French Literature

A curated collection of the very best adventures of Arsène Lupin, France's most famous gentleman thief. The poor and the innocent have nothing to fear from Lupin; often they profit from his spontaneous generosity. The rich and powerful, and the detective who tries to spoil his fun, however, must beware. They are the target of Lupin's mischief. With plans that frequently evolve into elaborate plots, Lupin is a gentleman burglar turned detective, and the most entertaining criminal genius in literature. These stories—the best of the Lupin series, including "The Queen's Necklace" and "Ars ne Lupin in Prison"- are outrageous and witty, for the full enjoyment of those who love masters of disguise, extraordinary heists, and the panache found with Sherlock Holmes, James Bond, Ocean's Eleven and Lupin. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. For more Arsène Lupin books at UCLA Library, click here.

Alain Robbe-Grillet is internationally hailed as the chief spokesman for the noveau roman and one of the great novelists of the twentieth century. The Erasers, his first novel, reads like a detective story but is primarily concerned with weaving and then probing a complete mixture of fact and fantasy. The narrative spans the twenty-four-hour period following a series of eight murders in eight days, presumably the work of a terrorist group. After the ninth murder, the investigation is turned over to a police agent, who may in fact be the assassin. Both an engrossing mystery and a sinister deconstruction of reality, The Erasers intrigues and unnerves with equal force as it pull us along to its ominous conclusion.

“One episode simply melts away as the next takes over” (The New York Times) in this deliciously sinister turn-of-the-century tale of a French evil genius run rampant. Three appalling crimes leave all of Paris aghast: the Marquise de Langruen is hacked to death, the Princess Sonia is robbed, and Lord Beltham is found dead, stuffed into a trunk. Inspector Juve knows that all the clues point to one suspect: the master of disguise, Fantômas. Juve cleverly pursues him in speeding trains, down dark alleys, through glittering Parisian salons, obsessed with bringing the demon mastermind to justice. As thrilling to read now as it was when first published in 1915, Fantômas “is not a puzzle but an intoxicant” (The Village Voice).

Policemen on patrol in a dangerous area of Paris hear a cry coming from the Poivrière bar and go to investigate. There is evidence of a struggle. Three dead men are lying on the floor, and a wounded man, who is certainly the murderer, stands in a doorway. He tries to escape, but gets caught. Senior inspector Gévrol thinks that the case is straightforward – a pub brawl that ended in murder, whereas his young colleague Lecoq thinks that there is more to the affair than meets the eye. Under interrogation, the suspect maintains that he is an acrobat named Mai, but Lecoq believes he might be the Duke of Sairmeuse and that he doesn't want his identity to be revealed, for his family pride (Barnes and Noble).

Didier Daeninckx's chilling novel created uproar when it was first published in France in 1984. It is set against the backdrop of a demonstration in Paris in 1961, which resulted in the deaths of hundreds of Algerians at the hands of the police. In Daeninckx's story, Roger Thiraud, a young history teacher, is also mysteriously killed during this demonstration. Twenty years later, Bernard, his son, is murdered in Toulouse while on holiday with his girlfriend. To find the connection between the murders, Daeninckx's hero Inspector Cadin must delve into the secret history and devastating compromises of wartime politics. Murder in Memoriam is a tense and unsettling indictment of France's hidden past.

The Mystery of the Yellow Room (in French Le mystère de la chambre jaune) is a mystery novel written by French author Gaston Leroux. One of the first locked-room mystery novels, it was first published serially in France in the periodical L'Illustration from September 1907 to November 1907, then in its own right in 1908. It is the first novel starring fictional reporter Joseph Rouletabille and concerns a complex, and seemingly impossible, crime in which the criminal appears to disappear from a locked room. Leroux provides the reader with detailed, precise diagrams and floorplans illustrating the crime scene. The emphasis of the story is firmly on the intellectual challenge to the reader, who will almost certainly be hard pressed to unravel every detail of the situation. (CreateSpace Independent Publishing)

A Parisian editor is drawn into a murder investigation when an unknown thriller author is shortlisted for a prize.

Each day, inhabitants of a small community in the French Alps find another of their ewes with its throat cut. When one of the villagers too is killed people begin to wonder: could it be the work of a werewolf? Soon suspicion falls on Massart, one of the villagers, because of his beardlessness (according to popular legend, werewolves have no hair on their bodies because they are inside the body). Soliman, the victim's adopted son; Le Veilleur, a lonely sheperd and Camille, a lovely girl from the city, decide to pursue Massart and their hunt leads them into the Alps, but their incompetence is undisguisable and they decide to summon Commissaire Adamsberg to help.

