A dead or missing girl is such a common device in crime fiction that its use now prompts raised eyebrows. In “Dead Girls,” Alice Bolin writes about television series, like “Twin Peaks” and “True Detective,” in which “the victim’s body is a neutral arena on which to work out male problems.” The girl is merely an opportunity for the detective to confront and to redeem his own capacity for violence: confront it by discovering the identity of the culprit (often an authority figure, not unlike the detective himself) and redeem it by capturing and punishing the culprit. The violence redoubles; her loss is just the means to his gain.
Women novelists have been ingeniously dismantling this convention of late, both within the crime-fiction genre (Gillian Flynn’s “Gone Girl”) and outside of…
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The New Yorker (Digital) - 1 Issue, May 20, 2019