How has Western detective fiction represented and othered marginalized groups such as Asians, women and people with disabilities, how does that fiction relate to Indian detective fiction, and how might that dynamic be subverted through my experimental creative work, Sounds & Shadows: Casebook of the Blind PI?

This research examines how Western detective fiction has negatively represented, othered, exoticized and demonized Asians, women and people with disabilities. It then considers the influence of Western detective fiction upon Indian detective fiction, in terms of both the colonial relationship between the UK and India and the post-colonial relationship. In order to conduct this investigation, Western detective fiction, specifically from the US and UK, and Indian detective fiction have been considered and interpreted via the theoretical approaches of post-colonial theory, feminist theory, disability theory and the intersectional approach of post-colonial disability theory and praxis. Central to the research is my experimental creative work of detective fiction, Sounds & Shadows: Casebook of the Blind PI, which challenges and subverts existing negative tropes regarding women, people with disabilities and the India-UK relationship, and attempts to provide more authentic and morally neutral representations.

Chapter 1 introduces the concepts of colorism, gender and disability. Chapter 2 summarizes how Western detective fiction, since its inception with the publication of Edgar Allan Poe’s The Murders in the Rue Morgue in 1841, has demonized, exoticized, and ‘othered’ people of color, particularly Asians, women and people with disabilities. The chapter discusses, moreover, how such fiction continues to do so in contemporary times. The chapter uses examples of exoticizing and ‘othering’ including Rohmer’s Fu Manchu, and how tropes such as the silent ninja, delicate damsel and dragon lady remain present. It discusses how women detectives have been represented and how detectives with disabilities have been ‘othered’ as having superpowers or given token representation.

Chapter 3 offers a critique of Indian detective fiction from its inception in pre-independent India in 1892 to contemporary times. It summarizes how Indian cultural identity has been oppressed and demonized by colonial influence in pre-independent and post-independent Indian detective fiction. It also considers contemporary Indian detective fiction by authors like Vaseem Khan and Vikram Chandra who have made much progress in representing Indian cultural identity, especially in the post-colonial response of Indian characters to the former colonizing power.

Chapter 4 contains the creative manifesto, which is modeled on ‘A Few Don’ts by an Imagiste’ (1913) by Ezra Pound. My own manifesto has been informed by my research into Western and Indian detective fiction and outlines what my detective and the experimental detective fiction will and will not be like. Further research into the statistics of current crime rates in India is presented in order to enhance the creative work in relation to contemporary Indian society.

Chapter 5 consists of my short story collection, Sounds & Shadows: Casebook of the Blind PI. The collection comprises five stories which deal with themes such as disability, post-coloniality, inter-cultural misunderstandings, misogyny, discrimination based on gender and disability, colorism and family. Crimes such as honor killing, rape, murder, crimes against the third gender and crimes against people with disabilities are covered.

Chapter 6 presents my reflections about the creative work. Here, I outline the original contributions of my research thesis with regard to Indian detective fiction. In addition, the chapter also contains the lessons I have learnt during the creative process and feedback from beta readers and supervisors.

Chapter 7 is the conclusion, a succinct answer to the research question and final observations about the research and creative work. The scope for future research is also outlined.