tag:blogger.com,1999:blog-30985382751673104952024-02-07T03:17:35.020+00:00Dr Beyer's PageMy research, publications, projects and reflections.Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-3098538275167310495.post-66468411066890094662017-04-12T09:48:00.001+01:002017-04-12T09:51:56.572+01:00Sherlock Holmes in context - new publication!<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">I am very pleased to have published my chapter on revisioning Sherlock Holmes through the character of Mrs Hudson, in a new book just published in the Palgrave <a href="http://www.palgrave.com/gp/series/14927">Crime Files</a> series. The book is edited by Sam Naidu and is called <i>Sherlock Holmes in Context</i>. I have just received my contributor's copy of the book. Here is a picture of the cover image, featuring the iconic fashion accessories we have come to associate with the Sherlock Holmes character:</span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="color: #444444; font-size: large;"><br /></span></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="color: #444444; font-size: large;"><a href="http://www.palgrave.com/gp/book/9781137555946#otherversion=9781137555953">Palgrave</a>'s summary of the book describes it as follows:</span>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">"This
book of interdisciplinary essays serves to situate the original Sherlock
Holmes, and his various adaptations, in a contemporary cultural context. This
collection is prompted by three main and related questions: firstly, why is
Sherlock Holmes such an enduring and ubiquitous cultural icon; secondly, why is
it that Sherlock Holmes, nearly 130 years after his birth, is enjoying such a
spectacular renaissance; and, thirdly, what sort of communities, imagined or
otherwise, have arisen around this figure since the most recent resurrections
of Sherlock Holmes by popular media? Covering various media and genres
(TV, film, literature, theatre) and scholarly approaches, this comprehensive
collection offers cogent answers to these questions."</span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">My chapter is entitled "I, Too, Mourn the Loss": Mrs. Hudson and the Absence of Sherlock Holmes. This is a synopsis I wrote of the chapter, which can be found on the <a href="https://link.springer.com/chapter/10.1057/978-1-137-55595-3_4">Springer</a> website:</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="color: #444444;">"This chapter examines the representation of Mrs.
Hudson in selected episodes of Sherlock and the 2011 short story “The
Adventure of the Concert Pianist” by Margaret Maron, focusing particularly on
the questions raised by the representation of ageing female characters, agency,
and detection in popular culture. Drawing on a range of critical approaches,
the analysis focuses on the similarities and contrasts offered by the two
texts, and reflects on the implications for the depiction of Mrs. Hudson in
contemporary reimaginings of Sherlock Holmes. The chapter concludes that,
despite energetic attempts to revitalize Mrs. Hudson’s character, especially by
Maron, the issue of Mrs. Hudson’s representation, and the trivialization of
ageing femininity in popular culture, remains pertinent."</span><o:p></o:p></span></div>
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<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="font-size: large;">The entire book - </span></span><span style="font-family: "times new roman"; font-size: large;"><i style="font-family: georgia, "times new roman", serif;">Sherlock Holmes in Context -</i><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">is really interesting, and a must-read for anyone interested in the many manifestations of Sherlock Holmes and our continued fascination with this figure.</span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">In writing this chapter, I enjoyed having the opportunity to write about <a href="http://www.margaretmaron.com/">Margaret Maron</a>'s brilliant short story </span></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">“The Adventure of the Concert Pianist”</span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">, and to have been able to explore at some length the gender-political dimensions of the character of Mrs Hudson and her r</span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">epresentation.</span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;"> I was particularly interested in exploring ideas of femininity, ageing, and detection in both Maron and the BBC series <i>Sherlock</i>. </span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">In fact, Series Four of <i>Sherlock</i> almost seemed to incorporate a response to my critique in the chapter! It certainly attempted to reimagine Mrs Hudson as a much more <a href="http://www.dailyedge.ie/mrs-hudson-sherlock-season-4-3188877-Jan2017/">"badass" character</a>. Although my criticism still stands: the producers may have attempted to "sex up" Mrs Hudson, but that reimagining did specifically not include taking a lead in detection. The domain of detection remained resolutely male. Margaret Maron's short story seeks to challenge the ways in which the definition of detection embodied by Sherlock Holmes serves to marginalise female characters and issues of ageing.</span><br />
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<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Little Hattie tries to read the chapter #catsofacademia</span></span></div>
<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="font-size: large;">I also taught Maron's story for the first time this year on my Crime Fiction module, which went really well and made for some interesting discussions in the seminar about the perspectives and angles used by various writers in reworking Sherlock Holmes' character or Conan Doyle's stories. </span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">My research into the figure of Mrs Hudson in Maron's story and <i>Sherlock</i> first saw the light of day three years ago. Yesterday was three years ago to the date that I gave the paper that my chapter eventually was based on. I gave that paper at the highly successful New Directions in Sherlock conference at UCL, organised by the two brilliant Sherlock specialists, Dr Tom Ue and Dr Emily Garside. The conference was immensely interesting, as you can see from the programme <a href="http://events.ucl.ac.uk/event/event:hdt-hrkjn0zd-68ayuc/new-directions-in-sherlock">here</a> and <a href="https://www.facebook.com/SherlockHolmesPastAndPresent/photos/a.329151747184963.58892.306650172768454/467590216674448/?type=1&theater">here</a>, and was attended by 300 delegates. The conference even caught the eye of the newspaper <i>The Times.</i> The paper featured an <a href="https://www.thetimes.co.uk/article/loungers-and-idlers-meet-for-100-lessons-on-sherlock-holmes-3x5mfnxqlhs">article</a> about the conference the day after it </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">was held, with the title of "</span></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">‘Loungers and idlers’ meet for 100 lessons on Sherlock
Holmes".</span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">Three years later, my paper has finally appeared in print which is very satisfying. I have previously published on contemporary literary reworkings of Sherlock Holmes, in an <a href="http://beyerpage.blogspot.co.uk/2015/06/sherlock-holmes-publication.html">article</a> for a special issue on Conan Doyle by the journal <i>Oscholars</i>. I am hoping to do more work in the future on Sherlock Holmes reimaginings.</span><br />
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<br />Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-22289660154997468812017-02-17T17:01:00.000+00:002017-03-18T10:18:08.398+00:00War, Myths, and Fairy Tales - new publication<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">I am pleased to have recently published another book chapter. My chapter examines a book which I really admire, A.S. Byatt's <i>Ragnarok: The End of the Gods</i>. My chapter forms part of a collection of essays, entitled War, Myths, and Fairy Tales, edited by Sara Buttsworth and Maartje Abbenhuis. The book is published by Palgrave.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5ubcFuThGXeWiu5k0CJx5NxoQ_qidQsVj7-7Ojl_6MuXHKdHEvEtapwEazZuPJCMTgZawRYhHMUqbemFHnnqoc2MkacSXBeAnYhhdd82fKfdAjg1DzSnsPuc1MIZP1ITVhatGihhDBVN/s1600/16806922_1324476604257056_1366789999967310946_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5ubcFuThGXeWiu5k0CJx5NxoQ_qidQsVj7-7Ojl_6MuXHKdHEvEtapwEazZuPJCMTgZawRYhHMUqbemFHnnqoc2MkacSXBeAnYhhdd82fKfdAjg1DzSnsPuc1MIZP1ITVhatGihhDBVN/s400/16806922_1324476604257056_1366789999967310946_n.jpg" width="300" /></a></div>
