Sara Paretsky 1947-
American mystery writer.
The following entry presents an overview of Paretsky's career through 1995.
Paretsky is part of a school of female detective writers that subverts the genre of the hard-boiled detective novel to include a feminist perspective. By making Victoria Warshawski a strong, independent character, Paretsky breathes new life into the mystery genre, bringing feminist themes to what has traditionally been a field dominated by male writers. Unlike her male predecessors in the genre, such as Dashiell Hammett's Sam Spade or Raymond Chandler's detective Philip Marlowe, private-eye Warshawski also shows an emotional vulnerability that is not commonly evident in earlier detetive fiction. While Paretsky has created her own version of the typical mystery novel, her work retains many of the traditional mystery conventions, including fast-paced narratives and suspenseful plots.
Paretsky was born on June 8, 1947, in Ames, Iowa, to David Paretsky and Mary Edwards. Paretsky attended the University of Kansas, where she received her B.A. in 1967. She received both her M.B.A. and her Ph.D. from the University of Chicago in 1967 and 1977, respectively. Paretsky remained in Chicago after earning her degrees, and the city has figured prominently in her detective novels. Paretsky worked as a freelance business writer and later as a marketing manager for a major insurance company before turning to mystery writing full time. She has published novels since the early 1980s when an editor at Dial Press took notice of her work. Paretsky was one of the founding members of Sisters in Crime, a group dedicated to furthering the careers of women in the mystery field, and served as its first president in 1986. She won an award from the Friends of American Writers for Deadlock (1984) in 1985 and was named one of the Women of the Year by Ms. magazine in 1987. In 1988 she won a Silver Dagger Award from the Crime Writers Association for Blood Shot (1988).
All Paretsky's novels focus on the same protagonist, private detective Victoria Iphegenia (V. I.) Warshawski. Paretsky's works contain many of the elements of the traditional hard-boiled detective genre: a lone, street-smart detective who works in an urban setting and battles corruption by identifying and punishing transgressors of the law. However, Paretsky also subverts the genre by providing her heroine with a community of supporters. Warshawski is an orphan, but she has an extensive network of friends and neighbors which provides her with emotional support. In Indemnity Only (1982) Warshawski is hired to find a missing University of Chicago student. During her search, she finds her client's son murdered and uncovers a scheme involving a gangster, a union leader, and an insurance agency. Many of Paretsky's novels center around murders which are connected to white-collar crimes: in Deadlock she discovers the seedy side of the shipping business while investigating her cousin's death; in Killing Orders (1985) she investigates stock certificate fraud at a priory which eventually implicates criminal activity between a major corporation, the Catholic Church, and organized crime bosses. In Bitter Medicine (1987) she investigates medical malpractice at a hospital; and in Blood Shot Warshawski discovers a chemical company working in collusion with the mob to pollute natural resources in order to exploit energy needs. Although these crimes are fundamentally white-collar in nature, Warshawski often faces grave physical danger. In Killing Orders, an attacker tries to throw acid in her face and attempts to burn down her apartment. Despite such harrowing episodes, Paretsky has made it a goal to avoid unnecessary violence in her novels, and Warshawski rarely kills her adversaries. In Tunnel Vision (1994), Paretsky moves her central character in several different directions. Warshawski begins to investigate the reasons behind the elimination of a city-funded low-cost housing project for single mothers and eventually uncovers instances of child and spousal abuse, illegal immigration and slave labor, money laundering, computer hacking, and murder.
