When Will There Be Good News
2008
Type of crime text
WWTBGN is a post-modern novel (in which existing constructs are copied
with farce/irony):
Intertextual reference: used as ‘cultural shorthand’. Chapter title
The Life and Adventures of Reggie Chase… alludes to Victorian
literature, drawing on existing tropes of Dickensian orphans. This
sets Reggie up as the hero of her own story; continued use of
Victorian/ Christmas imagery emphasies this (Reggie could imagine
the smell of pine and clementine and log fires)
Metafiction (art about art): the novel is a crime story about crime
fiction, subverting and playing with the genre. “We all know each
other?” Reggie said. “How’s that for a coincidence?” Reminds the
readers that this is ficitional – satirical.
Morality: morality is rejected as main characters are morally
ambiguous – blurs lines between good/evil, criminal/victim. Reggie
is driven by adventure not morals (What larks, Reggie!); Joanna
murders her kidnappers (a great, dangerous avenging angel)
Reason: reason is also rejected – horrific coincidences happen to
undeserving people
Atkinson also draws on hard-boiled fiction in Jackson’s chapters, using
terse, clear sentence structure. There was only one place he wanted to be.
Home. He was out of here. Again this is ironic/ satirical as hard-boiled
detective heroes are typically masculine and courageous – Jackson views
himself as this but actually isn’t. Joanna’s storyline could be seen as a play
on 17th century revenge tragedies.
Overall, WWTBGN is not a conventional crime text – described by the New
York Times as a ‘literary hybrid.’ It focuses on the effects of crime in
modern Britain rather than on solving crimes. However, despite numerous
crimes committed, it’s not a dark text due to the humorous narrative
voices and focalisations.
, Setting
The use of the flashback in the first chapter sets up a major crime from the
start – themes of excessive horror/ violence are established, creating an
ominous tone for the novel. (Their mother was cut down where she stood,
the great silver knife carving through her heart as if it was slicing butcher’s
meat / like a sacrifice to the harvest)
The flashback gives a preconceived idea of Jo as a victim – allows Atkinson
to later subvert the genre and our expectations. She is young and
vulnerable (Joanna didn’t want to think for herself) and her family is
murdered, leaving her alone.
Moving 30 years from Part 1 (In the Past) to Part 2 (Today) allows
Atkinson to explore the effects of crime, bringing in theme of things from
the past coming back. Each part represents one day, moving plot forwards
quickly.
Winter – sense of desperation/ gloom.
Criminals
Andrew Decker: Kills innocent characters (Jo’s family and dog). He
seemed to come out of nowhere – ambiguous pronoun ‘he’ gives
mystery/ suspense. No motive – As if there was nothing insane
about slaughtering three complete strangers for no apparent
reason.
Joanna’s kidnappers: presented as caricatured, stereotypical
criminals – wearing a leather jacket… the thick trunk of his bull neck
and his bald head.
Heavy tell-tale footsteps crunched on the gravel path – linked to
guilt/ reference to Poe’s ‘The Tell-Tale Heart’ – onomatopoeia
creates urgency/ suspense.
Ginger and Blondie: equally stereotyped – Blondie’s skin was…
pitted and pocked like a barren moon. Dickensian caricature –
appearance reflects morality.
David Needler: stalks his ex-wife, murders his family and Marcus.
Neil Hunter: Arson. Foreshadowing - one of Dr and Mr Hunter
together, laughing in the glare of foreign sunshine. Happiness seems
negative/ unusual – made Dr Hunter blind to the truth.
Billy: criminal behaviour (drug dealer/ thief, allows Reggie to take
the impact), immoral behaviour (kills dog). Compared overtly to
Magwitch: Reggie was… reading Great Expectations, when she felt a
hand grip the back of her neck.
His talents as a natural-born sneak – born a criminal – negative view
of working class?
2008
Type of crime text
WWTBGN is a post-modern novel (in which existing constructs are copied
with farce/irony):
Intertextual reference: used as ‘cultural shorthand’. Chapter title
The Life and Adventures of Reggie Chase… alludes to Victorian
literature, drawing on existing tropes of Dickensian orphans. This
sets Reggie up as the hero of her own story; continued use of
Victorian/ Christmas imagery emphasies this (Reggie could imagine
the smell of pine and clementine and log fires)
Metafiction (art about art): the novel is a crime story about crime
fiction, subverting and playing with the genre. “We all know each
other?” Reggie said. “How’s that for a coincidence?” Reminds the
readers that this is ficitional – satirical.
Morality: morality is rejected as main characters are morally
ambiguous – blurs lines between good/evil, criminal/victim. Reggie
is driven by adventure not morals (What larks, Reggie!); Joanna
murders her kidnappers (a great, dangerous avenging angel)
Reason: reason is also rejected – horrific coincidences happen to
undeserving people
Atkinson also draws on hard-boiled fiction in Jackson’s chapters, using
terse, clear sentence structure. There was only one place he wanted to be.
Home. He was out of here. Again this is ironic/ satirical as hard-boiled
detective heroes are typically masculine and courageous – Jackson views
himself as this but actually isn’t. Joanna’s storyline could be seen as a play
on 17th century revenge tragedies.
Overall, WWTBGN is not a conventional crime text – described by the New
York Times as a ‘literary hybrid.’ It focuses on the effects of crime in
modern Britain rather than on solving crimes. However, despite numerous
crimes committed, it’s not a dark text due to the humorous narrative
voices and focalisations.
, Setting
The use of the flashback in the first chapter sets up a major crime from the
start – themes of excessive horror/ violence are established, creating an
ominous tone for the novel. (Their mother was cut down where she stood,
the great silver knife carving through her heart as if it was slicing butcher’s
meat / like a sacrifice to the harvest)
The flashback gives a preconceived idea of Jo as a victim – allows Atkinson
to later subvert the genre and our expectations. She is young and
vulnerable (Joanna didn’t want to think for herself) and her family is
murdered, leaving her alone.
Moving 30 years from Part 1 (In the Past) to Part 2 (Today) allows
Atkinson to explore the effects of crime, bringing in theme of things from
the past coming back. Each part represents one day, moving plot forwards
quickly.
Winter – sense of desperation/ gloom.
Criminals
Andrew Decker: Kills innocent characters (Jo’s family and dog). He
seemed to come out of nowhere – ambiguous pronoun ‘he’ gives
mystery/ suspense. No motive – As if there was nothing insane
about slaughtering three complete strangers for no apparent
reason.
Joanna’s kidnappers: presented as caricatured, stereotypical
criminals – wearing a leather jacket… the thick trunk of his bull neck
and his bald head.
Heavy tell-tale footsteps crunched on the gravel path – linked to
guilt/ reference to Poe’s ‘The Tell-Tale Heart’ – onomatopoeia
creates urgency/ suspense.
Ginger and Blondie: equally stereotyped – Blondie’s skin was…
pitted and pocked like a barren moon. Dickensian caricature –
appearance reflects morality.
David Needler: stalks his ex-wife, murders his family and Marcus.
Neil Hunter: Arson. Foreshadowing - one of Dr and Mr Hunter
together, laughing in the glare of foreign sunshine. Happiness seems
negative/ unusual – made Dr Hunter blind to the truth.
Billy: criminal behaviour (drug dealer/ thief, allows Reggie to take
the impact), immoral behaviour (kills dog). Compared overtly to
Magwitch: Reggie was… reading Great Expectations, when she felt a
hand grip the back of her neck.
His talents as a natural-born sneak – born a criminal – negative view
of working class?