<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">The subject matter of the book is described on the <a href="http://www.palgrave.com/de/book/9789811026836">publisher's website</a> in the following words. The volume examines "<span style="background-color: white;">the relationships between warfare, myths, and fairy tales, and explores the connections and contradictions between the narratives of war and magic that dominate the ways in which people live and have lived, survived, considered and described their world.</span>"</span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">My chapter is entitled '"Life was a State in Which a War Was On": A.S. Byatt's Portrayal of War and Norse Mythology in </span><span style="color: #444444; font-family: georgia, "times new roman", serif;"><i>Ragnarok: The End of the Gods</i>. My chapter</span><span style="color: #444444; font-family: georgia, "times new roman", serif;"> investigates A.S. Byatt's portrayal of the Second World War through the prism of Norse myth. </span></span><br />
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<span style="color: #444444; font-family: georgia, "times new roman", serif;">I was especially interested in the way in which Norse myth informed Byatt's representations of inner landscapes to contrast with her depiction of suburban settings later on in the novel. Being Danish, Norse myth in many ways feels so familiar as to be second-nature to me. Yet, in reading Byatt's novel and its retelling on Norse myth, I found myself fascinated once again by these compelling stories and characters. A few years ago, I used to teach Norse myth on a first-year module, and it was always really interesting to see what students made of this material.</span></span><br />
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<span style="font-size: large;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">It was fascinating to research and to write about the representation of war in literature. As a contemporary literature specialist, I was glad to have the opportunity to reflect on the ways in which British literature has depicted this subject matter over time. </span><span style="color: #444444; font-family: georgia, "times new roman", serif;">From Graham Greene's <i>The End of the Affair </i>to Sarah Waters' <i>The Nightwatch</i>, the Second World War has often been imagined through the eyes of adult characters in fiction. In contrast, I found that Byatt's novel creates a compelling narrative of war experienced by a child, and that </span><span style="color: #444444; font-family: georgia, "times new roman", serif;"><i>Ragnarok: The End of the Gods </i>gave a<i> </i>compelling account of<i> </i></span><span style="color: #444444; font-family: georgia, "times new roman", serif;">the role and function myth and fairy tales may play in facilitating the imaginary and emotional process of narrating war.</span></span>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-71697665482279700942016-10-22T13:00:00.000+01:002016-10-24T09:16:32.936+01:00Why I edit books<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">The fetishisation of the monograph is not a new concept. Back in 2005 the MLA "deplored the 'fetishisation of the monograph' and called for a new metric to demonstrate scholarly worth, such as a body of articles, translations of works, electronic databases, etc'.* </span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I raise the issue of the fetishisation of the monograph here, because I was told recently that it would benefit my career more, if I was to concentrate on writing single-author monographs, rather than editing lots of books. It appears to follow from this, that editing and contributing to books and journals is of lesser scholarly value, and that the monograph (and only the monograph) represents the pinnacle of intellectual accomplishment. It is a shame that such </span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">narrow</span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"> judgements on scholarly esteem still drive certain parts of academia. In the age of generic diversity and digital publishing, it is a limited and ultimately self-defeating definition of intellectual endeavour and academic merit. </span></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">Driven by intellectual curiosity, my convictions, and enthusiasm for the diversity that literature possesses, I have published many articles and contributed many chapters to books. I am really proud of all the contributions I have made to journals and books. I recognise the effort and determination that went into each and every one of them, and that these publications have passed the peer review of my colleagues in these fields</span></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">. If taken together, these works would constitute several single-author monographs. But that would have been to the detriment of the edited volumes the publications appeared in, and thus defeated the point. Academic endeavour is devalued if it focuses on the packaging only.</span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I am extremely proud of the books and journal I am currently editing. Enabling others to contribute to books and journals, as I myself have, is a crucial feature of collegial scholarship. I derive an intense sense of accomplishment from engaging in collaborative work and the community it builds. Working with other scholars and artists, across national and disciplinary boundaries, is really important in this time of Brexit isolationism. As a Danish scholar working in Britain, I feel this strongly. Collaborative work ensures a multifaceted content with a broader appeal and more impact. The single-author monograph doesn't generally have a great deal of impact. Print runs are small, and the appeal is limited. </span></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I may publish a single-author monograph one day, or I may not. When I do, it will be on the basis of the form fitting my</span></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;"> argument </span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">rather than dictating it. </span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif; font-size: large;">*Colin Steele, "Back to the Future: Twenty-First Century Models for the Scholarly Monograph." In Bernhardt, Beth R; Daniels, Tim; Steinle, Kim; Strauch, Katina
P (Eds.) <i>Charleston Conference Proceedings 2005</i>. Westport, Conn.: Libraries Unlimited, 2006. pp. 118-125. 121.</span>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-32511828237814681162016-10-01T10:47:00.003+01:002016-10-01T10:56:21.862+01:00PaCCS research bid successful!<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>My crime studies colleagues and I have been successful in gaining funding from AHRC and ESRC for our one-year research project on Representation of Human Trafficking! We won an Innovation Award from </b></span><span style="background-color: #f5f8fa; line-height: 20px;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><a href="http://www.paccsresearch.org.uk/">Partnership for Conflict, Crime and Security Research</a>. You can see the announcement plus a list of the other Innovation Award winners<a href="http://www.paccsresearch.org.uk/representation-of-transnational-human-trafficking/"> here</a>. </b></span></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>The Principal Investigator of our project is Christiana Gregoriou of Leeds University, and she leads the international, interdisciplinary research team consisting of Melissa Deary of Hull University; Nina Muzdeka of University of Novi Sad; Ilse Ras from Leeds University; Bernie Gravett, Head of Specialist Policing, and myself.</b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Monday 3 October is the official Launch Day for our project, so look out for plenty of social media activity and further announcements. I will also be posting links here to our project Twitter, Facebook page, and blog.</b></span>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-56469941929778948162016-09-19T11:17:00.000+01:002016-09-23T22:54:25.605+01:00Irish Masculinity in Crisis - new publication<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="color: #444444;">I am very pleased to have a chapter on Irish masculinities in
