grave or autopsy room, such as that of the crime journalist or criminal psychologist.
Incontrast to the kind of police procedural novel that gives centre-stage to the psyche of theserial killer, the forensic pathology novel aims instead to evoke the ‘appalling humanmessiness’ of actual crime
through a perspective nearer to that of the victim. By providing readers with not only a body of experts but an expert on the body the novelistallows them to listen to the voices of the dead.This form of investigative empowerment, however, can also be a source of danger to the investigator’s own sense of self. One of our aims is to explore the ways in whichseveral of these texts cross generic boundaries, moving from investigative crime fictioninto the more ambiguous territory of the gothic. Cornwell is often praised for her ‘nail- biting realism’, the ‘accuracy and expertise’ that she herself attributes to working for theVirginia Chief Medical Examiner’s Office. The dark flavour of her novels emerges fromthe fact that these descriptive powers are used to catalogue so unremittingly the details of the autopsy room, producing the text’s sense of obsessive and intimate contact with theunspeakable ‘real’. While the gruesome
left behind by each killer cannottalk, they are inherently denotative in ways that no living human is. Each body providesan individual pathway to the abyss of violence and death, and with every
mise en abîme
there is an inevitable communion. The dead body inspires in the living protagonistnightmares of self-division, of gothic doubling and boundaries violated.Analysis of attitudes that have, historically, prevailed towards the act of anatomising helps to explain the ways in which, in contemporary crime fiction, the body becomes the site of alternative readings and competing discourses. As Jonathan Sawday
It is also increasingly the case that, even where there is no direct access to such scenes, the narrative of afemale protagonist will be interspersed (as it is, say, in some earlier Nicci French or in some of MinetteWalters’ novels) with reports on forensics and crime scenes. Priscilla L. Walton and Manina Jones, in
Detective Agency: Women Re-Writing the Hard-Boiled Tradition
(University of California Press, 1999)268-9, briefly consider the broader, Cornwell-inspired, development of a distinctively 90s subgenre inwhich there is a female investigator involved in a serial killer murder mystery. With the exception of Kathy Reichs’ heroine, however, the protagonists in the novels of the various Cornwell imitators touchedon by Walton and Jones are in fact generally not themselves forensic pathologists, but rather, say, DistrictAttorneys or Assistant DAs (in the novels of Christine McGuire, Nancy Taylor Rosenberg and LindaFairstein), members of law firms (Lisa Scottoline’s novels) and so on.
The Last Precinct
( Time Warner Paperbacks, 2001) 60-2; herafter