Consider the reader who comes to Tana French or Kate Atkinson, writers shelved in crime, marketed as crime, but doing something unmistakably literary in their prose and structure and psychological depth. That reader may not know they’ve crossed a threshold. But they have. And from there, the path widens. But it requires a path. It requires the infrastructure of criticism, of recommendation, of a literary culture that says: there is more, and here is how to find it.