Chapter 3: The Global Diffusion of the Detective Story
The detective story is not an exclusively Anglo-American phenomenon; its narrative structure has proven to be a universal framework for exploring local social and cultural issues.1 In Italy, the genre, known as gialli, was heavily influenced by the American hardboiled school after World War II, using the investigative format to craft stories about flawed detectives and unsolved crimes.1 Similarly, in Spain, crime literature reflected the unique cultural features of the country, particularly during the Francoist regime.1
The genre also found a foothold in China, where modern crime fiction first developed from translations of foreign works, including Sir Arthur Conan Doyle’s Sherlock Holmes.1 The Chinese author Cheng Xiaoqing, considered a master of the genre in the 20th century, wrote his own series,
Sherlock in Shanghai, which mimicked Doyle’s style but was tailored for a Chinese audience.1 This global adoption demonstrates the detective narrative’s fundamental adaptability. It is a powerful vessel for exploring complex local issues, with the detective’s quest for truth serving as a metaphor for a society grappling with its own historical, political, and moral complexities. After being suppressed during the Mao era, Chinese crime stories re-emerged in the post-Mao era to focus on themes of “corruption and the harsh living conditions” of the period, demonstrating the genre’s capacity to serve as a critical commentary on societal issues.1