Abstract A current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).

中文翻译：

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沃兰德的黑暗地缘政治

摘要在犯罪小说作为一种跨国类型的研究中，当前的断层线是，犯罪小说在多大程度上为读者提供了进入其他世界和文化的真正世界性窗口，或者它是否必然会重现陈旧的想象和民族刻板印象。本文的总体前提是，通过考虑沃兰德虚构的本地世界的变异与话语地缘政治学的复杂联系，探索亨宁·曼凯尔的犯罪小说及其改编在多大程度上以国际化的视角吸引沃兰德自己的和“其他”世界。冷战后世界的现实。更具体地说，我认为在地缘政治和犯罪小说的两种截然不同的观点之间探讨瓦兰德系列会获得什么：一方面，