Connolly, Conor Fitzgerald, Alan Glynn, and Arlene Hunt. ‘Irish Crime Fiction: A Festival.’ Trinity College Dublin, 23 November 2013.Google Scholar
  44. Johnsen, Rosemary Erickson. Contemporary Feminist Historical Crime Fiction. Basingstoke: Palgrave Macmillan, 2006.CrossRefGoogle Scholar
  45. Kinsman, Margaret. ‘Feminist Crime Fiction.’ In Nickerson, The Cambridge Companion to American Crime Fiction, 148–162.Google Scholar
  46. Knight, Stephen. Crime Fiction Since 1800: Detection, Death, Diversity. 2nd ed. Basingstoke: Palgrave, 2010.CrossRefGoogle Scholar
  47. Kulo, Carl, and R.R. Bowker. The Mystery Book Consumer in the Digital Age. www.sistersincrime.org/resource/resmgr/imported/ConsumerBuyingBookReport.pdf (accessed 5 May 2017).
  48. Mannion, Elizabeth, ed. The Contemporary Irish Detective Novel. Basingstoke: Palgrave, 2016.Google Scholar
  49. ———. ‘“Irish by blood and English by accident”: Detective Constable Maeve Kerrigan.’ In Mannion, The Contemporary Irish Detective Novel, 121–134.Google Scholar
  50. McGilloway, Brian. Bleed a River Deep. London: Macmillan, 2009. Reprint, London: Pan, 2010.Google Scholar
  51. ———. Little Girl Lost. London: Macmillan, 2011. Reprint, London: Pan, 2012.Google Scholar
  52. ———. The Nameless Dead. London: Macmillan, 2012.Google Scholar
  53. ———. Hurt. London: C&R Crime, 2013. Reprinted as Someone You Know. New York: Witness Impulse, 2014.Google Scholar
  54. ———. Preserve the Dead. London: Corsair, 2015. Reprinted as The Forgotten Ones. New York: Witness Impulse, 2015.Google Scholar
  55. ———. Bad Blood. London: Corsair, 2017.Google Scholar
  56. McGowan, Claire. The Lost. London: Headline, 2013.Google Scholar
  57. ———. The Dead Ground. London: Headline, 2014.Google Scholar
  58. ———. The Silent Dead. London: Headline, 2015.Google Scholar
  59. ———. Blood Tide. London: Headline, 2017.Google Scholar
  60. McGrath, Melanie. ‘Women’s appetite for explicit crime fiction is no mystery.’ Guardian (Manchester), 30 June 2014. https://www.theguardian.com/books/booksblog/2014/jun/30/women-crime-fiction-real-anxieties-metaphorical (accessed 5 May 2017).
  61. Meier, William, and Ian Campbell Ross, eds. ‘Irish Crime Since 1921.’ Special issue, Éire-Ireland 49, no. 1–2 (2014).Google Scholar
  62. Millar, Cormac. The Grounds. Dublin: Penguin, 2006. Reprint, 2007.Google Scholar
  63. Neville, Stuart. Stolen Souls. London: Harvill Secker, 2011.Google Scholar
  64. ———. The Final Silence. London: Harvill Secker, 2014.Google Scholar
  65. ———. Those We Left Behind. London: Harvill Secker, 2015.Google Scholar
  66. Nickerson, Catherine, ed. The Cambridge Companion to American Crime Fiction. Cambridge: Cambridge University Press, 2010.Google Scholar
  67. ———. ‘Women Writers Before 1960.’ In Nickerson, The Cambridge Companion to American Crime Fiction, 29–41.Google Scholar
  68. Nugent, Liz. Unravelling Oliver. Dublin: Penguin Ireland, 2014.Google Scholar
  69. O’Donnell, Mary. Where They Lie. Dublin: New Island, 2014.Google Scholar
  70. Panek, Leroy L. ‘Post-war American Police Fiction.’ In Priestman, The Cambridge Companion to Crime Fiction, 155–171.Google Scholar
  71. Phillips, Louise. The Doll’s House. Dublin: Hachette, 2013.Google Scholar
  72. Pim, Sheila. Common or Garden Crime. London: Hodder & Stoughton, 1945. Reprint, Boulder: Rue Morgue, 2001.Google Scholar
  73. Pine, Emilie. The Politics of Irish Memory: Performing Remembrance in Contemporary Irish Culture. Basingstoke: Palgrave Macmillan, 2011.CrossRefGoogle Scholar
  74. Priestman, Martin. The Cambridge Companion to Crime Fiction. Cambridge: Cambridge University Press, 2003.CrossRefGoogle Scholar
  75. Reddy, Maureen T. ‘Women Detectives.’ In Priestman, The Cambridge Companion to Crime Fiction, 191–207.Google Scholar
  76. Ross, Ian Campbell. ‘Introduction.’ In Burke, Down These Green Streets, 14–35.Google Scholar
  77. Rowland, Susan. From Agatha Christie to Ruth Rendell: British Women Writers in Detective and Crime Fiction. Basingstoke: Palgrave Macmillan, 2001.CrossRefGoogle Scholar
  78. Smith, James M. Ireland’s Magdalen Laundries and the Nation’s Architecture of Containment. Notre Dame: University of Notre Dame Press, 2007.Google Scholar
  79. Spain, Jo. With Our Blessing. London: Quercus, 2015.Google Scholar
  80. Sweeney, Anna. Deadly Intent. Surrey: Severn House, 2014. Originally published in Irish as Anna Heussaff, Buille Marfach. Inverin: Cló Iar-Chonnacht, 2010.Google Scholar
  81. Weinstein, Laura. ‘Unlawful Carnal Knowledge of Teenage Girls: Performing Femininity and the Myth of Absolute Liability.’ In Meier and Ross, ‘Irish Crime Since 1921’: 69–91.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Brian Cliff
    • 1
  1. 1.Trinity College DublinDublinIreland

Personalised recommendations