In the crime novel (if we accept this term as an umbrella for an infinite number of subgenres) its sin, its reason for being and the ultimate meaning of its success come together from the beginning. The serialization of serial novels in the 19th century has found its best mold in contemporary criminal literature to fit and succeed in a 21st century dominated by audiovisuals. And whoever says series of novels means recurring characters. Arthur Conan Doyle, fed up with Sherlock Holmes, tested firsthand the effects of the excessive success of a protagonist: he killed him in 1894 at the Reichenbach Falls while fighting against his archenemy Moriarty in The final problem and eight years later he had resurrected it due to the social pressure that demanded its return. From then on, an open ban for creators, who gladly delved into that aspect: unforgettable characters such as Hercule Poirot, Philip Marlowe or Jules Maigret were later replaced by Martin Beck, Kinsey Millhone, Kay Scarpetta, Tess Monaghan, Jean Baptiste Adamsberg, Charlie Parker or Harry Bosch, to name some significant examples in an infinite universe.
Fans follow their adventures and know their quirks, the virtues that crown them and the evils that threaten them better than anyone. As Umberto Eco said, it is about providing the reader with “the regressive pleasure of returning to what is expected.”
Genre literature in Spain started late but strongly. What follows is a selection of the most significant detectives of the genre with their most determining characteristics and some curiosity. A complete map of Spain according to its researchers.
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Credits
Format and coordination: Brenda Valverde and Guiomar del Ser
Design: Fernando Hernández and Ana Fernández
Art direction: Fernando Hernandez
Development: Carlos Munoz
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