Globalization and the State in Contemporary Crime Fiction A World of Crime Edited by Andrew Pepper and David Schmid General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English & American Studies Middlesex University London , United Kingdom Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/14927 Andrew Pepper • David Schmid Editors Globalization and the State in Contemporary Crime Fiction A World of Crime Editors Andrew Pepper David Schmid School of English University at Buffalo Queen’s University Belfast Buffalo, USA Belfast , United Kingdom Crime Files ISBN 978-1-137-42572-0 ISBN 978-1-137-42573-7 (eBook) DOI 10.1057/978-1-137-42573-7 Library of Congress Control Number: 2016948587 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. 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London CONTENTS Introduction: Globalization and the State in Contemporary Crime Fiction 1 Andrew Pepper and David Schmid The Bad and the Evil: Justice in the Novels of Pago Ignacio Taibo II 21 David Schmid Work and Death in the Global City: Natsuo Kirino’s Out as Neoliberal Noir 39 Christopher Breu “Local Hells” and State Crimes: Place, Politics, and Deviance in David Peace’s Red Riding Quartet 59 Katy Shaw The State We’re In: Global Politics and Economics in the Novels of Dominique Manotti 79 Véronique Desnain v vi CONTENTS The Scene of the Crime is the Crime: The Southern Border and the Representation of Violence in Cormac McCarthy and Don Winslow 99 Casey Shoop True-Crime, Crime Fiction, and Journalism in Mexico 119 Persephone Braham The Novel of Violence in Latin American Literature 141 José-Vicente Tavares-dos-Santos , Enio Passiani , and Julio Souto Salom Scandinavian Crime Fiction and the Facts: Social Criticism, Epistemology, and Globalization 159 Andrew Nestingen John le Carré and The New Novel of Global (In)security 179 Andrew Pepper Geopolitical Reality: The Thriller, Global Power, and the Logic of Revelation 197 Paul Cobley US Narratives of Nuclear Terrorism 217 David Seed Index 239 NOTES ON THE CONTRIBUTORS Persephone Braham is an associate professor of Spanish and Latin American lit- erature at the University of Delaware, USA. She is the author of Crimes Against the State, Crimes Against Persons: Detective Fiction in Cuba and Mexico (2004), and From Amazons to Zombies: Monsters in Latin America (2015) and editor of an interdisciplinary volume, African Diaspora in the Cultures of Latin America, the Caribbean, and the United States (2014). Christopher Breu is Professor of English at Illinois State University, USA. He is author of Insistence of the Material: Literature in the Age of Biopolitics (2014) and Hard-Boiled Masculinities (2005). He is currently working on two book projects, Noir Affect , coedited with Elizabeth Hatmaker, and a theory monograph entitled Materialism/Materiality . Paul Cobley is Professor in Language and Media at Middlesex University, UK. He is the author of books including The American Thriller (2000) and Narrative , 2nd edn (2014). He co-edits the journal Social Semiotics and is associate editor of Cybernetics and Human Knowing, as well as being the editor of a number of books and book series. He is President of the International Association for Semiotic Studies (IASS-AIS). Véronique Desnain is a senior lecturer at the University of Edinburgh, UK. She has published widely on French crime fi ction in books and journals including French Crime Fiction (2009), Sébastien Japrisot: The Art of Crime (2009), and New Approaches to Crime in French Literature, Culture and Film (2009). She is guest editing a special issue on crime fi ction for Itinéraires (2015). vii viii NOTES ON THE CONTRIBUTORS Andrew Nestingen is Professor of Scandinavian Studies and Cinema Studies at the University of Washington, USA. His publications include The Cinema of Aki Kaurismäki (2014), Scandinavian Crime Fiction (2011, co- edited with Paula Arvas), Crime and Fantasy in Scandinavia (2008), and Transnational Cinema in a Global North (2005, co-edited with Trevor Elkington). He is currently writing a book about the cultural politics of childhood in the Nordic countries and North America. Enio Passiani is Adjunct Professor of Sociology of Culture in the Department of Sociology at Universidade Federal do Rio Grande do Sul (UFRGS), Brazil. He is the author of Na trilha do Jeca: Monteiro Lobato e a formação do campo literário no Brasil (2003), and articles on sociological theory and on sociology of literature and reading. Andrew Pepper is Senior Lecturer in English and American literature at Queen’s University Belfast. His publications include The Contemporary American Crime Novel (2000), American History and Contemporary Hollywood Film (co-authored with Trevor McCrisken, 2005) and Unwilling Executioner: Crime Fiction and the State (2016). He has written a series of detective novels set in nineteenth-century Britain and Ireland including The Last Days of Newgate (2006). David Schmid is Associate Professor of English at the University at Buffalo, USA. He is the author of Natural Born Celebrities: Serial Killers in American Culture (2005), the co-author of Zombie Talk: Culture, History, Politics (2015), and the editor of Violence in American Popular Culture (2015). David Seed is an Emeritus Professor of American Literature at Liverpool University, UK. His publications include American Science Fiction and the Cold War (1999), Brainwashing (2004), and Cinematic Fictions: The Impact of the Cinema on the American Novel Up to World War II (2009), He is currently editor of the Science Fiction Texts and Studies series for Liverpool University Press. His essay is part of a work in progress on nuclear terrorism fi ction. Katy Shaw is Head of Department and Associate Director of the Centre for Culture and the Arts at Leeds Beckett University, UK. Her publications include David Peace: Texts and Contexts , Mining the Meaning: Cultural Representations of the 1984–5 UK Miners’ Strike and Crunch Lit . She is editor of C21 Literature: Journal of 21st-Century Writings . NOTES ON THE CONTRIBUTORS ix Casey Shoop is a postdoctoral fellow at the Robert D. Clark Honors College, University of Oregon, USA. His essays have appeared in Contemporary Literature , Cultural Critique, SubStance and the Los Angeles Review of Books . He is currently working on a book project on the culture and poli- tics of the Reagan era. José Vicente Tavares dos Santos is Professor of Sociology at Federal University of Rio Grande do Sul, Brazil, and a senior research fellow at the National Council of Scientifi c Development. He has published widely on the subjects of sociological theory, violence and social confl icts. Introduction: Globalization and the State in Contemporary Crime Fiction Andrew Pepper and David Schmid The production, circulation, and translation of crime fi ction, from the genre’s roots in the criminal stories circulating in London and Paris from the early eighteenth century (Pepper 2016), has always been an inherently transnational phenomenon. But it is also true that, despite the genre’s long-standing transnational dimensions, it is only in the last twenty years or so that crime fi ction has really mushroomed beyond the familiar scenes of its foundational texts (e.g., London, Paris, New York, Los Angeles), to become a truly global literary genre. Indigenous crime fi ction cultures are now emerging from, and speaking to, their own sites of production and, aided by the globalization of the literary marketplace and a new emphasis on translation, traveling to all corners of the globe to the extent that we can now arguably describe crime fi ction as a world literature par excellence (see King). But to make good on such a claim we need to do more than focus on the proliferation of crime fi ction cultures in an ever-expanding list A.