The Figure of the Detective in Almost Blue

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Analyse the figure of the detective in Almost Blue

The figure of the detective in 'Almost Blue' is represented as a victim of the inescapable realm of sexuality. Grazia's female status is shown to domineer over her professional role, and for this reason, the prominence of her character becomes undermined. A greater understanding of this process of disintegration can be realised in the examination of the loss of Grazia's professional credibility while the influence of sexual desire can be witnessed in an analysis of her interactions with her male colleagues. This interaction assists to realise the eventual surrender of Grazia's professionalism to the overpowering influence of her sexuality.

If the figure of the detective is to restore the state of peace and grace in society, this role is hindered and eventually dissolves against the backdrop of the paradox which defines the city throughout the novel. For example, in the novel, the Iguana?s constant switching of identity and the corresponding murders that occur in areas outside Bologna only make it more challenging for Grazia to connect an individual who appears at the scene of each crime. In a sense then, the deceptive illusion which the Iguana represents exposes the contradictions by which the city seems bound. For instance, to a foreigner of Bologna, the city can be characterised by its ?well defined perimeters? However, the constant reminders that are employed by the narrative (?This city is not what it seems?) only exculpate a notion of its truth that the city boundaries conceal a deeper layer of truth that could result in potentially destructive consequences: You think this city is small because you?re looking at what lies within the city walls. These consequenc...

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... when he did and happy when he was. Perhaps this goes to show that professional duty dilapidates under the forces of sexuality.

In a sense, Grazia?s role as detective encompasses the paradox by which her professionalism is bound: her female sexuality not only highlights her status but also portrays this professionalism to dilapidate under the inescapable force of sexual desire. Perhaps then, Grazia?s portrayal as an epitome of this desire hinders the significance of her professional attributes to the extent that her sexuality affects both her literal interactions with her colleagues as well as her mental thoughts. To uphold professionalism by a status of superiority surely will result in its futility and in this sense, appearance diverges greatly from reality.

Bibliography:

Carlo Lucarelli, Almost Blue (England: The Harvill Press, 2003)

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