Reviewers praise Paretsky's portrayal of Warshawski, noting the detective's physical and emotional strength. Many feminist critics laud Paretsky for not sacrificing Warshawski's femininity in order to make her tough. An important feature that reviewers often discuss is Paretsky's reworking of the genre of the hard-boiled detective novel. Jane S. Bakerman states that, “Throughout her work … Sara Paretsky has reformulated and reenergized an old literary pattern by recognizing the value of combining the hard-boiled detective novel with feminist fiction.” There is also consensus among critics regarding Paretsky's well-paced narratives. Mary A. Lowry calls Paretsky's writing “confident and sure.” More recently, however, reviewers complain that Paretsky's social messages are getting in the way of her plots. In his discussion of Tunnel Vision, Christopher Lehmann-Haupt asserts, “What doesn't work so well is the way Ms. Paretsky tries to play on our presumed sympathy for the poor and oppressed, and on our hostility to the rich and powerful.” Despite these objections, most commentators acknowledge Paretsky's unwavering tone, her deft characterizations, and the appeal of tightly plotted stories that conclude with satisfying endings.
Indemnity Only (novel) 1982
Deadlock (novel) 1984
Killing Orders (novel) 1985
Bitter Medicine (novel) 1987
Blood Shot (novel) 1988; published in England as Toxic Shock, 1988
Burn Marks (novel) 1990
Guardian Angel (novel) 1992
Tunnel Vision (novel) 1994
Windy City Blues (short stories) 1995
Ghost Country (novel) 1998
Hard Time (novel) 1999
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SOURCE: “Living ‘Openly and With Dignity’—Sara Paretsky's New-Boiled Feminist Fiction,” in MidAmerica XII: The Yearbook of the Society for the Study of Midwestern Literature, edited by David D. Anderson, The Midwestern Press, 1985, pp. 120-35.
[In the following essay, Bakerman traces how Paretsky redefines the genre of hard-boiled detective fiction to include a strong, independent female protagonist.]
Gumshoe. Shamus. Hawkshaw. Dick. Peeper. Snooper. Sleuth. No matter what he is called, the hard-boiled detective, or private eye, is an American institution, as native as jazz, as recognizable as Mickey Mouse, as appealing as apple pie, as durable as the game of baseball. Cloaked in many disguises … he has become one of the most familiar figures in American cultural mythology.
Twenty dollars per hour—sixteen if you're a family member—hires one of the best private investigators in the business: V. I. Warshawski, the hard-boiled hero created by Sara Paretsky. Warshawski, prime example of an important new guise for the private-eye, is a woman who discusses feminist issues and lives by feminist principles while engaging in a profession which, like the larger society she inhabits, is dominated by men. Her cases to date have been detailed in three superior crime novels, Indemnity Only (1982),...
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SOURCE: “Killing Order(s): Iphigenia and the Detection of Tragic Intertextuality,” in Yale French Studies Autour de Racine: Studies in Intertextuality, Yale University, 1989, pp. 81-107.
[In the following essay, Goodkin discusses the role of the Iphegenia myth in Paretsky's Killing Orders.]
1. THE DETECTION OF INTERTEXTUALITY
One of the recurring motifs in the current awakening of critical interest in detective fiction has been the parallels between the detective novel and tragedy. Shoshana Felman calls Sophocles’ Oedipus Tyrannus “the classical analytic detective story,” and points out that a number of critics have approached the Oedipus from the perspective of the detective story. Equally important for our purposes here are those critics who, while recognizing the similarities between tragedy and detective fiction, oppose the two. Dennis Porter contrasts “mythic crime” such as is found in Greek tragedy, Shakespeare, or Racine with the sort of “profane crime encountered on country highways and city streets” that characterizes detective stories, and David I. Grossvogel points out that the “mystery” in tragedy is essentially unresolvable:
[At the end of the Oedipus Tyrannus], when the truth so doggedly sought is finally understood in the fullness of its perfect circularity, there remain just as many...
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SOURCE: “Women, Mystery, and Sleuthing in the '80s,” in Sojourner: The Women's Forum, Vol. 14, No. 7, March, 1989, pp. 16-7.
[In the following interview, Paretsky discusses her choice to write in the detective genre and her character V. I. Warshawski.]