crisis in a newly published book edited by Catherine Rees of Loughborough
University. The book is entitled<span class="apple-converted-space"> </span></span></b><b><i style="font-family: Georgia, 'Times New Roman', serif;"><span style="background: white; color: #444444;"><a href="https://www.amazon.co.uk/Masculinity-Crisis-Depictions-Modern-Ireland/dp/1909325880/ref=sr_1_6?ie=UTF8&qid=1466451012&sr=8-6&keywords=%22carysfort+press%22">Masculinity
in Crisis: Depictions of Modern Male Trauma in Ireland</a>,</span></i></b><b><span style="background: white; color: #444444;"> and is published
by Carysfort Press. </span></b><o:p></o:p></span></div>
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<b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background: white; color: #444444;">This book provides fresh insight into diverse representations of Irish masculinity. As Catherine explains in her summary of the book's focus: </span></b></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="background: white; color: #444444;">"The purpose of this book is to locate this sense of crisis within Irish contexts, fill a current gap in academic discourse surrounding literary, theatrical and cinematic depictions of Irish masculinity, and discuss how fictional representations of masculinity and maleness in contemporary Ireland have addressed, explored and discussed images of men in states of anxiety, crisis and chaos.</span></b><b><span style="color: #444444;">" </span></b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 1.3;">The title of my chapter is </span></span><span style="line-height: 115%;">‘"Still a Respected Man": Irish Masculinity in Crisis
and Crime Fiction’. Exploring the implications of a quotation from Stuart Neville's novel <i>The Twelve</i>, 'still a respected man', my chapter examines the meanings of 'respect', agency and masculinity in Irish crime fiction. As the basis for my analysis, I discuss two specific contemporary Irish crime novels in my chapter, namely Ken Bruen's <i>Priest</i> and Neville Thompson's <i>Mama's Boys</i>. Both these phenomenal novels offer complex, brilliantly depicted portrayals of Irish masculinities and settings that stay vivid in the reader's mind long after they've closed the books.</span></b></span><br />
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<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">The </span></b><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">work for t</span></b><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">his was so interesting for me to undertake, as it gave me the opportunity to reflect further on the depiction of masculinity in crisis in crime fiction, a topic I have been preoccupied with for some time. In 2013 I published an article on masculinity in crime fiction, in <span style="line-height: 115%;"><a href="http://eprints.glos.ac.uk/727/"><i>Clues: A Journal of Detection</i></a> . The </span>article examined John Harvey's novel <i>Easy Meat</i>, and is called: "'<span style="line-height: 115%;">There's Nothing People Won't Do to One Another, if the
Circumstances Are Right’:</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">Male Rape and
the Politics of Representation in John Harvey’s Police Procedural <i>Easy Meat</i></span><i>". </i>Turning my attention to Irish crime fiction, I found a fascinating array of complicated male characters reflecting and/or embodying the contemporary Irish society in which they are situated.</span></b></div>
Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.comtag:blogger.com,1999:blog-3098538275167310495.post-46648112601359226722016-09-13T10:08:00.001+01:002016-09-13T10:08:10.700+01:00Women Versed in Myth - new publication<br />
<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am very pleased to announce the publication of the book </b><a href="http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-7192-8" style="font-style: italic; font-weight: bold;">Women Versed in Myth</a><b>: Essays on Modern Women Poets, edited by </b></span><span style="background-color: white; line-height: 18.2px;"><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">Colleen S. Harris-Keith and Valerie Estelle Frankel, and published by </span></b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">McFarland</b><span style="background-color: white; line-height: 18.2px;"><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">. The volume examines women's poetic responses to myth from scholarly, creative and teaching perspectives. </span></b></span><span style="background-color: white; line-height: 18.2px;"><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I have a chapter in the</span></b></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b> book, entitled "</b></span><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">Reimagining Myth and the Maternal with Ruth Fainlight, Margaret Atwood and Katie Donovan". </span></b><br />
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<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I was particularly happy to have the opportunity to research and write on three female poets whose work I very much admire: the Canadian poet and author Margaret Atwood, the British/American poet Ruth Fainlight, and the Irish poet Katie Donovan. They are very different poets, yet all three offer rich and complicated treatments of mythology in their work, and my chapter proposes ways of reading these multi-faceted representations from feminist and maternal perspectives.</span></b></div>
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<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I have a long-standing interest in women's poetry which I have also published on <a href="http://eprints.glos.ac.uk/view/creators/314.html">previously</a>. My chapter in <i>Women Versed in Myth </i>examines the myriad ways in which women have creatively reimagined mythology and reclaimed female figures in order to explore hitherto marginalised or ignored dimensions of women's experience and to energise poetic language and form. The chapter furthermore contains a section on maternal perspectives and uses of mythic mother figures in Fainlight, Atwood and Donovan. I</span></b><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">n her introduction to the volume, Valerie Frankel states that in my chapter, I examine "reimaginings through the European tradition, as Ruth Fainlight recreates the sibyl as writer and katie Donovan tackles gender politics for the Irish Queen Medb and violated goddess Macha."</span></b></div>
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<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><br /></span></b>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-1418537629422396042016-08-30T08:57:00.001+01:002016-08-30T08:57:03.667+01:00Postcolonial Crime Fiction - new article<span style="background-color: white; line-height: 21.6px; text-align: justify;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am really pleased to have published my article on Irish crime fiction, called </b></span></span><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">'"The Third Ireland': Inheritance and Postcolonialism in Irish Crime Writing" in the new special issue of </span><span style="background-color: white; line-height: 21.6px; text-align: justify;"><i><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">The Journal of Commonwealth and </span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">Postcolonial Studies. </span></i><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"> The topic of the <i>JCPS </i>special issue is </span></span><span style="background-color: white; color: #444444; font-family: "georgia" , "times new roman" , serif; text-align: justify;">Postcolonial Crime Fiction, and the </span></b><b style="background-color: white; color: #444444; font-family: georgia, 'times new roman', serif; line-height: 21.6px; text-align: justify;">issue is edited by South African crime fiction specialist Dr Sam Naidu. You can view the contents page <a href="http://jcpcsonline.com/index.html">here</a>. </b><br />
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<b style="background-color: white; color: #444444; font-family: georgia, 'times new roman', serif; line-height: 21.6px; text-align: justify;"><b style="line-height: 21.6px;">This image above is of the cover for the <i>JCPS</i> special issue - really interesting image, I think! Perfect for this special issue, with its multifaceted examination of postcolonialism as a prism for crime fiction. </b></b><br />
