From her reply to Mark’s question, it is clear that Laura does not know any detectives, but rather has only accessed them through fiction. The skepticism that Laura expresses in this passage is thus not so much a critique of real-world detectives as it is of genre conventions. The exchange constitutes one of the novel’s many moments of coy self-reflexivity, while also representing an important moment of characterization. The dialogue flags Mark as a character who resists categorization within the hardboiled/scientific binary construction of the detective genre that Laura articulates. In her essay on Mark McPherson in Otto Penzler’s The Great Detectives (1978), Caspary explains that this is the scene in which Mark’s character “came alive” for her (144). This is noteworthy because it is Laura who characterizes Mark; he gives his back-story prior to the exchange, but she provides the backstory with a literary context, and only through her words does he become a multidimensional character. By locating the genesis of Mark’s characterization in Laura’s words,

中文翻译：

---

顽固的女权主义：维拉·卡斯帕里 (Vera Caspary) 的《劳拉》(Lauraas) 侦探类型的修订版

从她对马克问题的回答来看，很明显劳拉不认识任何侦探，而只是通过小说接触到他们。因此，劳拉在这段话中表达的怀疑与其说是对现实世界侦探的批判，不如说是对类型惯例的批判。这种交流构成了小说中许多腼腆的自我反省时刻之一，同时也代表了一个重要的人物刻画时刻。对话将马克标记为一个角色，他拒绝在劳拉所阐述的侦探类型的硬核/科学二元结构中进行分类。在奥托·彭茨勒 (Otto Penzler) 的《大侦探》(1978) 中关于马克·麦克弗森 (Mark McPherson) 的文章中，卡斯帕里 (Caspary) 解释说，在这一幕中，马克的角色为她“活了”(144)。这一点值得注意，因为是劳拉塑造了马克；他在交换之前给出了他的背景故事，但她为背景故事提供了文学背景，只有通过她的话，他才能成为一个多维的角色。通过在劳拉的话中定位马克性格的起源，