Sarah Paretsky, author of a series of mystery novels featuring detective V. I. Warshawski, is known for bringing a feminist perspective to the hard-boiled Private Eye genre. V. I., or Vic, as her friends call her, routinely handles street thugs, corporate big shots, and Chicago cops with the same wise-ass bravado. Paretsky, also one of the founding members of the organization Sisters in Crime, was recently in Boston promoting her fifth book, Blood Shot, which takes a fascinating look at environmental issues, big city Democratic-machine politics, and incest. Paretsky's previous novels, all of which bring to life in vivid detail the ethnic neighborhoods of her hometown, Chicago, include: Indemnity Only, Killing Orders, Deadlock, and Bitter Medicine.
[Monica Hileman:] What was it like getting your first V. I. novel published?
[Sarah Paretsky:] I was fortunate enough to find an agent who liked the book and was willing to take it on. It's very hard for any writer to get their first novel published, and I don't think I had it any harder than most. There was some hesitation because...
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SOURCE: “Crime Time,” in Women's Review of Books, Vol. VI, Nos. 10-11, July, 1989, p. 41.
[In the following excerpt, Lowry praises Paretsky's Blood Shot, contending that the novel contains not only good writing and good characterizations but a believable plot and a satisfying ending.]
As good to relax with on a winter evening as on a summer vacation, murder mysteries are a great antidote for the blahs. The best mystery writers tell a good tale, solve a puzzle and provide a satisfying solution. A recent Publishers Weekly article documents what booksellers have known for years: Mystery novel sales are on the upswing, and women authors write a good share of those mysteries.
Gone are the unobtrusive Miss Marples and Miss Silvers of yesteryear, gone the wimpy “heroines” who bumble into a solution or need a man to rescue them. Today's women are professional, independent and resourceful. They are Private Investigators, policewomen and amateur detectives. A growing number of Lesbian detective novels are being published by both the women's and the traditional mystery presses. Most of these detectives are independent but not solitary, tough but not superwomen. Increasingly they are dealing with daily issues of relationships, family ties and women's concerns while they deal with death and deceit.
One of my favorite detectives is Sara Paretsky's V. I....
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SOURCE: “The Feminist Counter-Tradition in Crime: Cross, Grafton, Paretsky, and Wilson,” in The Cunning Craft: Original Essays on Detective Fiction and Contemporary Literary Theory, edited by Ronald Walker and June Frazer, Western Illinois University, 1990, pp. 174-87.
[In the following essay, Reddy analyzes how Amanda Cross's A Trap for Fools, Sue Grafton's ‘F’ Is for Fugitive, Barbara Wilson's The Dog Collar Murders, and Paretsky's Blood Shot all use feminism to redefine the crime genre.]
When Carolyn Heilbrun published her first mystery novel under the name Amanda Cross in 1964, she began the revival of the feminist crime novel, a literary form that had been moribund since the publication in 1935 of Dorothy Sayers’ Gaudy Night. In the Last Analysis, the first Amanda Cross book, appeared just a year after Betty Friedan's The Feminine Mystique brought feminist issues back to public attention, following Simone de Beauvoir's The Second Sex by nearly two decades. Heilbrun was doubly important in what has come to be known as the “second wave” of feminism: as Carolyn Heilbrun, she produced some of the earliest and most influential feminist literary criticism, while as Amanda Cross she brought a feminist perspective to the crime novel, significantly altering the genre. Feminist literary criticism, feminism as a social movement, and feminist...
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SOURCE: “Paretsky, Turow, and the Importance of Symbolic Ethnicity,” in MidAmerica XVIII: The Yearbook of the Society for the Study of Midwestern Literature, edited by David D. Anderson, Midwestern Press, 1991, pp. 124-35.
[In the following essay, Szuberla discusses the importance of ethnic identity to the character Rusty Sabich in Scott Turow's book Presumed Innocent and to protagonist V. I. Warshawski in Sara Paretsky's detective novels.]
