Enter ... the Visitor
Thus a recent stay with a comics-loving friend introduced me to some fine crime-fiction titles: Scalped, The Punisher and, just yesterday, that stunning, multi-layered, symphonic, operatic piece of storytelling known as Watchmen, written by Alan Moore and drawn by Dave Gibbons.
The comic maven's partner (and my co-host) loves Ian Rankin's writing and is fascinated by music in crime fiction, a frequent and well-commented-upon topic of discussion here at Detectives Beyond Borders, so our talk naturally turned to those subjects. This led to some thoughts and questions that I'll pass on to you:
Music has been a part of crime fiction at least since Sherlock Holmes started scratching at his violin and of crime movies at least since the 1950s (think moody saxophones and lonely skylines). I have an idea, though, that it was baby-boomer authors who really popularized music references in crime fiction, often to rock and roll, in a big way. Why is this the case? And was Ian Rankin any kind of an innovator in his use of music in general and rock and roll in particular, or might it just seem that way because his Rebus novels are so popular?
© Peter Rozovsky 2008