A Quote by Diane Setterfield

My liking for Scandinavian crime fiction led me into exploring literary writers from the same countries. — © Diane Setterfield
My liking for Scandinavian crime fiction led me into exploring literary writers from the same countries.
Many Scandinavian writers who had made their name in literary fiction felt they wanted to have a go at the crime novel to show they could compete with the best. If Salman Rushdie had been Norwegian, he would definitely have written at least one thriller.
Scandinavian crime fiction has become a great success all across the world and rightfully so. Sjowall and Wahloo ushered in a whole generation of Swedish crime writers, many of whom are now available in English.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
Today the crime novelist has one advantage denied to writers of 'straight' or 'literary' novels. Unlike them he can range over all levels of society, for crime can easily breach the barriers that exist in our stratified society. Because of these barriers the modern literary novel, unlike its 19th-century predecessors, is often confined to the horizontal, dealing only with one class. But crime runs through society from top to bottom, and so the crime novelist can present a fuller picture of the way we live now.
It remains a mystery to me why some of that [pulp] fiction should be judged inferior to the rafts and rafts of bad social [literary] fiction which continues to be treated by literary editors as if it were somehow superior, or at least worthier of our attention. The careerist literary imperialism of the Bloomsbury years did a lot to produce fiction's present unseemly polarities.
Hardboiled crime fiction came of age in 'Black Mask' magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world.
Hardboiled crime fiction came of age in Black Mask magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world.
I think speculative fiction has fewer unspoken prerequisites than literary fiction for writers of color.
There is a very conservative element of crime writers that don't recognise what I do is crime fiction.
Don't get me wrong, I love literary fiction. It's faux literary fiction I can't stand.
I'll bet you $10 right now that there are an awful lot of literary writers who started a long time ago and now they find themselves in this place where secretly they feel trapped. And you know what they really read for fun? They read crime fiction.
The nice thing about 'Futurama' for me personally was that it was a way to honor some of the traditional ideas in literary science fiction, not so much movie or television science fiction - although we have that too, obviously. Our situation, a workplace comedy, led to all sorts of stuff.
It seems to me that one of the things that happened with a lot of literary fiction in the 1980s and 1990s was that it became very concerned with the academy and less with how people live their lives. We got to a point where the crime novel stepped into the breach. It was also a time when the crime novel stopped being so metropolitan.
Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.
The most popular American fiction seems to be about successful people who win, and good crime fiction typically does not explore that world. But honestly, if all crime fiction was quality fiction, it would be taken more seriously.
I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
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