“I really thought I was Joe College. That's who I wanted to be, and that's who I thought I was. Really, I thought I was fucking Beaver Cleaver, or whoever the boy next door is these days. I really did.” What Rusty Sabich acknowledges in this angry confession, somewhere near the heart of Scott Turow's Presumed Innocent, is his abiding sense of his own “strangeness.” Like Sarah Paretsky's V. I. Warshawski, Sabich alternately affirms and denies his ethnic past. More precisely, both Sarah Paretsky's series of five Warshawski novels and Turow's Presumed Innocent unfold, through the multiple layerings of their principal characters’ identity, strategies for projecting, denying, and encoding ethnicity.
Their novels restate some of the old dilemmas of ethnicity and American identity in new terms. Though Presumed Innocent has been classified as a “police procedural,” and most reviewers agree that Paretsky's novels...
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SOURCE: “Marele Day's ‘Cold Hard Bitch’: The Masculinist Imperatives of the Private-Eye Genre,” in Journal of the Narrative Technique, Vol. 21, No. 1, Winter, 1991, pp. 121-35.
[In the following excerpt, Littler analyzes how feminist writers, including Paretsky, have dealt with the requirement of violence in the detective genre.]
… Most fiction using women private eyes as central characters and usually as narrators has been published in the U.S. since the 1970s. The earliest exceptions to this period, according to Kathleen Gregory Klein, in The Woman Detective: Gender and Genre are Gale Gallagher's I Found Him Dead (1947) and Chord in Crimson (1949). P. D. James's An Unsuitable Job for a Woman, published in London in 1974, predates M. F. Beal's Chicana private eye, Maria Katerina Lorca Guerrera Alcazar (‘Kat’), and Marcia Muller's Amer-Indian private eye, Sharon McCone, by three years. Eve Zaremba's private eye from Vancouver, Helen Keremos, appeared in 1978. But it was in the 1980s that a significant increase occurred in women writing series characters in this genre. Sara Paretsky's private eye, V. I. Warshawski, appeared in Chicago in 1982; Gillian Slovo's Kate Baier, an amateur turned professional, appeared in London in 1984; Sue Grafton's Kinsey Millhone appeared in Ross Macdonald's fictional town of Santa Teresa in 1985;...
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SOURCE: “New Women Detectives: G is for Gender-Bending,” in his Gender Language and Myth: Essays on Popular Narrative, University of Toronto Press, 1992, pp. 127-40.
[In the following essay, Irons discusses how Paretsky and other women writers have altered detective fiction through their use of strong female protagonists.]
Detection à la femme has been extant since the inception of the detective genre. Not long after the publication of ‘Murders in the Rue Morgue,’ Mrs Paschal appeared on the scene. She precipitated a tradition of ‘female sleuths’ who, with the possible exception of Jane Marple, have lived for some time under the shadow of their male colleagues. The majority of female detectives—known disparagingly as ‘knitting spinsters’—while at least as individualistic, daring, and stalwart as their male counterparts, have until recently been dismissed by (mostly) male critics of the genre as ‘lady detectives,’ an epithet that itself seemed disparaging enough.
In the last two decades, however, some critics of detective fiction have located feminist inclinations in the novels of Dorothy Sayers and Agatha Christie. As well, writers like Amanda Cross, Sue Grafton, P. D. James, and Sara Paretsky have created detectives who have ‘bent’ some phallocentric elements of the genre in order to impose a feminist perspective. Female detectives like Kate Fansler,...
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SOURCE: “Funny, Isn't It?: Testing the Boundaries of Gender and Genre in Women's Detective Fiction,” in Look Who's Laughing: Gender and Comedy, edited by Gail Finney, Gordon and Breach Science Publishers, 1994, pp. 231-51.
[In the following essay, Biamonte traces the use of humor in Paretsky's fiction and in the work of other women writers within the detective genre.]
LAUGHTER AMONG THE CORPSES
My theory of detection resembles Julia Child's approach to cooking: Grab a lot of ingredients from the shelves, put them in a pot and stir, and see what happens.
