000			01843 a2200241 4500
001			1317180275
005			20250317111554.0
008			250312042016GB eng
020			_a9781317180272
037			_bTaylor & Francis _cGBP 42.99 _fBB
040			_a01
041			_aeng
072	7		_aDSBH _2thema
072	7		_aDSBH _2bic
072	7		_aLIT000000 _2bisac
072	7		_a813.54 _2bisac
100	1		_aFiona Peters
245	1	0	_aAnxiety and Evil in the Writings of Patricia Highsmith
250			_a1
260			_aOxford _bRoutledge _c20160415
300			_a210 p
520			_bDrawing on an impressive range of secondary material, including many elusive reviews, interviews and articles from the under-explored Highsmith Archive, Fiona Peters suggests that the usual generic distinctions -crime fiction, mystery, suspense - have been largely unhelpful in elucidating Patricia Highsmith's novels. Peters analyzes a significant selection of Highsmith's works, chosen with a view towards demonstrating the range of her oeuvre while also identifying the main themes and preoccupations running throughout her career. Adopting a psychoanalytic approach, Peters proposes a reading of Highsmith that subordinates murder as the primary focus of the novels in favor of the gaps between periods of activity represented through anxiety, waiting, lack of desire and evil. Her close readings of the Ripley series, This Sweet Sickness, Deep Water, The Tremor of Forgery, and The Cry of the Owl, among others, reveal and illuminate Highsmith's concern with minutiae and the particular. Peters makes a strong case that the specific disturbances within her texts have resulted in Highsmith's writing remaining resistant to explication and to the more sophisticated interpretative strategies that would seek to position her within a specific genre.
999			_c3603 _d3603