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Download American Crime Fiction: A Cultural History of Nobrow by Peter Swirski PDF

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By Peter Swirski

Peter Swirski seems at American crime fiction as an artform that expresses and displays the social and aesthetic values of its authors and readers. As such he files the manifold ways that such authorship and readership are a question of proficient literary selection and never of cultural brainwashing or declining literary criteria. Asking, in impression, a sequence of questions about the character of style fiction as paintings, successive chapters examine American crime writers whose careers throw gentle at the risks and rewards of nobrow site visitors among renowned varieties and intellectual aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.

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12. Kaplan; Adorno, 38. 13. Chandler (1972), “Introduction”; see also Bauer. 14. Later Novels and Other Writings, 1024. 15. Page 471; see also Davis (1984); below, on accommodation, see Hammill. 16. See Hawkins (1991); Swirski (2005). 17. See Gans, especially Chap. 9; Tötösy de Zepetnek and Kreisel. 18. Barsch. 19. Data are consistent over the decades, from Katz and Lazarsfeld (1955) to Gans (1974) to Zuidervaart and Luttikhuizen (2000); on the literary side, see Swirski (2005); Driscoll. 20. The same argument in the context of American movies—in this case early Westerns—is made by Sklar in Chap.

27 NOBROW: CONTENTS AND DISCONTENTS 21 Buffeted by the vagaries of literary taste and distaste, as well as a raft of extraliterary factors that can range from personal connections or even dumb luck to status-seeking and geopolitical tensions, an artist’s stock is always in a flux. 28 Even though art history is traditionally written by the highbrows, the latter have always situated themselves and mobilized critical justification in opposition to the prevailing mode of cultural exchange which, in America at least, has always been popular and commercial.

Commenting on almost all aspects of contemporary life, they end up informing and on occasion even forming the background of many citizens’ values and beliefs. A good case in point is the sensational 1927 trial of Ruth (Momsie) Snyder and Henry Judd (Lover Boy) Gray, in which both were convicted of murdering Ruth’s husband, Albert Snyder. Even though every paper, from the Hearst tabloids to The New York Times, hyped up the twists and turns of the hearings, no one today remembers much about Snyder v.

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