Here’s an example of the former, from his New Yorker article Blood On The Borders: Crime fiction from all over:
Here’s one of the latter:
“ . . . there are only so many storylines and patterns of conflict. The only workable solution has been to shift the reader’s involvement from the center to the periphery: to the location. In most of the crime novels coming out now, it’s a matter not of what happens but of where. Essentially, they are guidebooks.”
Simenon, with the organization and instincts of a Colombian drug runner, got the whole world hooked on Maigret. Not only did Maigret sell by the million in every tongue and in all media; literary critics praised his author’s stripped-down style. … the Maigret novels acquired such prestige that Simenon’s action novels without Maigret in them started counting as proper novels, the absence of the star turn being thought of as a sign of artistic purity.Well, no. I’ll cite Swedish crime writers again, since that’s who I’m reading these days. Håkan Nesser and Kjell Eriksson shift point-of-view characters frequently. In Eriksson’s case especially, the numerous shifts create multiple sympathies on the reader’s part, for cops, killers, victims and bystanders alike. I think of the technique as an objective correlative of Swedes’ proverbial social concerns: everybody has his reasons. It’s something distinctively Swedish, a reason other than setting or guidebook-style exotica to read Swedish crime writing.
© Peter Rozovsky 2007
Swedish crime fiction