<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; line-height: 18.2px;"><br /></span></span></b>
<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; line-height: 18.2px;">I am happy to be a great company in this special issue, and particularly to have had the opportunity to write about Irish postcolonial identities and crime writing. </span></span></b><b style="background-color: white; color: #444444; font-family: georgia, 'times new roman', serif; line-height: 21.6px; text-align: justify;"><b style="color: black; font-family: 'Times New Roman'; line-height: normal; text-align: start;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; line-height: 18.2px;">My article focuses on selected texts from the 2011 anthology edited by declan Burke entitled <i>Down These Green Streets</i></span><span style="font-family: "georgia" , "times new roman" , serif; font-style: italic; line-height: 18.2px;"> : Irish Crime Writing In The 21st Century.</span><span style="line-height: 18.2px;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></span></b></b><br />
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<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; line-height: 18.2px;">I examine selected texts from the 2011 anthology edited by declan Burke entitled <i>Down These Green Streets</i></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-style: italic; line-height: 18.2px;"> : Irish Crime Writing In The 21st Century.</span><span style="background-color: white; line-height: 18.2px;"><span style="font-family: "georgia" , "times new roman" , serif;"> In the article I explore questions of inheritance and postcolonial identity in relation to</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></span></b><span style="line-height: 115%;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>John
Connolly’s essay “No Blacks, No Dogs, No Crime Writers: Ireland and the Mystery
Genre,” and Jane Casey’s crime short story “Inheritance.”</b></span></span>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-6986159130158472742016-03-01T10:34:00.002+00:002016-03-01T10:58:10.990+00:00New publication - The Age of Dystopia: One Genre, Our Fears and Our Future<div style="text-align: justify;">
<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Louisa Mackay Demerjian's edited book, <i><a href="http://www.cambridgescholars.com/the-age-of-dystopia">The Age of Dystopia: One Genre, Our Fears and Our Future</a> </i>has just been published! The book "<span style="background-color: white; line-height: 18px; text-align: justify;">examines the recent popularity of the dystopian genre in literature and film, as well as connecting contemporary manifestations of dystopia to cultural trends and the implications of technological and social changes on the individual and society as a whole.</span>"</b></span></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>You can get a sense of the wide-ranging discussions presented in this book from the </b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;"><i>The Age of Dystopia: One Genre, Our Fears and Our Future </i></b><b style="color: #444444; font-family: georgia, 'times new roman', serif;"><a href="http://www.cambridgescholars.com/download/sample/62988">contents page</a>.</b></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am very pleased to have contributed to this book with a <a href="http://eprints.glos.ac.uk/2556/">chapter</a> on one of my favourite writers, the Australian children's and YA author Kirsty Murray. Her dystopian novel from 2009, <i>Vulture's Gate, </i>forms the basis for my chapter which examines the representation of gender and imaginative use of the Australian landscape in the novel. It was very satisfying to get the opportunity to write about another of the genres close to my heart, the dystopia. </b></span></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>The title of my chapter, "Last Girl Alive": Kirsty Murray's Dystopian YA Novel <i>Vulture's Gate, </i>uses a quotation from Murray's novel in order to reflect on gender and the way in which it becomes a battleground, in a dystopian society characterised by desperation, </b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">violent conflict, </b><b style="color: #444444; font-family: georgia, 'times new roman', serif;">sectarianism, environmental damage and abuses of power. These are themes and ideas that reverberate throughout much YA and adult dystopian literature. However, through its powerful depiction of Australian landscapes and characters, Murray's </b><b style="color: #444444; font-family: georgia, 'times new roman', serif;"><i>Vulture's Gate </i>creates a unique and utterly compelling story.</b></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Australian dystopian fiction, and literature in general, deserves much more critical recognition than it is currently receiving, and I am pleased to have had the opportunity to research and write about Kirsty Murray's work once again.</b></span></div>
<br />Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-36305880796458083432016-02-24T19:58:00.001+00:002017-03-03T16:34:05.323+00:00New publication on Agatha Christie<div style="text-align: justify;">
<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Another publication of mine has now appeared in print, and I am very pleased about it! It has been a difficult year, with health problems of </b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">various kinds. B</b><b style="color: #444444; font-family: georgia, 'times new roman', serif;">ut seeing this piece published has reminded me again of all that I value so much about research and writing.</b></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>This latest piece developed out of my enthusiasm for reading short stories. I have a long-standing fascination with the crime short story as a specific literary form, and am interested in investigating the way in which the crime short story has evolved </b></span></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">over time </b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>as a particular subgenre of crime fiction. This preoccupation of mine led me to reassess Agatha Christie's work. Christie has long been regarded as one of the most popular crime fiction authors of all time, and as part of her impressive oeuvre she also wrote crime short stories. I became interested in </b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">Christie's</b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b> short fiction, particularly the Mr Quin short stories. These short texts feature some of the specific elements we have come to associate with her crime writing, while at the same time reflecting the social and cultural questions of</b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;"> the interwar period - the heyday of what is often referred to as the Golden Age.</b></div>
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<b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;">I have a chapter on Agatha Christie's Mr Quin stories in a book just published by McFarland, edited by Christie scholar and expert <a href="http://jcbernthal.com/">Jamie Bernthal</a>. The book is entitled <i><a href="http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6313-5">The Ageless Agatha Christie: Essays on the Mysteries and the Legacy</a>.</i></span></b></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>My chapter is called<span style="background-color: white; line-height: 18px;"> <a href="http://eprints.glos.ac.uk/2830/">“With Practised Eyes”: Feminine Identity in The Mysterious Mr. Quin</a>.</span></b></span></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><span style="line-height: 18px;"><b style="background-color: transparent;"><span style="background-color: white; line-height: 18px;">I am really pleased with how this chapter turned out, and thrilled to have had the opportunity to write on Agatha Christie - something I have wanted to do for a long time. The <a href="http://www.mcfarlandbooks.com/contents-2.php?id=978-1-4766-6313-5">contents page</a> of the book will give you a glimpse into the fascinating and varied perspectives on Christie's work presented here. </span></b></span></b></span></div>
