In this paper, I examine the way in which the conventions of the Golden Age genre of crime fiction have been adapted to a completely different socio-cultural setting in Barbara Ismail’s “Kain Songket Mysteries”. The Golden Age novels of Agatha Christie and Dorothy Sayers offer neat solutions to their mysteries, implying an unproblematic return to the right path; at the same time, the conventions of the form underline the corruption and danger hidden within these apparently perfect societies. Similarly, Ismail focuses on life in a village in Kelantan, Malaysia, in the 1970s, offering her readers a chance to revel in the gracious social order of the time, while creating inevitable juxtapositions with the ways in which that society has changed in the present. Ismail’s seemingly rose-tinted vision of the Kelantan of forty years ago develops as the novel progresses, culminating in a rather bleak assessment of where that society is heading

中文翻译：

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在“凯恩·松科特之谜”系列中改编黄金时代的犯罪小说类型

在本文中，我将探讨芭芭拉·伊斯梅尔（Barbara Ismail）的“凯恩·松科特之谜”（Kain Songket Mysteries）中犯罪小说的黄金时代流派的惯例如何适应完全不同的社会文化环境。阿加莎·克里斯蒂（Agatha Christie）和多萝西·塞耶斯（Dorothy Sayers）的黄金时代小说为他们的奥秘提供了巧妙的解决方案，这意味着毫无疑问地回到了正确的道路。同时，这种形式的惯例突显了这些看似完美的社会中隐藏的腐败和危险。同样地，伊斯梅尔（Ismail）着眼于1970年代马来西亚吉兰丹州一个村庄的生活，为她的读者提供了陶醉于当时亲切的社会秩序的机会，同时创造了不可避免的并置与当今社会的变化方式。