“THE LITTLE FRIEND” BY D. TARTT: ON THE PROBLEM OF GENRE SPECIFICITY

Abstract

This article is devoted to highlighting the issue of the genre specificity of the novel “The Little Friend” by D. Tartt. As a result of the analysis of the work, the conclusions were drawn that it is an example of an intrageneric genre synthesis. In addition to the features of a thriller and a Gothic novel already differentiated by scientists, there are features of a detective story, a family chronicle, a domestic historical novel, and a “coming of age” (“coming of age stories”). The novel is similar to a detective narrative in that it has motives for a crime, a mystery, an investigation, and types of characters (a victim, an amateur detective and his naive assistant, as well as a false suspect). However, the resolution inherent in a detective story is absent – the exposure of the real criminal and the triumph of the investigator. The depiction of three generations of the Cleve family, united by a family estate, the sale and destruction of which symbolizes the collapse of their well-being, the themes of heredity and mental deviations, and the detailed representation of traditions and family life make D. Tartt’s work similar to a family chronicle. The correlation with a domestic historical novel is due to the careful reproduction of the atmosphere of American life in the 60s and 70s of the 20th century: American dishes, drinks, toys, films and TV series, brands and prestigious companies. The world of everyday things becomes a source of significant emotions for the characters of «Little Friend», determines their identity, affiliation to a certain social class, their own family, etc. D. Tartt also pays great attention to the racial and social conflicts of the time, the biased attitude of «decent citizens» towards «others», and the problem of drug trafficking. Each of the characters in «Little Friend» is a product of his time, whose personality and fate are largely determined by the socio-historical environment to which he belongs. In addition to the above, the novel can also be defined as a «coming of age»: the entire plot is built around the story of Harriet’s coming of age, who, through her own experiences, mistakes, conflicts, and self-reflection, is formed as a person. In the process of growing up, Harriet questions the commonplace truths and gradually moves from purely childish rebellion to an adolescent awareness of the imperfection of the world.