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<span style="background-color: white;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><span style="line-height: 18px;">Once again this year, Jamie Bernthal is organising a conference on Agatha Christie and her work. T</span></b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;"><span style="line-height: 18px;">he theme </span></b><b style="color: #444444; font-family: georgia, 'times new roman', serif;"><span style="line-height: 18px;">this year is "The ageless Agatha Christie", and you can find out more detail about the event <a href="https://agathachristieconference.wordpress.com/">here</a> - it is promising to be a fantastic conference! Sadly, I am unable to go this year. But if you, like me, are fascinated by Agatha Christie's work and want to investigate the reasons for its enduring appeal, do go. And read </span></b><b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><a href="http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6313-5" style="font-style: italic;">The Ageless Agatha Christie: Essays on the Mysteries and the Legacy</a>!</span></b></span></div>
Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-35099501494886255342016-01-18T20:58:00.003+00:002016-01-19T12:16:46.396+00:00Black Cultural Archives news<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; line-height: 19.32px;">"Black History is everyone's history" (</span></span>David Olusoga)</b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am very excited to hear that <a href="http://bcaheritage.org.uk/">Black Cultural Archives</a> are currently working with BBC2 on a new commissioned series on the topic of black history in Britain. </b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Historian David Olusoga previously presented the fascinating and poignant two-part series, <a href="http://www.bbc.co.uk/programmes/b04dh242/episodes/guide">"The World's War: Forgotten Soldiers of Empire"</a> , shown on BBC2 in 2014.</b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>The new series on black history will also be presented by David Olusoga who has also written it. He describes the four-part series as a project which is: "aim[ing] to overturn the image of black history as a marginal side-bar to mainstream history with new, dramatic and at times shocking chapters from our collective past." </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #444444;"><b><br /></b></span></span><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><a href="http://www.radiotimes.com/news/2016-01-17/bbc2-to-air-ambitious-series-detailing-ablack-history-of-britain">Director of Black Cultural Archives Paul Reid</a>, said: "This exciting series will uncover the less-known historical narratives, providing an insight into the Black presence in Britain and documenting the richness of British history."</b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="color: #444444;">(image from</span><span style="color: purple;"> </span></b></span><span class="irc_ho" dir="ltr" style="background-color: #f1f1f1; cursor: pointer; line-height: 16px; margin-right: -2px; overflow: hidden; padding-right: 2px; text-overflow: ellipsis;"><span style="font-family: "georgia" , "times new roman" , serif;"><b><a class="irc_hl irc_hol i3724" data-noload="" href="http://www.brixtonblog.com/black-cultural-archives-back-on-track-with-new-developers-in-brixton-windrush-square/7922" jsaction="mousedown:irc.rl;keydown:irc.rlk" style="cursor: pointer; text-decoration: none;"><span style="color: #990000;">www.brixtonblog.com</span></a><span style="color: #444444;">)</span></b></span></span></div>
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>This series will be <u>essential </u>viewing for everyone studying or researching history in Britain.</b></span>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-56921762551828284562015-12-30T13:10:00.001+00:002015-12-30T13:10:37.806+00:00Dictionary of Literary Biography, Vol. 377: Twenty-First-Century British Novelists<br />
<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Holding in my hand another new publication of mine which appeared in print earlier this month: <i>Dictionary of Literary Biography, Vol. 377: Twenty-First-Century British Novelists, </i>edited by the phenomenal Tom Ue, published by Gale Cengage. </b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am very pleased to have two essays in this volume: one on P.D. James (6000 words) and one on Sarah Waters (3000 words). It feels good to see those chapters in print.</b></span><br />
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<b style="color: #444444; font-family: georgia, 'times new roman', serif;">The book was quite heavy to hold while taking this picture, as you can probably tell from my straining fingers. </b><b style="font-family: georgia, 'times new roman', serif;"><span style="color: #444444;">458 numbered pages!</span></b><br />
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<b style="font-family: georgia, 'times new roman', serif;"><span style="color: #444444;">The <i>Dictionary of Literary Biography, Vol. 377: Twenty-First-Century British Novelists </i>is full of fascinating and illuminating essays on contemporary British writers, and I am proud to be a contributor to this mammoth volume. </span></b>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-8457340393390905562015-12-19T17:17:00.001+00:002015-12-19T17:17:38.680+00:00"Violence in American Popular Culture" - new two-volume book<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am so pleased to announce the publication of my new book chapter, entitled "'She decided to kill her husband': Housewives in American Fictions of Crime"<a href="http://eprints.glos.ac.uk/2214/">"'She decided to kill her husband': Housewives in Contemporary American Fictions of Crime</a>. In the chapter I discuss portrayals of violence and the housewife figure in short stories by Nevada Barr and Joyce Carol Oates.</b></span><br />
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<strong style="font-family: georgia, 'times new roman', serif;"><strong style="font-family: georgia, 'times new roman', serif;"><span style="color: #444444;"><b>My chapter is part of a two-volume collection on <i>Violence in American Popular Culture</i>, edited by David Schmid, and published by Praeger. </b><strong style="font-family: georgia, 'times new roman', serif;"><strong style="color: #444444;">The publisher says of the book: "this two-volume work [offers] a series of concise, detailed essays that explore why violence has always been a fundamental part of American popular culture, the ways in which it has appeared, and how the nature and expression of interest in it have changed over time." </strong></strong></span></strong></strong><br />
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<span style="color: #444444;"><strong style="font-family: georgia, 'times new roman', serif;"><strong style="font-family: georgia, 'times new roman', serif;">David Schmid, t</strong><strong style="font-family: georgia, 'times new roman', serif;">he editor of the two volumes, has done a wonderful job bringing together these fascinating and wide-ranging essays in order to investigate the meanings and representations of violence in American popular culture. It was such a pleasure working with David, and I look forward to reading all these fascinating essays by the other contributors over the Christmas period. </strong></strong><b style="color: #444444; font-family: georgia, 'times new roman', serif;">You can find further information about this collection <a href="http://www.abc-clio.com/Praeger/product.aspx?pc=A4374C">here</a> </b></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">.</b><br />
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<strong style="font-family: georgia, 'times new roman', serif;"><br /></strong>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-42978362867415334172015-11-16T17:31:00.000+00:002015-11-18T09:56:00.715+00:00Mystery Readers Journal: Scottish Mysteries<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>Last week saw the publication of the Fall 2015 issue of <a href="http://mysteryreaders.org/">Mystery Readers Journal</a>. This issue is dedicated to the study and discussion of Scottish mystery and crime writing - such an interesting and complex topic, brilliantly illuminated by the contributors and authors that were part of the issue. Often referred to as 'Tartan Noir', Scottish crime writing continues to diversify and to challenge English and American crime writing traditions through its use of setting and idiom. The Mystery Readers Journal issue on Scottish Mysteries presents a fascinating array of short articles, essays by crime writers on their work, and columns including reviews. You can see the contents page of the issue <a href="http://mysteryreaders.org/journal-index/scottish-mysteries/">here</a>.</b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I am happy to have an article in the journal issue, entitled <a href="http://mysteryreaders.org/journal-index/scottish-mysteries/">Performing Scottish Crime: Ian Rankin's <i>Dark Road</i></a>. </b></span><br />