V. I. Warshawski, Killing Orders
Surviving the numerous attempts on her life and the nearly ritual demolition of her apartment and car, private investigator V. I. Warshawski, better known as Vic to those close to her, is a bit more careful about her detecting than her glibly stated theory might suggest. With intelligence, toughness, tenderness, and, yes, a sense of humor, V. I. confronts corruption in the emotionally charged world of urban Chicago—a confrontation that brings her face to face with insurance companies, the medical establishment, the Catholic Church, building contractors, and, of course, local politicians. But V. I.'s success is often made sweeter because of the ongoing resistance she meets from the Chicago police, particularly her...
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SOURCE: “Watching Warshawski,” in It's a Print!: Detective Fiction from Page to Screen, edited by William Reynolds and Elizabeth Trembley, Bowling Green State University Popular Press, 1994, pp. 145-56.
[In the following essay, Klein asserts that the commercialization of Paretsky's character V. I. Warshawski in the film of the same name is the main reason the film fails to live up to the novels.]
Hollywood Pictures’ V. I. Warshawski (1991) transforms plots in which Sarah Paretsky carefully weaves professional and personal stories, and where detection is a metaphor for living life, into a simplistic—and essentially unresolved—linear narrative. In the process, Paretsky's detective, V. I. Warshawski, is objectivized and fetishized from an independent, complex woman into a passive object of male desire.
Hollywood Pictures’ release of V. I. Warshawski starring Kathleen Turner did not prove to be one of the hot-weather blockbusters of the summer of 1991. In my neighborhood it barely lasted a week. Overall, the movie grossed only ＄11 million; neither Turner nor anyone else associated with the film was even nominated for an Academy Award. In short, it was not a commercial success. Nonetheless, I want to argue that the movie was made with exactly that kind of success in mind and that such intentions made impossible the faithful transfer of Sara Paretsky's...
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SOURCE: “Books of the Times: The Wet Underbelly of Chicago,” in New York Times, June 20, 1994.
[In the following review, Lehmann-Haupt complains that Paretsky's Tunnel Vision lacks a satisfying ending and that the plot suffers from a lack of complexity.]
Just when work is scarce and bills are going unpaid, a client asks Vic to contribute her free time to finding out why a certain bank has suddenly withdrawn its support of a project to provide low-cost housing for single mothers. And to top off a bad day, Vic is obliged to attend a dinner party for the rich and powerful.
But adversity is the spice of Vic's life, as readers may know from following her misadventures in thrillers including Bitter Medicine, Burn Marks and Guardian Angel. And each of the glitches in her day results in an unpleasant payoff. When she descends to the basement of her office building to turn the failed power back on, she finds a woman with her three undernourished children who turns out to be in flight from an abusive husband.
When Vic begins to inquire why the bank has withdrawn its financing, she runs into mounting resistance culminating in her client's sudden request to drop the investigation. And the couple who give the fancy dinner party, Fabian Messenger, a law professor, and Deirdre, his socially ambitious wife, behave abominably. Fabian bullies his...
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SOURCE: “Female Virtues,” in Times Literary Supplement, October 21, 1994, p. 20.
[In the following review, Craig discusses the “female virtues” of the protagonists in Sue Grafton's K Is for Killer and Paretsky's Tunnel Vision.]
There is a moment in the latest Sue Grafton novel, K is for Killer, when the heroine Kinsey Millhone leafs through some back numbers of the magazine Family Circle and finds herself bemused: “To me, it was like reading about life on an alien planet.” What is confronting her, causing distaste and a rueful incomprehension, is a flawless domestic world of beauty aids, floor-cleaners, children and home cooking. Kinsey herself—along with Sara Paretsky's V. I. Warshawski—embodies a kind of female virtue which is at the opposite extreme from the housewifely figment contained in the woman's magazine. She and V. I. (Vic) Warshawski are not themselves any less the products of fantasy—but the fantasy they come from is rather more robust to begin with. As private eyes, they pit themselves against corruption in society, and come out strongly upholding decency and order, as criminal investigations in fiction have always done. They stand to the fullest extent for freedom of action, being without personal encumbrances or restraints of any kind. They are conspicuously in control of their own lives—and they control the course of justice. Kinsey Millhone, in...
