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El artículo propone una lectura de los textos de Leila Guerriero Los suicidas del fin del mundo y La otra guerra en clave de la novela policial moderna, para demostrar, mediante una comparación, que las voces narrativas del periodismo literario y la novela negra comparten algunas similitudes. Se recurre para ello a los postulados teóricos de Mempo Giardinelli, Ricardo Piglia y Laura Freixas. Se concluye que las narradoras en los textos de Guerriero pueden ser equiparadas a las voces narrativas de la novela policial moderna, en tanto presentan continuidades atendiendo a la estructura del relato, la manera de organizar la información, el trabajo con el lenguaje, la presencia de mecanismos de intriga y suspenso, y el hecho de que ambas se ocupan de aquellas cuestiones de la sociedad que permanecen ocultas.

In the field of contemporary Hispanic literary studies, there would seem to be few areas of production so starkly determined by such triangulation as detective fiction, and particularly the subgenre of the novela negra. The contemporary, transnational Spanish-language genre descended from early twentieth-century U.S. hard-boiled writing. While the prestige of U.S. hard-boiled classics writers is evident in a multitude of explicit and implicit homages contained in the novela negra corpus, the dissemination of detective formulas was by no means a direct or unilinear transfer, but rather a complex process of irregular filtration through imports, translations, editions, pastiches and imitations over the course of the twentieth century. The primary poles of the triangulation that I describe here will correspond to those proposed by Ortega, but I will also follow his example by extending attention to other areas of Europe whose implication in this specific transatlantic interaction is appreciable.

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La adaptación de una novela a videojuego siempre supone un reto, más aún si se trata de una obra llena de recursos humorísticos como el absurdo, la ironía o el sarcasmo. Es el caso de Et on tuera tous les affreux, novela de Boris Vian (1948) que la productora La Poule Noire ha sabido plasmar de manera magistral en el juego. Analizaremos en este trabajo cómo los creadores han aprovechado el género literario, la novela negra, que ha aportado la estructura y características muy propicias para este tipo de relato transmedia. Además, estudiaremos la forma en que han trasladado el humor vianesco a la creación lúdica, traspasando la frontera del relato novelesco y enriqueciéndolo con la atmósfera y diálogos.

This article aims to analyze from a political perspective the film Chinatown(1974), directed by Roman Polanski, from the philosophical contributions of Walter Benjamin, Siegfried Kracauer and Mark Fisher, so that, this kitsch detective narrative is open to a politicization of its form and content. To achieve this objective, the work is divided into three parts: the first part focuses on the character of the detective; the second part aims to cover the city as a narrative figure; and finally, the third part analyzes the figure of the criminal in the film. This division responds to Kracauer's theory on detective narratives, which proposes that this genre has philosophical-conceptual potentialities that can contribute to the understanding of social and political phenomena of the reality it intends to reflect. Finally, it ends with an analysis based on Mark Fisher's ideas and his theory of lost futures to analyze what has been worked on in the previous chapters, so that it is possible to see how, in the end, Chinatownallows us to unveil the passage from a spatial capitalism to a temporal one. O objetivo deste artigo é analisar, sob uma perspectiva política, o filme Chinatown(1974), dirigido por Roman Polanski, a partir das contribuições filosóficas de Walter Benjamin,Siegfried Kracauer e Mark Fisher, de modo que essa narrativa policial kitschse abra para uma politização de sua forma e conteúdo. Para atingir esse objetivo, o trabalho é dividido em três partes: a primeira enfoca o personagem do detetive; a segunda, a cidade como figura narrativa; e, finalmente, a terceira, a figura do criminosono filme. Essa divisão responde à teoria de Kracauer sobre a narrativa policial, que propõe que esse gênero tem potencialidades filosófico-conceituais que podem contribuir para a compreensão dos fenômenos sociais e políticos da realidade que busca refletir. Por fim, encerra-se com uma análise baseada nas ideias de Mark Fisher e em sua teoria dos futuros perdidos para analisar o que foi trabalhado nas seções anteriores, de modo que seja possível perceber como, no final, Chinatownnos permite desvendar a passagem de um capitalismo espacial para um capitalismo temporal El presente trabajo tiene por objetivo analizar desde una perspectiva política la película Chinatown (1974), dirigida por Roman Polanski, desde los aportes filosóficos de Walter Benjamin, Siegfried Kracauer y Mark Fisher, de modo que esta narrativa detectivesca kitschse abra a una politización de su forma y contenido. Para conseguir tal objetivo se divide el trabajo en tres partes: la primera, se enfoca en trabajar el personaje del detective; la segunda, pretende abarcar la ciudad como figura narrativa; y, finalmente, la tercera, analiza la figura del criminal dentro de la película. Esta división responde a la teoría de Kracauer sobre la narrativa de detectives, la cual propone que este género tiene potencialidades filosófico-conceptuales que pueden aportar al entendimiento de fenómenos sociales y políticos de la realidad que pretende reflejar. Por último, se cierra con un análisis a partir de los plantemientos de Mark Fisher y su teoría sobre los futuros perdidos para analizar lo trabajado en los acápites anteriores, de modo que sea posible ver cómo, al final, Chinatownpermite develar el paso de un capitalismo espacial a uno temporal.

