Forensic Fictions is the first book-length critical study of William Faulkner's fictional depictions of the legal vocation and the practice of law. Examining Faulkner's lawyer characters in light of the southern storytelling tradition, Jay Watson argues that the forensic competence of the Faulknerian lawyer is a direct function of his skill as a raconteur. To trace the biographical and historical roots of Faulkner's lifelong preoccupation with the legal profession, Watson draws on contemporary scholarship in narrative, rhetoric, jurisprudence, legal and intellectual history, literary theory, and Lacanian psychoanalysis. His approach yields insightful readings of forensic characters and scenes from such works as "An Odor of Verbena," The Hamlet, "Wild Palms," Absalom, Absalom! and The Reivers. Watson shows the links between storytelling and the competence of Faulkner's legal characters by examining the intertextual logic that connects the two most important lawyers in the Yoknapatawpha fiction: the incompetent Horace Benbow and the more capable Gavin Stevens, whose entrance into Faulkner's oeuvre coincides with Benbow's untimely departure from it. Focusing on the nine novels in which these two characters appear, Watson traces the evolutionary process by which Stevens supplants Benbow. Three of the Stevens novels--Intruder in the Dust, Knight's Gambit, and Requiem for a Nun--from what Watson calls Faulkner's "forensic trilogy" and, when read together, constitute the writer's most sustained investigation of the rhetorical and ethical responsibilities of the lawyer-citizen. Faulkner, Watson argues, saw the forensic figure as a potential hybrid of homo loquens and homo politicus, capable of combing the roles of storyteller, rhetorician, and theatrical performer with those of critic, citizen, and ethical man. As such, this figure served as a provocative authorial surrogate through whom Faulkner could explore diverse and often contradictory aspects of his personal experience, his family background, his cultural heritage, and, most of all, his own artistic use of language.

This compilation of medical and forensic science questions from crime writers around the world provides insight into medical and forensic science as well as a glimpse into the writer’s creative mind. How do hallucinogenic drugs affect a blind person? Will snake venom injected into fruit cause death? How would you perform CPR in a helicopter? What happens when someone swallows razor blades? How long does it take blood to dry? Can DNA be obtained from a half-eaten bagel? D. P. Lyle, MD, answers these and many more intriguing questions. The book is a useful and entertaining resource for writers and screenwriters, helping them find the information they need to frame a situation and write a convincing description. TV viewers, readers who enjoy crime fiction, and those who want to know more about forensic science can keep up with the news and understand the science behind criminal investigation. From traumatic injuries to the coroner’s office, the questions and answers are divided into five parts, making it a compendium of the incredible information that lies within the world of medicine and forensics.

It's June in Montreal, and Tempe Brennan, Quebec's director of forensic anthropology, knows she is trailing a serial murderer when a dismembered and stored body turns up in a downtown park.

"The entries touch on the disciplines of criminal justice, criminal and civil law, literature, and history to provide a broad base for understanding the diverse ways forensic science affects our society."--BOOK JACKET.

This compilation of medical and forensic science questions from crime writers around the world provides insight into medical and forensic science as well as a glimpse into the writerÕs creative mind. How do hallucinogenic drugs affect a blind person? Will snake venom injected into fruit cause death? How would you perform CPR in a helicopter? What happens when someone swallows razor blades? How long does it take blood to dry? Can DNA be obtained from a half-eaten bagel? D. P. Lyle, MD, answers these and many more intriguing questions. The book is a useful and entertaining resource for writers and screenwriters, helping them find the information they need to frame a situation and write a convincing description. TV viewers, readers who enjoy crime fiction, and those who want to know more about forensic science can keep up with the news and understand the science behind criminal investigation. From traumatic injuries to the coronerÕs office, the questions and answers are divided into five parts, making it a compendium of the incredible information that lies within the world of medicine and forensics.

This is a book about the relationship between the development of forensic science in the nineteenth century and the invention of the new literary genre of detective fiction in Britain and America. Ronald R. Thomas examines the criminal body as a site of interpretation and enforcement in a wide range of fictional examples, from Poe, Dickens and Hawthorne through Twain and Conan Doyle to Hammett, Chandler and Christie. He is especially concerned with the authority the literary detective manages to secure through the 'devices' - fingerprinting, photography, lie detectors - with which he discovers the truth and establishes his expertise, and the way in which those devices relate to broader questions of cultural authority at decisive moments in the history of the genre. This is an interdisciplinary project, framing readings of literary texts with an analysis of contemporaneous developments in criminology, the rules of evidence, and modern scientific accounts of identity.

Peter Swirski looks at American crime fiction as an artform that expresses and reflects the social and aesthetic values of its authors and readers. As such he documents the manifold ways in which such authorship and readership are a matter of informed literary choice and not of cultural brainwashing or declining literary standards. Asking, in effect, a series of questions about the nature of genre fiction as art, successive chapters look at American crime writers whose careers throw light on the hazards and rewards of nobrow traffic between popular forms and highbrow aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.