Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-dh8gc Total loading time: 0 Render date: 2024-11-10T09:21:37.350Z Has data issue: false hasContentIssue false

Chapter 8 - Crime and the City

A Critical Walk through Latin American Crime Fiction and Urban Places

from Part II - Metropolis and Ruins

Published online by Cambridge University Press:  24 January 2023

Amanda Holmes
Affiliation:
McGill University, Montréal
Par Kumaraswami
Affiliation:
University of Reading
Get access

Summary

This chapter addresses the evolution of the crime fiction genre in Latin America by examining the relationship between three of the continent’s major cities and three historical moments. The following case studies chosen are: Buenos Aires in the stories of Seis problemas para Don Isidro Parodi (Six Problems for Don Isidro Parodi, 1942) by Jorge Luis Borges and Adolfo Bioy Casares; Havana in Armando Cristóbal Pérez’s novel La ronda de los rubies (The Ring of Rubies, 1973); and Mexico City in Días de combate (Days of Combat, 1976) by Paco Ignacio Taibo II. The chapter traces a textual trajectory from Borges and Bioy’s parodic games with the English models of mystery fiction to Taibo’s scathing national questioning of the Mexican neo-crime fiction, passing through Cristóbal’s politically committed and Cuban revolutionary crime fiction. That trajectory demonstrates the flexibility of the crime fiction genre, which has allowed it to branch out and adapt to the literary needs of different authors and contexts in the period between 1930 and 1980 in Latin American literature.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Aguilar, Gonzalo Moisés. “Una historia local de la infamia (Sobre Seis problemas para don Isidro Parodi de H. Bustos Domecq).” Tramas para leer la literatura argentina 5 (1996): 6980.Google Scholar
Argüelles, Juan Domingo. “Entrevista con Paco Ignacio Taibo II. El policiaco mexicano: un género hecho con un autor y terquedad.” Tierra adentro 49 (1990): 1315.Google Scholar
Benjamin, Walter. Libro de los pasajes. Madrid: Akal, 2005.Google Scholar
Borges, Jorge Luis. “Prólogo.” In Buenos Aires en tinta china by Rossi, Attilio (con poema de Rafael Alberti), pp. 79. Losada, 2010.Google Scholar
Los laberintos policiales y Chesterton.” In Borges en Sur 1931–1980, edición al cuidado de Sara Luisa del Carril y Mercedes Rubio de Socchi, pp. 126129. Emecé, 1999.Google Scholar
“La presencia de Buenos Aires en la poesía.” In Textos recobrados, 1919–1929, edición al cuidado de Sara Luisa del Carril. Emecé, 1997.Google Scholar
Borges, Jorge Luis and Casares, Adolfo Bioy. Obras completas en colaboración. 1. Con Adolfo Bioy Casares. Madrid: Alianza Editorial, 1981.Google Scholar
Borges, Jorge Luis and Carrizo, Antonio. Borges el memorioso: Conversaciones de Jorge Luis Borges con Antonio Carrizo. Mexico City/Buenos Aires: Fondo de Cultura Económica, 1982.Google Scholar
Borges, Jorge Luis and di Giovanni, Norman Thomas. Autobiografía 1899–1970. Buenos Aires: El Ateneo, 1999.Google Scholar
Comisión de Arte y Cultura. Dirección Política. MININT. “Sobre género policiaco. Concurso XIII Aniversario del Triunfo de la Revolución.” Moncada 6.2 (July 1971): 58.Google Scholar
Cristóbal Pérez, Armando. “El género policial y la lucha de clases: un reto para los escritores revolucionarios.” Por la novela policial. Ed. Nogueras, Luis Rogelio, pp. 298305. Havana: Editorial Arte y Literatura, 1982.Google Scholar
La ronda de los rubíes. Havana: Letras Cubanas, 1979 (1st ed., 1973).Google Scholar
Declaración del Primer Congreso Nacional de Educación y Cultura.” Casa de las Américas 65–66 (1971): 419.Google Scholar
Fernández Vega, José. “Una campaña estética: Borges y la narrativa policial.” Variaciones Borges 1 (1996): 2766.Google Scholar
Giardinelli, Mempo. El género negro: Orígenes y evolución de la literatura policial y su influencia en Latinoamérica. Buenos Aires: Capital Intelectual, 2013.Google Scholar
Gramuglio, María Teresa. “Bioy, Borges y Sur: diálogos y duelos.Alicante: Biblioteca Virtual Miguel de Cervantes, 2012.Google Scholar
Hernández Moreno, Alberto. Las tramas esquivas: Jorge Luis Borges, Adolfo Bioy Casares y la literatura policial. Murcia: Tres Fronteras Ediciones, 2015.Google Scholar
Lafforgue, Jorge and Rivera, Jorge B.. Asesinos de papel. Buenos Aires: Calicanto Editorial, 1977.Google Scholar
Marengo, María del Carmen. La obra de Bustos Domecq y B. Suárez Lynch: problematización estética y campo cultural. 2002. University of Maryland, PhD dissertation. www.borges.pitt.edu/bsol/documents/LibroTesis.pdf.Google Scholar
Peña, Margery, Enrique. “Seis problemas para don Isidro Parodi. Notas para su interpretación con alcances sobre el género policial.Filología y Lingüística 13.2 (1987): 6191.Google Scholar
Nichols, William J.A quemarropa con Manuel Vázquez Montalbán y Paco Ignacio Taibo II.Arizona Journal of Hispanic Cultural Studies 2 (1998): 197232.Google Scholar
Padura, Leonardo. Modernidad, posmodernidad y novela policial. Havana: Ediciones Unión, 2000.Google Scholar
Pardo, Carlos. El detective y la ciudad: El espacio urbano en las novelas de detectives de Paco Ignacio Taibo II y Leonardo Padura Fuentes. Medellín: Editorial Universidad de Antioquía, 2017.Google Scholar
Parodi, Cristina. “Una Argentina virtual: El universo intelectual de Honorio Bustos Domecq.Variaciones Borges 6 (1998): 53143.Google Scholar
Portuondo, José Antonio. “La novela policial revolucionaria.” La justicia por su mano, by Vega, José Lamadrid, pp. 715. Editorial Arte y Literatura, 1973.Google Scholar
Scheines, Graciela. “Las parodias de Jorge Luis Borges y Adolfo Bioy Casares.” Cuadernos Hispanoamericanos 505507 (1992): 525–533.Google Scholar
Taibo, II, Ignacio, Paco. No habrá final feliz: La serie completa de Héctor Belascoarán Shayne. New York: Harper Collins Publishers, 2009.Google Scholar
Herejías en español: la ‘otra’ novela policíaca,” Cuadernos del Norte 8.41 (1987): 3843.Google Scholar
Varas, Patricia. “Belascoarán y Heredia: detectives postcoloniales.” CiberLetras: revista de crítica literaria y de cultura 15 (2006).Google Scholar
Vázquez, María Esther. Borges: Esplendor y derrota. Barcelona: Tusquets, 1999.Google Scholar
Vizcarra, Héctor Fernando. “El ciclo de Isidro Parodi: reinterpretación paródica del relato de detección clásico.” Literatura: teoría, historia, crítica 14.2 (2012): 1329.Google Scholar
Yates, Donald A., ed. El cuento policial latinoamericano. Ediciones de Andrea, 1964.Google Scholar
Zito, Carlos Alberto. El Buenos Aires de Borges. Buenos Aires: Aguilar, 1998.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×