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<span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>I have published on the contemporary Scottish crime short story previously, in my 2013 article <a href="http://eprints.glos.ac.uk/787/"><em>'Bags stuffed with the offal of their own history': Crime fiction and the short story in Crimespotting: An Edinburgh Crime Collection</em></a><em>. </em> Working on this material challenged me to look beyond the label of 'Tartan Noir' and engage in depth with the questioning and often deeply unsettling texts I encountered. </b></span><br />
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<b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;">Having previously explored the Scottish crime short story, w</b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>ith my piece in Mystery Readers Journal I was pleased to have the opportunity to return to Scottish crime writing. Ian Rankin and Mark Thomson's </b></span><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"> co-written </b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;">play <i>Dark Road</i> provided me with brilliant and troubling dramatic material through to examine an often less well-known or discussed literary form in the detective genre: the crime play. Rankin and Thomson's </b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><i>Dark Road</i> </b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"> demonstrates the range and scope of both crime and the dramatic, and makes brilliant use of the performance-related dimensions specific to the crime play format. I am interested in doing further research into this genre, and look forward to an opportunity to do so.</b>Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-47900935607927776142015-11-13T17:08:00.002+00:002015-11-13T17:08:15.155+00:00"This Book is an Action" - new book on second-wave feminism<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>Holding my contributor's copy of my latest publication </b></span></span><b style="color: #444444; font-family: georgia, 'times new roman', serif;">in my hand </b><b style="color: #444444; font-family: georgia, 'times new roman', serif;">is a great feeling! </b><br />
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<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span></span><span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif;"><b style="font-family: 'Times New Roman';"><span style="background-color: white; line-height: 18.2px;"><span style="font-family: "georgia" , "times new roman" , serif;">The book is called </span></span></b><span style="background-color: white; line-height: 19.2px;"><span style="font-family: "georgia" , "times new roman" , serif;"><b><i>This Book Is an Action: Feminist Print Culture and Activist Aesthetics</i>, and is edited by </b></span></span><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.2px;">Cecilia Konchar Farr and Jaime Harker. It is </span><span style="background-color: white; line-height: 18.2px;">published by University of Illinois Press. </span></b></span></span><br />
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<b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;"><i>This Book Is an Action: Feminist Print Culture and Activist Aesthetics</i> explores different dimensions of second-wave feminism, ranging from feminist newsletters and advances in publishing, to questions of sexuality, race and genre fiction. As the summary on the book's <a href="http://www.press.uillinois.edu/books/catalog/98xke9ng9780252039805.html">University of Illinois Press page</a> states,</b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b><span style="background-color: white; line-height: 19.2px;"> "</span>Examining feminist print culture from its structures and systems to defining texts by Margaret Atwood and Alice Walker, <i>This Book Is an Action</i> suggests untapped possibilities for the critical and aesthetic analysis of the diverse range of literary production during feminism's second wave<span style="background-color: white; line-height: 19.2px;">"</span></b></span><br />
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<span style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>The phrase <span style="background-color: white; line-height: 18.2px;"> "this book is an action" opened Robin Morgan's 1970 anthology </span><span style="background-color: white; line-height: 18.2px;"><i>Sisterhood Is Powerful: </i></span></b></span><b><span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; line-height: 18.2px;"><i>An Anthology of Writings from the Women's Liberation Movement. </i> Farr and Harker's book examines</span></span></b></span><b style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; line-height: 18.2px;"> feminist literature and print culture, echoing the link acknowledged by Robin Morgan </span></span></b><b style="color: #444444;"><span style="background-color: white; line-height: 18.2px;"><span style="font-family: "georgia" , "times new roman" , serif;">between writing, consciousness-raising and political action. </span></span></b><b style="color: #444444;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; line-height: 18.2px;"> The idea that literature and other art forms are central to the representation of feminist consciousness and politicization has been key to feminist criticism for decades. </span></span></b><br />
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<b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;"><i>This Book Is an Action: Feminist Print Culture and Activist Aesthetics </i>also investigates ongoing feminist debates and questions that have preoccupied the movement since the 1960s. </b><span style="color: #444444; font-family: "georgia" , "times new roman" , serif;"><b>In her <a href="http://www.press.uillinois.edu/books/catalog/98xke9ng9780252039805.html">review of the book</a>, Trysh Travis comments on the critical conversations the book engenders. She comments that it: "Builds on the body of scholarship that has examined the key literary texts of the movement, but it's truly original contribution is the way it uses recent theorizing on middlebrow culture and women's reading practices to reframe the essential, insoluble problem that scholars of radical feminism have so grappled with, namely, who is truly radical and who is a sellout? Cutting this Gordian knot may be the work's biggest contribution."</b></span><br />
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<span style="color: #444444;"><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 18.2px;">I love the cover of this book - it is </span></b></span><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 18.2px;">brilliant</span></b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 18.2px;">. It reminds me of so many late nights working on the typewriter, back in the days before computers. It also reminds me of important times in my life when I have remembered or rediscovered feminism's profound impact on my life and my work, and felt re-energised and inspired by depictions of sisterhood and feminist struggle...</span></b><br />
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<b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 18.2px;">I am very happy to have a chapter included in </span></b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;"><i>This Book Is an Action: Feminist Print Culture and Activist Aesthetics.</i> My chapter is on feminist genre fiction, more specifically crime fiction, and focuses on Sara Paretsky's 1982 debut novel <i>Indemnity Only. </i> </b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;">Sara Paretsky has played an enormous role in feminist crime fiction and provided a source of inspiration and encouragement for women women writers generally. I have previously published <a href="https://books.google.co.uk/books?id=8UItypZ13UQC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false">a book chapter on her autobiography <i>Writing in an Age of Silence</i></a> as well as a <a href="http://abcjournal.ulbsibiu.ro/volume_15_2010_abstracts/beyer_paretsky.html">book review</a>. </b><br />