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SOURCE: “Gender and Genre: The Woman Detective and the Diffusion of Generic Voices,” in Feminism in Women's Detective Fiction, University of Toronto Press, 1995, pp. viii-xxii.
[In the following excerpt, Irons discusses the importance of community to Paretsky's detective protagonist V. I. Warshawski, and how Paretsky's portrayal of her has changed the detective genre.]
… Detectives in fiction have always seemed to be a response to what most generations feel is the uncontrollable murder and mayhem that surrounds them. Some have achieved international reputations: names like Sherlock Holmes, Hercule Poirot, and Sam Spade are still better known than those of the authors who created them. The woman detective has also enjoyed worldwide appeal; yet, with the exception of Agatha Christie's Miss Marple or Carolyn Keene's Nancy Drew, the names of female detectives have only recently gained wide recognition. Sharon McCone, Kinsey Millhone, and V. I. Warshawski are now well known. Their authors, Marcia Muller, Sue Grafton, and Sara Paretsky, among many other writers, have created a virtual explosion of interest in detective fiction in which a woman is the protagonist. And if, as Jean Swanson and Dean James suggest in By a Woman's Hand, mysteries written by women are ‘reflective of the societies in which the authors themselves were raised', then it is clear that the fictional women detectives...
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SOURCE: “A Question of Visibility,” in Women Times Three: Writers, Detectives, Readers, edited by Kathleen Gregory Klein, Bowling Green State University Popular Press, 1995, pp. 15-27.
[In the following essay, Kinsman discusses the relationship between the female writer, protagonist, and reader, focusing on Paretsky's character V. I. Warshawski.]
Far away in London, where I have lived for more than twenty years—far away that is from Chicago, from a 1960s suburban Hinsdale adolescence, from my youth, from my American-ness—someone gave me a Sara Paretsky novel, with the off-hand view that I might like it, given my partiality for detective fiction and my American origins. What astonishes me now is that I can't remember which novel it was, who gave it to me, or indeed exactly when, six or seven years ago, it was. It seems as if I had never not read her, never not had access to this refreshing oasis. I fell upon Paretsky's Chicago-located detective novels as a reader not unlike Doris Lessing's exiled Martha, who “read[s] and search[es] with the craving thought, What does this say about my life?”
I recall the discovery of Paretsky, and her investigating protagonist, V. I. Warshawski, coinciding with the invitation to my twenty-fifth high school reunion in Chicago. The emotional landscape would have been ripe for a nostalgia trip—one of those journeys that unleash unresolved...
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SOURCE: “‘Friends Is a Weak Word for It’: Female Friendship and the Spectre of Lesbianism in Sara Paretsky,” in Feminism in Women's Detective Fiction, edited by Glenwood Irons, University of Toronto Press, 1995, pp. 156-69.
[In the following essay, Pope analyzes the approach/withdraw orientation towards lesbianism that she asserts exists in Paretsky's V. I. Warshawski detective series, focusing on the relationship between Warshawski and her best friend Dr. Lotty Herschel.]
The opening chapter of Sara Paretsky's seventh V. I. Warshawski novel, Guardian Angel, is titled ‘Sex and the Single Girl.’ Here is the first paragraph: ‘Hot kisses covered my face, dragging me from deep sleep to the rim of consciousness. I groaned and slid deeper under the covers, hoping to sink back into the well of dreams. My companion wasn't in the humor for rest; she burrowed under the blankets and continued to lavish urgent affection on me.’ Experienced readers of Paretsky, those who know that the series is narrated by the detective herself, may stumble on the ‘she,’ conjuring as it does a picture of the heretofore heterosexual Vic in bed with another woman. Experienced readers of Paretsky who are lesbians—many of whom, if my own unscientific polling can be trusted, have never quite understood how Vic can fight the patriarchy all day and sleep with it at night—may applaud what appears to be Vic's...
