Abstract

abstract:

Though Vera Caspary’s novel Laura (1943) remains far less famous than Otto Preminger’s 1944 film version, this article argues that the novel deserves more critical and popular attention, particularly for its feminist achievements. The novel’s experimental narrative employs a literary character I call the murderous male aesthete to combat and ultimately eliminate detective fiction’s attraction to and reliance on dead women.

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Additional Information

ISSN
1534-7303
Print ISSN
0040-4691
Pages
pp. 293-315
Launched on MUSE
2018-08-28
Open Access
No
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