As promised, the final instalment of this year’s edition of the Quais du Polar crime festival in Lyon will include some quotes and discussions from the panels I attended. This year, there is also a fabulous innovation: you can find podcasts of practically ALL the debates on this link. Most of them are in French or English or a mix of the two, but there will be occasional Spanish or Icelandic. So you too can listen to all these great events now! [Have I told you how much I love the organisers of this festival?]
- Cityscapes in Crime Fiction: Richard Price (NY), Michèle Rowe (Cape Town), Donato Carrisi (Rome), Carlos Zanón (Barcelona), Walter Lucius (Amsterdam)
MR: Cape Town is still a very wild place, dominated by nature and geography. It has seven microclimates from one end of the city to another, it is heavily dependent on weather, and I love describing how the politics of inclusion/exclusion has been partly created by its geography. For example, townships in beautiful areas were eradicated, handed over to the wealthy, and its inhabitants were dumped elsewhere. My husband calls the city ‘crime with a view’. But in fact, the whole country of South Africa is built on crime, looting, pillaging throughout history. Crime is perhaps the only possible narrative. And yet I meet fantastic people, living in very difficult circumstances with great courage and hope, despite the corrupt government, and that makes me dream that things will still work out in the end despite the odds.
RP: New York City is all about the violence of real estate. Like water, real estate rises to the top and people get washed away, and places like Harlem have succumbed to greed and are catering only to people who have money. The biggest crime fighter in the city is the crane, but gentrification is like sweeping with a broom but no dustpan. The town centre may be safer, but it just spreads crime and violence further afield. The crooks are not the pickpockets, but the developers in their $4000 suits.
CZ: My latest book ‘I Was Johnny Thunder’ is about a failed musician, who goes back home to live with his father, although he is middle-aged. But what I wanted to show is that the people around him, who played by the rules and believed in economic boom, haven’t really succeeded either. Your neighbourhood can become a prison, because it really marks your identity, but you also have the choice to leave. Sometimes.
WL: Amsterdam was a mess 30 years ago. It had a huge crime rate, red light district, junkies, but it also had a genuine sense of community and felt authentic. Now all that has disappeared, it has been sanitized and has become like an open-air museum for tourists. The real old Amsterdam doesn’t exist anymore. I write about immigrants in my books, because I feel that the Dutch don’t really accept that we have become a multicultural society.
DC: Although Rome houses the Vatican City, it is not a sacred city like Jerusalem or Mecca. Rome has multiple souls, including a wicked one. In fact, it is a world headquarters for Satanists – although they may be very different, much more subtle, than the clichés you may have about them. The world’s biggest criminal archives are in the Vatican, because it contains all the sins which people have confessed to their priests. The priests could not absolve them directly, so they sent them to Rome, where they were carefully catalogued. Today, there are profilers helping the police, based on their intimate knowledge of sins and what drives people to commit crimes.
2. Femmes fatales: Philippe Jaenada (France), Jax Miller, Sara Gran (US), LS Hilton (UK), Dolores Redondo (Spain)
With the exception of L.S. Hilton, who tries to present the POV of a real femme fatale in her book ‘Maestra’, the other panelists were somewhat offended that they were asked to talk about this topic and that the panel was almost entirely female. However, they did their best to say something insightful about this.
SG: I just write about a female subject, rather than a female object. I write about a human being, so I don’t think at all about stereotypes. The femme fatale is the eternal object of desire, so she has to be distant, she can never be fully rounded.
LSH: I try to describe the POV of the object of desire. She plays around with the codes and deliberately turns herself into an object, but doesn’t end up getting punished. I get a little tired about being asked if I wanted to write a feminist heroine.
JM: My protagonist simply refuses to be a victim. She may be flawed, a killer, a drug addict, but she is above all a mother and doesn’t care about her appearance.
DR: I hate that women in noir seem to be reduced to one of three roles: victim, prostitute or traitor. I wanted to write about this very strong community of women I have known in the Baztan valley, who have taken over the household when their men went abroad to work, a real matriarchy.
PJ: I wrote about a real-life criminal, Pauline Dubuisson, who was accused in the 1953 of killing her unfaithful lover in cold blood. She was presented as a femme fatale, but in actual fact she was ‘fatalised’ by society, the last victim of patriarchy perhaps. She was always described as beautiful, but also a slut, but in fact she was just a normal-looking person, who wanted to finish her studies before getting married. She was judged by a jury composed almost entirely of men, and it was probably the one woman on the jury who saved her from the guillotine.
3. Recurring Heroes: British Classics : Sophie Hannah (Poirot), Anthony Horowitz (Bond and Sherlock Holmes), Michel Moatti (Jack the Ripper), Cecil & Brunschwig (Holmes in BD), John Lawton (Cold War spies, à la John Le Carré)
SH: I’ve loved Agatha Christie since I was 12 and always thought she was a genius, but was fully aware I wasn’t like her and couldn’t write like her. So I created the character Catchpool to explain why there would be a slightly different style of presenting Poirot. But I most certainly wanted to respect the rules of the universe I was writing in. The next Poirot novel is called ‘Closed Casket’ and will be out later this year.
AH: I was initially suspicious about accepting to continue the Sherlock Holmes cannon – was it all about the money? But of course it was also a childhood dream come true, because I received the complete Holmes as a birthday present when I was 17 and that’s what made me write crime fiction thereafter. I’d also dreamt of writing a Bond film, but kept getting turned down, which is why I had to invent Alex Rider. Of course, the attitudes of Bond – who hates women, gays and foreigners and kills all of the above – is not acceptable to us today, so I had to give it an ironic nudge.
JL: I came late to Christie, and still haven’t read any Sherlock Holmes, I have to admit. I did rather like Fleming, but also Sayers and Allingham, so I wanted to create the amateur cop but update him within the Cold War context, hence my creation of Frederick Troy.
Cecil: Our inspiration was Arsene Lupin, who has one volume dedicated to his arch-enemy, Herlock Sholmes. We like to stay within the Sherlock Holmes cannon, but exploit the gaps and push the envelope a bit, for instance, we suggest that Moriarty didn’t really exist, that he was just a figment of Holmes’ imagination (his tortured self, perhaps).
At this point I realise that this post is getting terribly long and I still have three debates to summarise, so I will leave the rest for tomorrow. Expect a Part 4 therefore!
findingtimetowrite 