By Ian Rankin
Whilst a former soldier and recluse murders 17-year-old scholars at a fancy Edinburgh boarding institution, Rebus instantly suspects there's extra to the case than meets the attention. military investigators appear to snoop round the scene of the crime, and hyperlinks among the killer and a neighborhood crew of "Goths" (a morbid clique of black-clad youth who hearken to heavy steel tune) start to floor. yet simply as Rebus unearths himself within the thick of the homicide inquiry, he's threatened with suspension from the police strength: a guy who have been menacing his companion and good friend, Detective Sergeant Siobhan Clarke, dies within the similar condominium fireplace that has left Rebus with terrible, painful burns. Rebus is instantly suspected of foul play. Now Rebus is confronted with harrowing missions: He needs to get to the basis of the boarding institution killing while he attempts to transparent his personal identify.
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Additional resources for A Question of Blood (Inspector Rebus, Book 14)
60 In contrast, Chesler’s work draws on different theoretical resources – namely, the anti-psychiatry school (for example, Szasz 1961) and structural functionalism (for example, Parsons, 1960). According to Chesler, labels of mental illness facilitate the control of both men’s and women’s behavior. This view also argues, however, that the female role is undervalued. That is, when women either depart or come close to feminine roles, they become more vulnerable to a diagnosis of mental illness, and they become more likely to be labelled as mentally ill in whatever role they take on.
It can be said that hardboiled crime fiction does make room for women’s resistance, which becomes a means for them to show agency, though the genre does not present an either/or situation in which women are either completely medicalized or endowed with agency and power. Rather, the agency of criminal femmes fatales is negotiated within a noir world that incorporates a discourse that oscillates between autonomy and pathologization. It can be concluded that crime by women is assessed and overseen through a complex system of interconnected cultural, social, legal, and medical discourses.
In a continuum of performances of hyper-masculinity (characterized by Narratives of the Underworld 39 toughness and endurance) in the detective and hyper-femininity (the use of sexual charm and cunning) in the criminal femme fatale, there is little room for the masculinity of the detective to prevail and dominate. These female characters exemplify the blurring, if not the dissolving, of the boundaries between the law and the criminal in Hammett’s world. There is already blurring between the criminal and the detective, but the criminal femmes fatales embody the disappearance of distinction between the two ostensibly discrete worlds of law and crime.