I think about genre a lot. I don’t mean in the sense that I’m trying to come to some kind of deeper understanding of a swath of literature, but in the sense that I still don’t understand it after all this time. I think it came from one of my first interviews with the Scottish novelist Ian Rankin. I don’t think it made the original feature, but he talked about discovering crime fiction in the first place.
“I started reading crime fiction the final year of my studies instead of reading about Muriel Spark,” he said. “I was reading Chandler and Hammett and Ruth Rendell and P.D. James. Immediately, I liked the strong sense of place that you get in crime fiction, the strong central character, the traditional storytelling with that strong sense of a beginning, a middle and an end. I like the games that you can play in a crime novel. I found that everything I want to say about the world I can say quite nicely in the crime genre, so why do anything else? They were also the kinds of books that my Dad read. I thought, do I want to spend seven years at university writing books that are only read by people at university, like James Joyce’s Ulysses or do I want to write the kind of books my Dad would read? It was a pretty simple answer.”
The next few features are a good example of the width and depth of a specific genre. Painted in broad strokes, all of these novels can comfortably be pitched into the mystery section or an airport bookstore and do quite well, but they’re all so very different that it’s easy to see how badly “genre” can be characterized sometimes.
I suppose the most recent feature I’ve published is this interview with novelist Chris Pavone about his new novel The Accident. Pavone, of course, is the former cookbook editor who hit it big with The Ex-Pats, his chronicle of expatriate life that accidentally turned into a huge thriller. The Accident is another stand-alone novel set in the interconnected world of Pavone’s novels, with curious cameos from players from The Ex-Pats. As it often goes, I was surprised to learn that Pavone didn’t even know that he was writing a thriller when he set about writing his first novel. For having such a clear, propulsive voice, the author has very little knowledge or expertise in crime fiction.
“Because I don’t immerse myself in crime novels, I wasn’t following any particular formula, ” he explained. “The Ex-Pats is more influenced by good, caper-y movies than it is by crime novels. There’s something about the sort of set piece of a tight cast of characters who are all lying to one another about almost everything that felt to me a little more like a play or a movie than a book. Very often, books have far wider-ranging action and characters than the Ex-Pats did. I did have in mind – it was very cinematic to me. I was always trying to establish a visual for each sequence and have the action be very dialogue-driven without focusing on chases or violence, but just people lying to each other. I don’t read a lot of books about that kind of duplicity.”
More on guns, dames and the disappeared after the jump. Continue reading