Titlebook: Constructing Crime; Discourse and Cultur Christiana Gregoriou (Lecturer in English Language Book 2012 Palgrave Macmillan, a division of Mac

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https://doi.org/10.1007/978-3-319-71020-4 contributors are drawn to popular crime fiction, through the analysis of which they also scrutinise culture. Michelle Iwen’s analysis of the . novel and its filmic incarnation explores the subjects of insanity, violence and murder, and their relation to medical, philosophical and authority-related

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Rosalba D’Onofrio,Elio Trusianif the last millennium, and to exploit certain characteristic narrative fictional tropes that might be associated with them. These aspirations and anxieties surfaced widely in popular literature and political discourses and in cultural theory before, during and after the year 2000. Prominent examples

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Rosalba D’Onofrio,Elio Trusianierview of film music’. The sequence, from . (Tarantino 1992), depicts gangster Mr. Blonde torturing a policeman and severing his ear, while Stealers Wheel’s lively pop song ‘Stuck in the Middle with You’ plays on the radio. Kalinak (2010:8, 7) suggests that this example ‘demonstrates so many of the

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Rosalba D’Onofrio,Elio Trusianisively demanding the suspension of readerly disbelief. This even appears in crime fiction’s nineteenth-century precursors, as seen, for example, in the Prefaces to Charles Dickens’s (1853) . and Wilkie Collins’s (1861) .. Dickens’s . interweaves different narratives of intrigue, including subplots a

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Reengineering and Reverse Engineering that resulted in the deaths of at least 76 local people in the Tivoli Gardens inner-city area of Western Kingston. Coke’s public image became a subject of intrigue circulating locally and globally. While a reporter for the Jamaica . presents Coke’s arrest as a significant achievement on the part of

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