Chapter 3 shows that in the Mediterranean novel, food becomes a powerful tool through which Mediterranean writers deconstruct homogeneous national identities and celebrate transculturality in the Mediterranean area. In spite of significant differences, some common traits emerge. These include the representation of eating and drinking habits as a collective practice that involves an extended family, including non-national individuals often belonging to the Mediterranean basin; the portrayal of meal sharing as an event that facilitates communication among different cultures, and a way to celebrate a more extensive Mediterranean culture and identity; the use of food as a tool to present a critique of assumed formulations of regional and national identities; and finally, through the contrast between tradition and modernity, food is used to express anxiety for cultures perceived to be under threat from external, and often global, forces. The chapter concludes that food in Mediterranean crime fiction celebrates unity and a common culture in the Mediterranean area, bringing down national borders and expressing once more the transcultural nature of Mediterranean crime fiction.

Chapter 6 argues that in the Mediterranean crime novel, women are scrutinised by the male gaze, their body parts being vivisected and objectified by the male detective. Focusing the investigation on the male detective and on male teams, these series fail to acknowledge societal changes in terms of female participation in work and society at large. Violence against women is frequent in these narratives, but is never framed in terms of gender violence but of racial and political (or state) violence, if not diminished into an individual crime caused by greed or deviance. The female writers analysed in this monograph also fail to address gender issues convincingly. Both Giménez Bartlett and Aykol centre their series around a female character. Yet these characters simply replicate the male gaze and objectify male characters. They are also constructed as postfeminist women who are commercially motivated and mistake consumerism for liberty. These series also fail to address gender violence, replacing the female as a victim of patriarchally engineered socio-political inequalities with the representation of villainous mother figures capable of emotional manipulation, violence and murder.