Donald Westlake’s Ordo: Not Euro, not Noir, but Euro-Noir?
Noir is a genre label with a long and complex history. The success of certain European home-grown forms of the genre (the French polar, the Scandinavian noir, etc.) invite us to reflect on the range but also the limits of the label in today’s European culture. The seemingly paradoxical example of Do...
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| Veröffentlicht in: | European review (Chichester, England) England), 2021-10, Vol.29 (5), p.651-659 |
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| creator | Baetens, Jan Schultze, Ana Truyen, Fred |
| description | Noir is a genre label with a long and complex history. The success of certain European home-grown forms of the genre (the French polar, the Scandinavian noir, etc.) invite us to reflect on the range but also the limits of the label in today’s European culture. The seemingly paradoxical example of Donald Westlake’s Ordo, an American noir novel that is perhaps neither ‘truly American’ nor ‘noir’ (and perhaps not even a ‘novel’) will serve here as a test case for some reflections on the actual use and function of the noir label in European literary culture. |
| doi_str_mv | 10.1017/S1062798720001180 |
| format | Article |
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| source | Applied Social Sciences Index & Abstracts (ASSIA); Cambridge Journals |
| subjects | Crime fiction Culture Focus: Crime Fiction as a Mirror of Europe’s Changing Identities Genre Mysteries Novels Reading |
| title | Donald Westlake’s Ordo: Not Euro, not Noir, but Euro-Noir? |
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