- ホーム
- > 洋書
- > ドイツ書
- > Humanities, Arts & Music
- > Linguistics
- > general surveys & lexicons
Full Description
This book provides a critical discussion of True Crime literature, arguing for the deconstruction of the genre into subgenres that better reflect a work's contents. In analysing seminal and lesser-known works, the areas of authenticity, accuracy, and author proximity are considered to form a framework on which an individual publication's subgenre (re)categorisation can be assessed. The book considers the likes of Ann Rule, Truman Capote, and Maggie Nelson, among other notable authors. Their works - those that fit into True Crime and those that defy categorisation within the genre as it exists - are reviewed, and their defining features critiqued. Topics such as narrative methodologies, figurative language, and utilisation of research are considered in support of this. These strands combine to a larger discussion regarding a deconstruction of True Crime, and the ways in which this will improve the social responsibility of the genre, and encourage a more conscientious consumerism of it.
Contents
Chapter one: Introduction.- Chapter two: Time of Death: The early era of True Crime.- Chapter three: Writing the "I" in True Crime.- Chapter four: Vincent Bugliosi's Objectivity: Can we side-step bias in True Crime?.- Chapter five: The Writer Inside Me: Does Ann Rule's proximity to the serial killer celebrity translate to a reliable re-telling?.- Chapter six: Writing True Crime from a safe distance.- Chapter seven: Truman Capote's World of Make-Believe: How does figurative language and creative license distort truth in In Cold Blood?.- Chapter eight: 3,500 files and an unfinished script: Is well-curated research and collaboration the key to truthful True Crime, considered through Michelle McNamara's I'll Be Gone in the Dark?.- Chapter nine: Writing creative (true) crime narratives.- Chapter ten: Manson's Girls Make a Comeback: How (c)overt is the influence of the Charles Manson case on Emma Cline's The Girls, and should readers be expected to ignore the connections?.- Chapter eleven: Narrative Hybridity in True Crime: Is Maggie Nelson integrating poetry into the True Crime genre?.- Chapter twelve: Conclusion.