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<b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;"> </b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;">My chapter is called '"This Really Isn't a Job for a Girl to Take on Alone": Reappraising Feminism and Genre Fiction in Sara Paretsky's Crime Novel <i>Indemnity Only</i></b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;">.' </b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;">The title of my chapter incorporates a phrase from Paretsky's novel, used to discourage and belittle V.I. Warwhawski, the female detective figure. The phrase</b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;"> draws attention to</b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;"> the importance of Paretsky's feminist intervention in the genre and the enduring importance of confronting that question: </b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;">"</b><b style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', serif; line-height: 19.2px;">This Really Isn't a Job for a Girl to Take on Alone".</b><br />
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<br />Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-42607321529147602042015-10-11T11:01:00.002+01:002015-10-16T16:17:45.027+01:00"Australia's Children: The Lucky Country?" and the Cheltenham Literature Festival<span style="font-family: Georgia, Times New Roman, serif;"><b><span style="color: #444444;">Last Friday afternoon I attended a talk at the Cheltenham Literature Festival, the only talk I could manage to fit in this year, unfortunately.</span> </b></span><br />
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<span style="color: #444444;"><span style="font-family: Georgia, Times New Roman, serif;"><b>The talk on "Australia's Children: The Lucky Country?" featured <span style="background-color: white; line-height: 19.32px;">Margaret Humphreys, Australian author Christos Tsiolkas, and Geoffrey Robinson. Margaret Humphreys <i>is</i></span></b></span><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;"> the British social worker who began the investigation into Britain's deportation of children to Australia. She wrote the book <i>Empty Cradles</i> about <a href="http://www.childmigrantstrust.com/">the Child Migrants' Trust</a> which she established following her investigations in order to help the victims affected by this scheme. </span></b></span><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">The child deportation policy ran from the 1930s to the late 1960s - read <a href="http://www.theguardian.com/lifeandstyle/2011/apr/02/britain-child-migrants-australia-commonwealth">Veronica Lee's article "Britain's Child Migrants"</a> </span></b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">in The Guardian (2 April 2011) for further context. </span></b><b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">Humphreys was very interesting, and I felt she should actually have been given her own event discussing her book and work, in order to give it the emphasis it deserved. </span></b><br />
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<b style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">The 2011 film "Oranges and Sunshine", starring Emily Watson and Hugo Dearing, explored Humphrey's work and engendered further awareness of the plight of the children who had been subjected to the deportation scheme and the instrumental role played by Humphreys in helping to draw the nation's attention to one of the dark chapters in its history. </span></b><br />
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<b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; color: #141823; line-height: 19.32px;"><br /></span></b><span style="color: #444444;"><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">Geoffrey Robinson is a human rights lawyer and academic, author of a number of books who has led many landmark legal cases, and he contributed interesting political and legal perspectives to the discussions at the event. Christos </span></b><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">Tsiolkas is a brilliant Australian author who, apart from <i>The Slap</i>, probably his best-known novel, has published a number of novels and also plays (and this event was a reminder to me to explore that part of his oeuvre further)</span></b><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">. Tsiolkas was a Guest Director of the Cheltenham Literature Festival, and undoubtedly his presence was a contributing factor in the inclusion of several insightful events on Australian literature and culture. </span></b></span><br />
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<span style="color: #444444;"><b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;">Australian literature also happens to be one of my long-standing scholarly and personal interests. I have published a chapter on <a href="https://www.academia.edu/6760158/_Hungry_Ghosts_Kirsty_Murrays_Children_of_the_Wind_Series">the literary representations of child migrants by Kirsty Murray</a>, a wonderful Australian author for children and YA. </span></b></span><br />
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<b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; color: #141823; line-height: 19.32px;">I also published an article back in 2010 on <a href="https://www.academia.edu/1253881/_Exploring_Postcolonial_and_Feminist_Issues_Rabbit-Proof_Fence_in_a_Teaching_Context_">Doris Pilkington's examination in Rabbit-Proof Fence</a> of the plight of the Stolen Generations of aboriginal children forcibly removed from their parents. </span></b><br />
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<b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; color: #444444; line-height: 19.32px;">Both of the publications I wrote mean so much to me personally, and the research I undertook as part of the process of writing them fascinated, infuriated, exasperated and moved me. Murray's and Pilkington's works taught me invaluable things, and I am pleased to have also used their books in teaching contexts, and to have shared these works with students learning about postcolonial and Australian literature.</span></b><br />
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<b style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: white; line-height: 19.32px;"><span style="color: #444444;">I came away from the Literature festival session on "Australia's Children: The Lucky Country?" with many ideas and thoughts whirling around in my mind, and a determination to research and write on these subjects further. Meanwhile, I am going to check out some more of <b style="background-color: transparent;"><span style="line-height: 19.32px;"> Christos </span></b><b style="background-color: transparent;"><span style="line-height: 19.32px;">Tsiolkas' works.</span></b></span></span></b></div>
Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-36399623918414029032015-10-04T09:23:00.003+01:002015-11-11T14:31:57.471+00:00Black History Month - celebrating the importance of black women's writing<div class="MsoNormal" style="margin-bottom: 0pt; text-align: justify;">
<b><span style="font-family: "georgia" , serif;">My blog this year on the topic of Black History Month
is on black British and Caribbean women’s writing, and its complex relationship
to history. The relevance of this topic is reflected in the recent publication by Demeter
Press of a book <i>called Reading/Speaking/Writing the Mother Text: Essays
on Caribbean Women's Writing</i>, edited by Paula Sanmartin and Cristina
Herrera. </span></b><br />
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<b><span style="font-family: "georgia" , serif;">The book contains 10 fascinating chapters on various
aspects of motherhood and maternal experience and their representation in
Caribbean and diaspora women’s writing. I also have a chapter in
this book on the black British author Andrea Levy’s work, entitled, ‘”My Mama Had a Story”: Motherhood
and Intergenerational Relations in Andrea Levy’s Fiction’.</span><span style="font-family: "georgia" , serif;"> </span></b><b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></b><br />
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<b><span style="font-family: "georgia" , serif;">The title quotation of my chapter, “my mama had a
story”, is taken from Levy’s most recent novel, <i>The Long Song</i>, a historical
novel set in Jamaica in the 19th Century, exploring British slavery in the
Caribbean and the experiences of black enslaved women and men. The quotation emphasises the significance of personal testimony, cultural transmission, and hearing silenced voices, and the act of storytelling. </span></b><br />
