Complicating the serial killer novel: the bystander narrator as genre disrupter

Abstract

ABSTRACTThe serial killer novel has enjoyed unabated popularity since Thomas Harris’s 1988 bestseller The Silence of the Lambs prompted a publishing boom in the genre that endures today. Harris, as well as the influx of novelists who have followed in his wake, have been criticised for their gratuitous sensationalism, and for the rigid conservatism of their narrative arcs, which feature a return to order after the anarchism and disorder of the serial killer – narratives which bear little resemblance to the reality of the abject violence of serial homicide and its traumatic aftermath. This article examines the case studies of Ali Land’s novel Good Me Bad Me, and Emily Maguire’s An Isolated Incident, and identifies the way in which both writers innovate within the genre by using the bystander narrator to subvert the tropes of the detective procedural and decentre the generic focus on the monstrous figure of the serial killer, focussing the novel instead on the aftermath of the crime and its victims. The article argues such interventions by contemporary novelists in the serial killer genre offer a profound innovation that complicates the familiar narrative arc of anarchic crime and resolution in favour of a more ambiguous and realistic view of serial crime.