First published posthumously in 1966, Trouble in the Swaths was written by Boris Vian for a small audience of family and friends during the Nazi Occupation of Paris. It is a flippant, at times outrageous parody of genre fiction laced through with bursts of Sadean violence, absurdist slapstick and excessive wordplay in which the author makes his fictionalized debut under such anagrammed monikers as the Baron Visi and the detective Brisavion. Despite preceding Ian Fleming's novels by several years, Trouble in the Swaths nonetheless anticipates and ridicules such spy thrillers and their sexism, casual murders, plot twists and technological gadgetry. The adventure involves grenades and machine guns, planes and parachutes, trapdoors and underground caverns, a secret manuscript that endeavors to absorb the novel and, at the center of it all, the core of the narrative maelstrom: the "forked barbarian." (Wakefield Press)

Stephen Knight's book is a full analytic survey of crime fiction from its origins in the nineteenth century to the most recent developments. Knight explains how and why the various forms of the genre evolved, explores major authors and movements, and argues that the genre as a whole has three parts: the early development of Detection, the growing emphasis on Death, and the modern celebration of Diversity. The best criticism is cited and the book provides full references and a helpful chronology, making this a highly-readable complete study of a popular and still relatively underexamined genre.

This volume explores the development of crime fiction as a genre in French literary culture from the mid-nineteenth century to the present day, paying particular attention to the distinctive features of this French-language tradition. Grounded in the study of novels by Francophone writers, such as Georges Simenon and Léo Malet, French Crime Fiction examines both period and movement-specific work, engaging each in broader debates about the larger contributions of crime fiction to contemporary French and European culture, making this an accessible volume for both the scholar and the interested reader.

Taking Edgar Allan Poe's 1841 "The Murders in the Rue Morgue" as an inaugural frame, Andrea Goulet traces the shifting representations of violence, space, and nation in French crime fiction from serial novels of the 1860s to cyberpunk fictions today.

Cet ouvrage se propose de cerner le roman policier français du début du XXe siècle à la fois comme naissance d'un genre littéraire authentique et comme structuration narrative originale. Se refusant à établir (ou à accepter) des barrières entre la «grande littérature»... et le reste, l'auteur tente de montrer que les procédés littéraires, et notamment rhétoriques, utilisés dans les «polars» de nos grands-parents ne sont pas fondamentalement distincts de ceux qui ont présidé aux «grandes oeuvres». Les concepts de la linguistique et de la sémiotique littéraire permettent, à n'en pas douter, de procéder à une lecture plus riche et plus ouverte des grands mythes que sont devenus Arsène Lupin, Fantômas et Rouletabille. Le roman policier est devenu aujourd'hui, qu'on le veuille ou non, un des passages obligés de la culture générale.

This book, which was inspired by a conference on plural conjugations of Frenchness (La France au pluriel) held in 2007 at the Universities of Technology, Sydney and Newcastle, focuses on the concept of national belonging as it pertains to detective fiction, with particular emphasis on French and Australian detective fictions and the encounter and crossing over between them. The objective is not only to use the concepts of 'French' and 'Australian' detective fiction productively, via the analysis of French and Australian detective-fiction novels, but also to challenge and undermine the very notion of national detective fictions, which are so often assumed to be transparently meaningful. The contributors to this volume focus variously on the following areas: comparative analysis of the genesis of French and Australian detective fiction; translation of Australian (and other) novels into French; translation as a genre; Frenchness as a stereotype, its role in individual novels and its spectre in all detective fiction; and readings of individual French and Australian detective novels. Overall, this book aims to challenge assumptions about French detective fiction, its influence on other national fictions and its explicit and implicit presence in all detective fiction.

For 150 years the French public and literati have enjoyed a love affair with crime fiction. This book investigates the nature of this relationship and how through periods of dramatic social and political change in France it has flourished. It challenges the conventional view of a popular genre feeding a niche market, depicting crime fiction instead as a field of creative endeavour, which has gradually matured into one of considerable literary fertility. By inviting us to share secrets and crack codes, creating suspense and (at times) not shirking from presenting horrific events in graphic language, the crime story brings into play the intellect and emotions of its readership. This book explores both this intrinsic literary value of the crime novel and its extrinsic witness to historical events and cultural trends, arguing that these apparently distinct aspects are in fact dynamic, interrelated parts of the same whole. This blend of cultural history with literary analysis allows for the discussion of themes such as politics, memory, the urban environment and youth cultures, mixed with case studies of major French crime writers, including Gaston Leroux, Georges Simenon, Jean-Patrick Manchette, Daniel Pennac and Fred Vargas.