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<b><span style="font-family: "georgia" , serif;">Andrea
Levy comments on the long history of British slavery in the Caribbean and her research into this subject, in her
essay about writing <i>The Long Song</i> which can be found on her
author website. Reflecting on her findings and how they informed her novel, Levy states that: “Slavery in
Jamaica was so inhumane that it is hard to think of it as a society [...] as
soon as I began to reflect upon on the plain historical facts, I realised that
slavery was much more than a two-act play; it was a massive social system – a
society in the true sense – that endured for three hundred years. .”(Andrea
Levy, “The writing of <i>The Long Song</i>”,
http://www.andrealevy.co.uk/other-media/)</span></b><b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "georgia" , serif;">Caribbean and black women’s writing makes a
fascinating topic of study for anyone interested in black history, including its complicated relationship to literary history, tradition and '"the canon". Commenting
on the different literary genres and modes treated in </span></b><b><span style="font-family: "georgia" , serif;"><i>Reading/Speaking/Writing the Mother Text: Essays on Caribbean Women s Writing</i></span></b><b><span style="font-family: "georgia" , serif;">, the
editors Paula Sanmartin and Cristina Herrera state in their comprehensive
preface: “A common thread apparent through
this diversity of genres is the authors’ efforts to revise history through
their literary works.”(p.4) </span></b><br />
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<b><span style="font-family: "georgia" , serif;">Sanmartin and Herrera examine Caribbean women’s writing as one of the means by which historical experience can be
excavated, reassessed and re-presented through a literary lens. This critical approach echoes my own, in my chapter in the book, as well as in my other publications and work on black British women's writing (see details of these on <a href="http://glos.academia.edu/CharlotteBeyer.">my webpage</a>).</span></b><b><span style="font-family: "georgia" , serif;"> Focusing
on motherhood and symbolic and historical dimensions of the maternal can facilitate an investigation and articulation of herstory, while validating
and making visible previously often overlooked and trivialised dimensions of
black women’s lives and their representation in literature.</span></b></div>
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Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-67959571437162116182015-08-31T16:50:00.000+01:002015-10-16T16:19:31.280+01:00My new publication: Reading/Speaking/Writing the Mother Text<span style="font-family: Georgia, Times New Roman, serif;"><b>I am proud to have a chapter on the black British author Andrea Levy and her literary portrayal of motherhood and maternal figures in this newly published edited volume entitled <a href="http://demeterpress.org/books/readingspeakingwriting-the-mother-text-essays-on-caribbean-womens-writing/"><i>Reading/Speaking/Writing the Mother Text: Essays on Caribbean Women’s Writing</i></a>, edited by Paula Sanmartin and Cristina Herrera. The book has just been published by Demeter Press, a Canadian feminist publisher specialising in interdisciplinary work on motherhood studies. </b></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b>The volume contains insightful and compelling readings of Caribbean women's writing. As Jocelyn Fenton Stitt, Institute for Research on Women and Gender, University of Michigan, says in her review and recommendation of R<i>eading/Speaking/Writing the Mother Text: Essays on Caribbean Women's Writing: "</i>This book begins an overdue conversation about how
representations of motherhood and family in literary works by Caribbean women
connect issues of history, race, memory, nation, and violence." Here is a picture of the fantastic cover of R<i>eading/Speaking/Writing the Mother Text: Essays on Caribbean Women's Writing:</i></b></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b>My chapter is called '“My Mama Had a Story”:
Mothers and Intergenerational Relations in Andrea Levy’s Fiction.' In it, I examine the multi-faceted portrayal of motherhood and maternal characters in selected novels by Andrea Levy, and investigate Levy's representation of maternal dimensions alongside evolving Caribbean, diasporic and black British identities. </b></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b>I have long been an admirer of Andrea Levy's fiction, and look forward with much anticipation to the publication of her next novel. To me, she is one of the most interesting and poignant literary voices around. Her fiction has done so much to draw attention to the role and significance of Caribbean and black British men and women throughout history. My chapter examines the complex manner in which Levy uses the theme of motherhood to trace hitherto neglected Caribbean and black British women's histories and perspectives. My chapter in this book forms a part of my long-standing scholarly interest </b></span><b style="font-family: Georgia, 'Times New Roman', serif;">in </b><b style="font-family: Georgia, 'Times New Roman', serif;">postcolonialism and maternal perspectives and adds to my range of publications in this field.</b><br />
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Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0tag:blogger.com,1999:blog-3098538275167310495.post-48880694757348612902015-08-06T19:50:00.003+01:002015-08-07T12:34:44.512+01:00My article on true crime and baby farming in the journal "The Human"<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><b>I have just had an </b></span><b style="font-family: Georgia, 'Times New Roman', serif;">an article </b><b style="font-family: Georgia, 'Times New Roman', serif;">published in the journal <a href="http://humanjournal.org/"><i>The Human's</i></a> <a href="http://humanjournal.org/issue-5-crime-writing-special-issue/">Crime Writing Special Issue</a> edited by Professor Rebecca Martin of</b><span style="font-family: Georgia, Times New Roman, serif;"><b> <span style="font-size: 12pt;">Pace University, USA</span></b></span><b style="font-family: Georgia, 'Times New Roman', serif;">. The Special Issue on Crime Writing features articles by established crime fiction critics, Merja Makinen and Sam Naidu, among others, as well as poetry. The crime fiction articles in the Special Issue are all really interesting, and examine a range of topics, from Sherlock Holmes and Fandom (Naidu), and Japanese crime fiction by women writers (Seaman), to varieties of true crime writing and the ethical and historical questions this genre raises (Lyons; Beyer). The Special Issue also features an excellent introduction by Rebecca Martin. </b></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>My article is entitled "True Crime and Baby Farming: Representing Amelia Dyer". </b></span><b style="font-family: Georgia, 'Times New Roman', serif;"> The true crime text I specifically examined in this article is Alison Rattle and Allison Vale's <i>The Woman who Murdered Babies for Money: The Story of Amelia Dyer </i>(2011) [2007</b><b style="font-family: Georgia, 'Times New Roman', serif;">]</b><b style="font-family: Georgia, 'Times New Roman', serif;">. Reading Rattle and Vale's book, I became very interested in the phenomenon of baby farming and its context, and also the ways in which Amelia Dyer herself had been portrayed over the years in true crime books. </b></div>
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<b style="font-family: Georgia, 'Times New Roman', serif;">The publication emerged from a conference paper I gave in June 2014 at the conference <a href="http://www.hic-dragones.co.uk/true-crime/">"True Crime: Fact, Fiction, Ideology"</a>, organised by <a href="http://www.hic-dragones.co.uk/">Hic Dragones</a>, and held in Manchester. </b><b style="font-family: Georgia, 'Times New Roman', serif;">I am so pleased to have had the opportunity to publish this piece, which represents some of the interdisciplinary modes and questions I have been investigating in my recent research. Rebecca Martin's Crime Writing Special Issue contains many essays and creative contributions of great interest to any scholar and student of crime fiction, and I warmly recommend it.</b></div>
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<br />Dr Charlotte Beyerhttp://www.blogger.com/profile/04473151170997415845noreply@blogger.com0