Why is Scandinavian crime fiction ‘so concerned with societal themes and criticisms?’ Two leading Swedish authors explore the lucrative question.
Not to say that it’s something in the water, it’s often noticed by international observers that the two major publishing markets have different entertainment-genre priorities. The Americans love love. For the Brits, good literature is murder.
Literary agencies in Scandinavia are seeing a big boost, thanks to the popularity of crime novels, which has subsequently sparked international interest in other genres.
Translator Don Bartlett discusses working with Scandinavian authors as Stian Hole, Jo Nesbø and Karl Ove Knausgaard.
Editor Sarah Weinman talks about her new Library of America anthology “Women Crime Writers: Eight Suspense of the Novels of the 1940s and ‘50s.”
In Poland, crime fiction is becoming ever more popular, with a surge in writers and high quality work. And the taste for Polish noir is catching on elsewhere.
Dolores Redondo’s novel The Invisible Guardian weaves the mythologies of the Basque culture into the reality of a contemporary world, making for an unexpected international hit.
Joel Dicker’s US-based crime novel ‘La vérité sur l’affaire Harry Quebert’ is racking up awards and is perhaps the hottest property on the international rights scene.
Crime Fiction Academy founder Jonathan Santlofer on teaching writers to not just think of crime fiction as guilty pleasure, but as great literature as well.
Publishers tend to gravitate toward cerebral books from countries with strong literary reputations, but there is a wealth of genre titles that have potential.