“Burke shows again that he’s not just a comic genius, but also a fine dramatic writer and storyteller.” – Booklist. “Prose both scabrous and poetic.” – Publishers Weekly. “Proust meets Chandler over a pint of Guinness.” – Spectator. “Among the most memorable books of the year, of any genre.” – Sunday Times. “A hardboiled delight.” – Guardian. “Imagine Donald Westlake and Richard Stark collaborating on a screwball noir.” – Kirkus Reviews. “A cross between Raymond Chandler and Flann O’Brien.” – John Banville.

Saturday, September 27, 2008

Stark Raven Love

Author and blogger Lyman Feero (right) locates himself Somewhere Between a Raven and the Universe, from which vantage point he took aim at yours truly’s recent mini-Crime Carnival post on how the interweb might well provide the setting for a comprehensive critical evaluation of crime / mystery fiction.
  Lyman has first-hand experience of how genre fiction is treated in the hallowed halls of academia, and thus has plenty to say worth reading, with one snippet running thusly:
“However, sidestep into the American Studies, History and Pop Culture departments and you'll find something completely different … The programs that grow writers and offer lofty speeches on the value of a piece of written works are not the source for genre validation. The people who study genres and offer up theories on how the works fit into their genres are theorists, sociologists, psychologists, who all see the value of the craft. They are the ones that can provide that analysis. They are the ones to catch up the mystery / crime’s analysis backlog. The analysis will be more meaningful, tying the writing more closely to its social relevance, its place in history, its rote validity. Genre theorists know more about the nature of popular writing than most English faculty members ever dreamed.”
  Trust me, this is worth five minutes of your time