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Transnational Crime Fiction

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Cover of 'Transnational Crime Fiction'

Table of Contents

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    Book Overview
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    Chapter 1 From Mobile Crimes to Crimes of Mobility
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    Chapter 2 Transnational Crime in Deon Meyer’s Devil’s Peak and Santiago Gamboa’s Night Prayers
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    Chapter 3 Temporal, (Trans)National and Human Mobility in María Inés Krimer’s Kosher Trilogy
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    Chapter 4 Abdelilah Hamdouchi’s Whitefly : Transnational Crime, Globalisation and the Arabic Police Procedural
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    Chapter 5 Systemic Violence in the Borderlands: Anthony J. Quinn’s Border Angels and Alicia Gaspar de Alba’s Desert Blood
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    Chapter 6 Transnational Female Sex Trafficking in Naja Marie Aidt’s “Women in Copenhagen,” Matt Johnson’s Deadly Game and Stuart Neville’s Stolen Souls
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    Chapter 7 The Socially Mobile Female in Victorian and Neo-Victorian Mysteries
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    Chapter 8 Liminal Spaces in Laurie R. King’s Touchstone and Keeping Watch
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    Chapter 9 Urban Mobility and Technology in Carlo Lucarelli’s Almost Blue
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    Chapter 10 Crime and Detection in a Virtually Mobile World: Tom Hillenbrand’s Drohnenland
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    Chapter 11 Criminal/Liminal/Seminal: Nordic Border Crossings and Crossers in Contemporary Geopolitical Television
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    Chapter 12 Across National, Cultural and Ethnic Borders: The Detectives in Olivier Truc’s Reindeer Police Series
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    Chapter 13 Splatter Horror Crime: Crossing Medial Borders in Jo Nesbø’s The Snowman
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    Chapter 14 Affective Estrangement and Ecological Destruction in TV Crime Series Fortitude
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    Chapter 15 Sophie Hannah’s Hurting Distance as Crime Trauma Fiction
Attention for Chapter 4: Abdelilah Hamdouchi’s Whitefly : Transnational Crime, Globalisation and the Arabic Police Procedural
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Chapter title
Abdelilah Hamdouchi’s Whitefly : Transnational Crime, Globalisation and the Arabic Police Procedural
Chapter number 4
Book title
Transnational Crime Fiction
Published by
Palgrave Macmillan, Cham, January 2020
DOI 10.1007/978-3-030-53413-4_4
Book ISBNs
978-3-03-053412-7, 978-3-03-053413-4
Authors

Colette Guldimann, Guldimann, Colette

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