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SOURCE: “The Female Dick and the Crisis of Heterosexuality,” in Feminism in Women's Detective Fiction, edited by Glenwood Irons, University of Toronto Press, 1995, pp. 148-55.
[In the following excerpt, Wilson discusses the protagonists of novelists Sue Grafton, Marcia Muller, and Sara Paretsky, concluding that “Female hard-boiled fiction offers a mild challenge to the dominant social order but not a radical assault on it.”]
In recent years, critics have hailed the work of three American writers—Sue Grafton, Marcia Muller, and Sara Paretsky—as revising, perhaps even renewing, the tradition of the hard-boiled detective novel. Each of the writers has created a detective who is a single woman in her mid-thirties, and who works as a licensed private investigator. Physically and mentally tough, willing to take tremendous personal risks as she negotiates the treacherous underworld of urban America, each of these detectives recalls the tradition of Sam Spade more than that of Miss Marple. For these authors, the problem is one of having the heroine occupy a male subject position—the role of hard-boiled detective—without making her seem as if she is a man in drag. The negotiations of gender and sexuality in Grafton, Muller, and Paretsky are deft attempts to remain faithful to the tradition of tough-guy detective fiction while disrupting its gender codes. The three novelists retain for these...
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SOURCE: “Going for the Heart,” in Times Literary Supplement, October 20, 1995, p. 24.
[In the following excerpt, Cooper complains that Paretsky allows ideas to take presidence over all else in the short stories of V. I. for Short.]
There are several traps in the path of crime writers who develop a detective through a series of novels. The most obvious is the formula that becomes boring for both writer and reader. A less simple but perhaps more dangerous snare awaits novelists who avoid the first by dealing ever more seriously with the evil about which they are writing. …
In V. I. for Short, Sara Paretsky has produced a collection of stories written between 1983 and 1992. Necessarily slight, but attractive, they have backgrounds ranging from a regular weekly Go party held by some Japanese neighbours of the Chicago private eye, V. I. Warshawski, to an expensive beauty parlour; from the practice courts on which a young tennis star is bullied by her obsessive father to the art-filled apartment of an ambitious doctor.
Most of the familiar characters appear in these stories and provide a nice reminder of the best of the full-length novels. There is the pugnacious, lonely, sexy V. I. herself, Doctor Lotty Herschel and Max Loewenthal, Murray Ryerson, the journalist, Gabriella, V. I.'s beautiful, dead mother, and Sal Barthele, the owner of the Golden Glow bar. The...
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Diehl, Digby. A review of Tunnel Vision. Playboy 41, No. 7 (July 1994): 34.
A review of Tunnel Vision.
Goheen, Diane. A review of Tunnel Vision. School Library Journal 41, No. 1 (January 1995): 146.
A review of Paretsky's novel Tunnel Vision.
Jones, Kathleen. A review of Tunnel Vision. Ms. Magazine 5, No. 1 (July-August 1994): 78.
A review of Tunnel Vision.
Melton, Emily. A review of Windy City Blues. Booklist 92, No. 1 (1 September 1995): 6.
Review of Paretsky's Windy City Blues.
Nolan, Tom. A review of Guardian Angel. The Wall Street Journal (17 April 1992): A9.
Review of Paretsky's Guardian Angel.
Shapiro, Laura. A review of Tunnel Vision. Newsweek 124, No. 1 (4 July 1994): 67.
A review of Tunnel Vision.
A review of Windy City Blues. Publisher's Weekly 242, No. 35 (28 August 1995): 106.
Review of Windy City Blues.
“Sara Paretsky: What I'm Reading.” Entertainment Weekly No. 185–86 (27 August 1993): 105.
Brief article on Paretsky.
Additional coverage of Paretsky's life...
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