Keywords: a Vocabulary of Culture and Society

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Reading For The Plot Design And Intention In Narrative

Detective Fiction and the Rise of Forensic Science

Modernism and the Culture of Celebrity

Series Editors' Foreword Acknowledgments CHAPTER I Introduction: Fact, Fiction, Pleasure CHAPTER II True Fictions and False Histories: The Secret Rise of the Roman a clef CHAPTER III Open Secrets and Hidden Truths: Wilde and Freud CHAPTER IV Libel: Policing the Laws of Fiction APPENDIX TO CHAPTER IV A Brief Digest of British and Irish Libel Law CHAPTER V The Novel at the Bar: Joyce, Lewis, and Libel CHAPTER VI The Coterie as Commodity: Huxley, Lawrence, Rhys and the Business of Revenge APPENDIX A Select Bibliography of the Modernist Roman a Clef

The Art of Scandal: Modernism, Libel Law, and the Roman a Clef

Just as cultural attitudes toward criminality were undergoing profound shifts in the late nineteenth and early twentieth centuries, modernist authors became fascinated by crime and its perpetrators, as well as the burgeoning genre of crime fiction. Throughout the period, a diverse range of British and American novelists took the criminal as a case study for experimenting with forms of psychological representation while also drawing on the conventions of crime fiction in order to imagine new ways of conceptualizing the criminal mind. Matthew Levay traces the history of that attention to criminal psychology in modernist fiction, placing understudied authors like Wyndham Lewis, Dorothy Sayers, Graham Greene, and Patricia Highsmith in dialogue with more canonical contemporaries like Joseph Conrad, Henry James, Dashiell Hammett, and Gertrude Stein. Levay demonstrates criminality's pivotal role in establishing quintessentially modernist forms of psychological representation and brings to light modernism's deep but understudied connections to popular literature, especially crime fiction.

Violent Minds: Modernism and the Criminal

This essay proposes a new approach to Gertrude Stein’s relationship with genre fiction, examining her writings in and on the detective genre in light of the recent critical emphasis on modernism’s deep connections to popular and middlebrow culture. It situates Stein’s crime novel Blood on the Dining-Room Floor (1933; published 1948) alongside her critical writings on detective fiction, and in so doing argues that Stein’s attempts to combine an experimental aesthetic imperative with the recognition that popular genres like detective fiction might broaden the formal parameters and potential audiences of literary modernism establish her as a pivotal figure in modernism’s long history of engagement with popular, commercial authorship.

https://www.jstor.org/stable/pdfplus/10.2979/jmodelite.36.4.1.pdf

Remaining a Mystery: Gertrude Stein, Crime Fiction and Popular Modernism

abstract:This article examines individual installments of Chester Gould's Dick Tracy, one of the most popular and controversial comic strips of the twentieth century, in order to show how that comic uses formal elements of repetition and recapitulation to orient a wide variety of audiences into the world of the narrative. It explains how Gould's repetition reveals the logic of seriality that underlies any daily newspaper comic, and how cartoonists had to utilize such repetition if they were to attract and maintain a wide readership.

Matthew Levay

Papers

Violent Minds: Modernism and the Criminal

Remaining a Mystery: Gertrude Stein, Crime Fiction and Popular Modernism

Repetition, Recapitulation, Routine: Dick Tracy and the Temporality of Daily Newspaper Comics

Projections: Comics and the History of Twenty-First-Century Storytelling by Jared Gardner, and: Comics versus Art by Bart Beaty (review)

On the Uses of Seriality for Modern Periodical Studies: An Introduction