Currently I’m halfway into Bill Beverly’s deftly brilliant Dodgers (think Holden Caulfield as an LA gang banger on a cross-country road trip) and reading it has reminded me of the joys of the literary crime fiction.
It’s hard to beat the skillful use of language in a story that moves along a good pace but no so fast that you rush past the little moments, gestures, and digressions that make the world the author is creating a little richer.
Just what makes a story literary crime fiction rather than a genre crime story is open for debate. But as the self-declared Arbiter of Such Things®, I say it’s that rare author who can pull off telling a good crime story with literary flair and not get caught by the reader looking like he or she is trying.
Here are a few I recommend, in addition to the aforementioned Dodgers. These are in no particular order and for no particular reason other than I liked them:
Crime and Punishment by Fyodor Dostoyevsky – Raskolnikov sticks with me to this day, the poor bastard.
Clockers by Richard Price – Before The Wire, there was this street-level look at the crime. As Dickensian as it is Biggie Smallsian.
Mystic River by Dennis Lehane – Here’s where Lehane crossed the line from great genre writer to great writer.
Case Histories by Kate Atkinson – A case of a literary writer slumming a bit and just happening to turn out a masterpiece and create a character in Jackson Brody who’s so likable (men want to be him, women want to be with him, etc.) that he goes on to live in an unplanned series.
The Friends of Eddie Coyle by George V. Higgins – The exception that proves the rule about catching the writer writing. Not in terms of purple prose or anything like that, but you’re aware – an in awe — of the way Higgins, a master of dialogue, tell this story. Just read it, maybe aloud if you want.
Strangers on a Train by Patricia Highsmith – The ultimate “scratch-my-back-I’ll-scratch yours” scenario. Read it and love it, then go watch Hitchcock’s movie version if only for the merry-go-round scene.
The Laughing Policeman by Maj Sjöwall and Per Wahlöö – The Martin Beck series is fantastic as straight crime stories, of course, but gets even richer when you realize the 10-book series was also a mid 20th century socio-political commentary. You should probably start at the beginning with Roseanna (also a fine example of good writing that doesn’t get in the way of story) but The Laughing Policeman is where Sjowall and Wahloo really hit their stride.
No Country For Old Men by Cormac McCarthy – Another case of a literary master slumming and spitting out a masterpiece. Most of McCarthy’s books have some sort of crime in them but this book set out to be a “straight” crime novel. It’s a great introduction to McCarthy but do yourself a favor and keep going. Take on The Border Trilogy starting with All The Pretty Horses and keep move beyond the Trilogy until you get finally get to Blood Meridian. I loved Child of God and Suttree too, but you’re on your own there.
The Red Riding Quartet by David Peace – Quite possibly the most original telling of a crime story ever written. This story of serial killers, police corruption and damnation is stretched over four books (1974, 1977, 1980, 1983) and at the end you’ll still want more.
Emperor of Ocean Park by Stephen L. Carter – I don’t remember much about this one other than being delighted as I read it…and that seems like enough to ask of a good literary crime story.
Again, not saying these are the best of the best or any arbitrary assertion like that. Just saying they’re a good way to spend your reading time.
Of course there are many other fine suggestions for literary crime novels so feel free to offer up yours below or Tweet me or add to my li.st (mrchadsanborn).
Because, like you, I’m always looking for what to read next.