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Out of the Genre Ghetto

机译:走出流派的贫民窟

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"If there is a trend," says Bantam Dell Publishing VP and executive editor Kate Miciak, "it's that mysteries have become novels." Mystery's adherents have always believed them to be true novels in every sense of the word and bristle at the snobbery in the expression "transcends the genre." Still, the literary elite has long condemned crime fiction to obscurity in the genre ghetto. That tide may be turning. On mystery's role, Miciak notes, "We were raised on stories of the 'loner' facing terrible odds, and we were taught to believe that you can somehow change things. This is what mystery fiction continues to offer." And this is what critics are beginning to recognize. Just recently, the august New York Times Book Review devoted a full-page review to Ian Rankin's latest Inspector Rebus procedural, A Question of Blood (Little, Brown), instead of pitching it to the converted in Marilyn Sta-sio's Crime column.
机译:Bantam Dell Publishing副总裁兼执行编辑Kate Miciak说:“如果有趋势,那就是谜已经变成了小说。”神秘的信奉者一直认为它们是真正的小说,无论从什么意义上讲,在表达“超越流派”时都刺鼻。尽管如此,文学精英们长期以来一直将犯罪小说谴责为在贫民窟中的晦涩之处。这种趋势可能正在转变。关于神秘的角色,Miciak指出:“我们从面对孤独的'孤独者'的故事中成长,我们被教导相信您可以以某种方式改变事物。这就是神秘小说继续提供的。”这就是批评家开始认识到的。就在最近,八月的《纽约时报》书评对伊恩·兰金(Ian Rankin)最新的Inspector Rebus程序《血腥问题》(Little,Brown)进行了整页的评论,而不是将其介绍给玛丽莲·斯塔西欧(Marilyn Sta-sio)的《犯罪》一栏。

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