Lots of writing branded crime fiction thrives on people centred protagonists (as opposed to character or meat-puppet focussed. I’m thinking of The Garnethill trilogy by Denise Mina, The Cutting Room by Louise Welsh and Kate Atkinson’s earlier Jackson Brodie books). There’s lots of closure (arguably the whole point of crime fiction) too. …
Lots of writing branded crime fiction thrives on people centred protagonists (as opposed to character or meat-puppet focussed. I’m thinking of The Garnethill trilogy by Denise Mina, The Cutting Room by Louise Welsh and Kate Atkinson’s earlier Jackson Brodie books). There’s lots of closure (arguably the whole point of crime fiction) too. I speak as someone who did a module on Women Crime Writers during my BA and then read almost nothing but crime fiction for 20 odd years.
I do like literary fiction more now - but you are right about their being something unsatisfactory about a lot of upmarket/best selling stuff
Lots of writing branded crime fiction thrives on people centred protagonists (as opposed to character or meat-puppet focussed. I’m thinking of The Garnethill trilogy by Denise Mina, The Cutting Room by Louise Welsh and Kate Atkinson’s earlier Jackson Brodie books). There’s lots of closure (arguably the whole point of crime fiction) too. I speak as someone who did a module on Women Crime Writers during my BA and then read almost nothing but crime fiction for 20 odd years.
I do like literary fiction more now - but you are right about their being something unsatisfactory about a lot of upmarket/best selling stuff