
I agree with both analyses, but I also want to suggest that crime fiction also provides a mirror for readers to reflect on, think through and make sense of their own lives, rather than simply coming to understand the Other (other people, other situations, other places). In particular it opens up vistas in which to critically reflect on the diverse, complex and contingent workings of power and its resistance, and our own experiences of them. In crime novels, a consistent feature is that the various manifestations of power (inducement, manipulation, coercion, seduction, exploitation, domination, intimidation, violence) and resistance (non-consent, non-cooperation, negotiation, disobedience, protest) are examined in a plethora of contexts.
Now, if I was Margot over at Confessions of a Mystery Writer I would now launch into a series of well honed essays on each of these forms of power and resistance and provide loads of examples from the crime fiction canon. But alas, this is as far as my insights go for today, other than to say that Hans Fallada’s brilliant novel, Alone in Berlin, explores all of them (and my review provides some engagement with the contingent and relational mobilisation and effects of power in Nazi Germany).
In short, my two cents worth is that crime fiction appeals because it whilst it does provide social criticism and open up the world of the Other, it also allows us to critically reflect about ourselves and our place in the world, especially in relation to how power is mobilised and expressed.
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