- Interview by Molly Odintz
For the past few decades a sense of a crime novel canon, a set of essential classics, has taken on form and substance. We can all acknowledge the innovators and masters of the genre, yet unless we contemplate golden-era British detective fiction, most of the authors already incorporated into the crime fiction canon are male. And yet, those names make up only a part of crime fiction’s history.
“I think it’s important to note that feminism is something that is present in terms of a reflection of the lives these women led, not necessarily because they themselves identified with the cause…The wonderful thing about feminism is it includes everyone, whether they really want to be there or not, because the tenets are so simple: equality for both genders.”
Women have always made up a substantial chunk of the most popular writers in the genre, whether writing golden-era detective novels, thrillers, noir, or the recently repopularized domestic suspense novel, yet women in genre fiction tend to go out of print as soon as they stop writing new fiction unless they have established a wildly popular series. When classics of the genre have been brought back into print, most often, publishers have chosen to privilege works by men – until now, with Library of America’s Women Crime Writers: Eight Suspense Novels of the 40s and 50s, released last year.
As International Women’s Month draws to a close, feast your eyes on an interview with Sarah Weinman, editor of the incredible Library of America collection, Women Crime Writers: Eight Suspense Novels of the 40s and 50s. The two-volume set, also sold seperately by decade, contains eight novels, four per decade. The collection’s companion website includes thoughtful essays on each book included in the LoA collection from some of the premier figures of the detective novel world, including contributions from Megan Abbott, Laura Lippman, and Sara Paretsky, among others.
“Criticism requires a somewhat different toolbox than does journalism, than certainly does fiction or reading, but all are informed by the other and inform each other. I sure would not have it any other way, except maybe making more time for fiction…”
Sarah Weinman is previously the editor of the anthology Troubled Daughters, Twisted Wives, and has been instrumental in bringing long-neglected classic crime and suspense stories by women authors back into print and into the public eye. Thanks to Sarah for letting us send these questions along!
Molly Odintz: It must have been incredibly difficult to decide which volumes to include in this collection – how did you assemble the works that made it in?
Sarah Weinman: We certainly had many spirited meetings over selections, but the truth of the matter is, most of what constituted Women Crime Writers was a fairly speedy consensus. The LoA publisher and editor, Max Rudin & Geoffrey O’Brien, and I agreed quickly on In a Lonely Place by Dorothy B. Hughes,The Blank Wall by Elisabeth Sanxay Holding, and Laura by Vera Caspary, so that was 3/4 of the 1940s volume. O’Brien suggested The Horizontal Man, which I knew about but hadn’t read, and once I did I realized it had to be in there. For the 1950s, we knew we had to have a Charlotte Armstrong and a Margaret Millar and they would *probably* be Mischief and Beast in View but we did talk about some other 1950s titles just in case — but then settled on those two. Dolores Hitchens was a strong choice early on but getting a hold of a copy of Fool’s Gold was not easy, and in the meantime we also really came close to including Dorothy Salisbury Davis (I really, really love A Gentle Murderer.) So weirdly enough, the Highsmith came late, and it took a couple of tries for me to really get into The Blunderer, but once I did, I think it was the final connective glue for the entire collection that really solidifies the whole group.
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