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Crime Fiction, Fan Fiction and the Archive

Crime Fiction, Fan Fiction and the Archive. Sabine Vanacker, Hull University, s.a.vanacker@hull.ac.uk. Tzvetan Todorov (1967): ‘The Typology of Detective Fiction.

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Crime Fiction, Fan Fiction and the Archive

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  1. Crime Fiction, Fan Fiction and the Archive Sabine Vanacker, Hull University, s.a.vanacker@hull.ac.uk

  2. Tzvetan Todorov (1967): ‘The Typology of Detective Fiction ‘Yet there is a happy realm where this dialectical contradiction between the work and its genre does not exist: that of popular literature. As a rule, the literary masterpiece does not enter any genre save its own; but the masterpiece of popular literature is precisely the book which best fits its genre. Detective fiction has its norms; to “develop” them is also to disappoint them: to “improve upon” detective fiction is to write “literature”, not detective fiction. The whodunit par excellence is not the one which transgresses the rules of the genre, but the one which conforms to them…’ (43).

  3. Raymond Chandler: ‘The Simple Art of Murder’ (1950) ‘But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way. There are reasons for this too, and reasons for the reasons; there always are.’ (6)

  4. Image Of YouBy: angelic1hp The engagement party of Ron and Hermione is one that Ginny really didn't want to attend. Ginny's tried to lose herself in alcohol, sex and a relationship with a man she could never love until the one she wanted comes back into her life. Femmeslash HGGWRated: Fiction M - English - Romance/Drama - Hermione G., Ginny W. - Chapters: 17 - Words: 78,164 - Reviews: 448 - Favs: 446 - Follows: 115 - Updated: Sep 9, 2008 - Published: Dec 17, 2006 - Status: Complete - id: 3292970

  5. Anthony Horowitz: The House of Silk (2011)

  6. ‘archontic literature’ • Neutral term • the ‘repeated engagement with a source text in order to create an ever-expanding, collectively created archive’ • Text • The ‘tradition’, the ‘formula’ • Series novels • ‘audaciously’ revisionist: ‘They're resurrecting characters that had been marginalized in the original stories and positing voices that had been muted." (Derecho, Loc 1004).

  7. Death Comes to Pemberley – Pride and Prejudice ‘The prior text is available and remains in the mind even as one reads the new version. The two texts resonate together in both the new text and the old one (with the old text, it is a retrospective resonance, in the way that Wide Sargasso Sea forces us to regard Jane Eyre with new eyes), and the reader thus notices the similarities and differences, however great or small, between them’.

  8. "The virtual is opposed not to the real but to the actual. The virtual is fully real in so far as it is virtual" (Deleuze 208). • ‘Fanfic happens in the gaps between canon, the unexplored or insufficiently explored territory’ (Pugh 2005: 92). • P.D. James: Talking about Detective Fiction (2008): the inhabitants of flat ‘221A, and possibly a 221C’

  9. Laurie King: The Beekeeper’s Apprentice (1994) The Language of Bees (2009) The God of the Hive (2010).

  10. There before us she rose up, the city of cities, the umbilicus mundi, centre of the universe, growing from the very foundations of the earth, surprisingly small, like a jewel. My heart sang within me, and the ancient Hebrew came to my lips. (King 1996: 292)

  11. Carole Nelson Douglas: Good Night, Mr Holmes (1990),

  12. ‘The Final Problem’ (1893) • the ‘raw power’ of series fiction (Priestman 2000, 54), the readers’ desire for more stories and their refusal to let a fictional universe end. • ‘The Adventure of the Empty House’ in the Strand Magazine (October 1903) (Pugh 2005: 18). • Sherlock Holmes is catastrophically dead at Reichenbach; Watson is heart-broken; Holmes resurrected, comic, inviolate and unending.

  13. ‘It is an old maxim of mine that when you have excluded the impossible, whatever remains, however improbable, must be the truth.’ (Doyle 1981: 315 ).

  14. ‘collective authorship’ • ‘the death of the author’ / the creative rise of the reader/interpreter. • Fan fiction is the unambiguous, dynamic and active expression of reader desire.

  15. Sources: Auden, W.H. 1963. ‘The Guilty Vicarage’. In The Dyer’s Hand and Other Essays. London: Faber. Boulter, Jonathan. 2011. Melancholy and the Archive: Trauma, History and Memory in the Contemporary Novel (Continuum Literary Studies). London and New York: Continuum. Chandler, Raymond. 1950. ‘The Simple Art of Murder’. Available online: http://www.en.utexas.edu/amlit/amlitprivate/scans/chandlerart.html, accessed 3/8/2010. Deleuze, Gilles. 1968/1994. Difference and Repetition. New York: Columbia University Press. Derrida, Jacques. 1994. Archive Fever: A Freudian Impression. London and Chicago: University of Chicago Press. Duff, David, ed. 2000. Modern Genre Theory. Harlow: Pearson Education. Even-Zohar, Itamar. 1978. Papers in Historical Poetics. Tel Aviv: Porter Institute for Poetics and Semiotics, Tel Aviv University.

  16. Hellekson, Karen and Kristina Busse, eds. 2006. Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson, NC and London: McFarland & Company. McCracken, Scott. 1998. Pulp: Reading Popular Fiction. Manchester: Manchester University Press.   Pugh, Sheenagh. 2005. The Democratic Genre: Fan Fiction in a Literary Context. Bridgend: Seren. Stasi, Mafalda. 2006. ‘The Toy Soldiers from Leeds: The Slash Palimpsest’. In Hellekson, Karen and Kristina Busse, eds. Fan Fiction and Fan Communities in the Age of the Internet: New Essays.

  17. Pyrhönen, Heta. 2007. ‘Genre’. In The Cambridge Companion to Narrative, David Herman, ed., pp. 109-123. Cambridge, England: Cambridge UP. Todorov, Tzvetan. 1990 [1977]. ‘Detective Fiction’. In Genres in Discourse. Cambridge: Cambridge University Press.

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