Studying crime in fiction: An introduction By EricSandberg, London: Routledge. 2024. pp. 204. £35.99 (pbk)

Eric Sandberg's latest book Studying Crime in Fiction: An Introduction emerges as a pivotal contribution to crime fiction studies, offering a thorough examination of the relationship between crime fiction and criminological theory. The author skillfully balances detailed historical analysis with practical case studies, providing a clear and comprehensive look at how crime fiction both reflects and critiques societal norms and the justice system. This book transcends traditional literary analysis by exploring how crime fiction engages with and critiques broader societal structures, legal frameworks, and cultural norms. Sandberg carefully traces the genre's evolution, from its early portrayals of crime in literature to contemporary narratives that grapple with complex social issues, making this work an essential resource for understanding the multifaceted role of crime fiction in society. The book is organized into three main sections: “Orient You,” “Equip You,” and “Enable You,” each providing unique insights into the genre's development and its relationship with criminology. By tracing the evolution of crime and its representation in literature, the author highlights how crime fiction has been instrumental in shaping public perceptions of justice, morality, and criminal behavior. His discussion extends beyond traditional literary analysis, incorporating elements of legal history, criminological theory, and sociocultural critique. The first section, “Orient You,” is thoughtfully divided into four chapters, each meticulously tracing the evolution of crime and its portrayal in literature, while also highlighting the development of criminological thought. In “History of Crime,” Sandberg begins with an engaging exploration of the origins of crime, starting with the Cioclovina calvaria, an ancient skull that serves as a springboard for discussing early human violence. This historical journey extends to the establishment of formal legal codes, like the Code of Hammurabi, and the role of foundational texts such as the Epic of Gilgamesh in shaping early concepts of justice. The second sub-section, “History of Criminology,” provides a comprehensive overview of the field's development, from Cesare Beccaria's Enlightenment principles to contemporary critical criminology. The author adeptly illustrates how criminological theories have evolved, reflecting broader societal changes and a growing emphasis on social inequalities. Sandberg's “History of Crime Fiction” is a highlight, offering a compelling narrative on the genre's development from Edgar Allan Poe and Arthur Conan Doyle to modern police procedurals. He effectively links the evolution of crime fiction to the rise of policing and detective work, showcasing how the genre mirrors societal shifts. Finally, “A History of Crime Fiction Studies” provides an insightful overview of the academic study of crime fiction, tracing its growth from early literary critiques to contemporary theoretical approaches. The second section, “Equip You,” with its five chapters, offers a deep dive into the complex ways crime is portrayed and understood in crime fiction, with a strong focus on the intersection of literature and criminology. Sandberg begins by exploring the complexities of defining crime, emphasizing how legal definitions are influenced by shifting political and historical contexts. In the subsection “Explaining Crime,” the author examines how crime fiction represents criminological theories, such as rational choice and social context. Through analyses of works like Dostoevsky's Crime and Punishment and Richard Price's Clockers, Sandberg provides a refined understanding of how literature mirrors and critiques these theories, revealing the complexities of criminal behavior. HIs discussion of investigative processes in crime fiction traces the evolution of techniques from early detective stories to modern forensic novels. This exploration highlights the genre's role in shaping public perceptions of crime and investigation, while also reflecting real-world advancements. The section also addresses the portrayal of victims in crime fiction, noting the genre's historical underrepresentation of victims and recent shift toward a victim-centered approach. The writer concludes with a compelling analysis of punishment, comparing early literary portrayals with contemporary narratives that critique the justice system, thereby reflecting broader cultural anxieties about justice and its effectiveness. The third section “Enable You” provides an in-depth exploration of crime through diverse lenses in six case studies. By analyzing Arthur Conan Doyle's The Sign of Four, Agatha Christie's Crooked House, Walter Mosley's Devil in a Blue Dress, Maj Sjöwall and Per Wahlöö's The Man on the Balcony, Neal Stephenson's Zodiac, and Natsuo Kirino's Out, the section uncovers the multifaceted nature of crimes, each driven by distinct motivations—imperial, familial, racial, social, environmental, and gendered. This thematic approach not only contextualizes each crime within its societal framework but also highlights the complexities of justice in various cultural and historical settings. The cover art of Studying Crime in Fiction effectively captures the theme of the book. The prominent image of a gun, rendered in a pointillist style with concentric circles, invokes the tension and immediacy associated with crime fiction. The use of bold, contrasting colors—red, black, and white—creates a sense of urgency and danger, resonating with the genre's dramatic undertones. The pixelated, almost abstract representation of violence suggests a deeper examination of crime fiction's role in society, aligning with the book's academic focus. The title, straightforward yet encompassing, justifies the cover's focus on crime as a central motif. The half-title page, positioned just before the title page, serves more as a preface than a traditional half-title, offering a comprehensive overview of the book's aims, structure, and target audience. The contents page is clearly laid out, providing an effective guide for readers to navigate the book. The examples and case studies are carefully selected, and the notes at the end of each chapter are well-researched and illuminating. Additionally, the precise formatting, along with the meticulously structured bibliography and index, encourages readers and researchers to explore the topic more deeply. Eric Sandberg's Studying Crime in Fiction: An Introduction expertly balances breadth and depth, covering a wide range of topics with nuanced analysis. The book's clear structure and engaging writing make it accessible, while well-chosen case studies add practical value to the theoretical discussions. This book is a must-read for anyone seeking to delve into the complexities of crime fiction and its broader cultural implications, providing both scholars and enthusiasts with a rich, thought-provoking resource that enhances the study and appreciation of the genre.