Nos últimos anos o xénero negro acadou un notable alcance comercial e institucional na cultura galega, a través, sobre todo, de narrativas literarias. As novelas de Domingo Villar, Pedro Feijoo ou Francisco Castro conseguiron un considerable éxito comercial e contribuíron á popularización da narrativa de entretemento, con narracións de suspense. Todas elas seguen un recoñecible patrón, a partir dunha mesma cartografía literaria (Vigo e a súa contorna). Este artigo pretende, xa que logo, analizar a configuración da novela negra e a construción de xeografías literarias específicas, tendo en conta os mecanismos de mercado e institucionais no campo cultural galego e o comportamento intersistémico das obras que serán obxecto de estudo.

Latin American detective fiction is already a common vehicle for investigating history. Figures associated with the neopolicialsuch as Paco Ignacio Taibo II or Ramón Díaz Eterovic use the genre as a mode of searching for justice, or a sort ofajuste de cuentasfor the crimes of the past. The more biting social content of their novels lies in their exposure of a system utterly devoid of lawfulness or confidence in the state. Such disillusion undoubtedly marks the novels of another key figure of the Latin Americanpolicial, Argentine Juan Martini. However, beyond this sense of political malaise, Martini's introspective and metaphysical detective novels sew a web of intertextuality with U.S. film noir in order to pose the very problems of trauma and historical representation itself. Indeed, by engaging with other cinematic texts, a novel likeEl fantasma imperfecto1986) ironically gestures toward what is lost within textuality, namely, those moments of trauma that seem to defy representation.

Ricardo Piglia, whose novel La ciudad ausente (1992) will be the focal point of this essay, presents a similar reading of the North American novela negra. Piglia claims that the detective is viscerally thrown into the action: “en la novela negra no parece haber otro criterio de verdad que la experiencia: el investigador se lanza, ciegamente, al encuentro de los hechos, se deja llevar por los acontecimientos y su investigación produce fatalmente nuevos crímenes; una cadena de acontecimientos cuyo efecto es el descubrimiento, el desciframiento” (Crítica y ficción 68). As we move to Piglia’s own literary noir novels, it would seem that this experiential, material component is utterly absent. According to Idelber Avelar, for example, “Literature for Piglia has little to do with experience, if one takes experience as the anecdotal content of a personal trajectory, the mass of lived moments in all their banality. In a word, literature’s material is not experience as Erlebnis,l o vivido, the raw collection of empirie” (100). However, if we place Piglia’s novels into the hardboiled world of deception and subterfuge, we can identify a kind of experience within the very slippage of language and interpretation. This said, experience and interaction with the surrounding world continue to underlie novels like La ciudad ausente, Nombre falso (1975) or Respiración artificial (1980), but they occur through textuality. Whether through the stolen identities, the double agents, or the cracked mirror reflections, the author teases out the textual play that is ubiquitous in the noir tradition and brings it to the fore in his own work. Thus, he is able to posit a distinct form of Being-in-the-world, one that is made possible by inhabiting apocryphal, false and alternative narratives.

El objetivo de este artículo es reflexionar la supresión del tiempo lineal en Tetralogía de las Cuatro Estaciones de Leonardo Padura a la luz de nociones como ‘cronotopo’ y ‘uróboros’. Las primeras novelas neopoliciales de Padura, reunidas en dicha tetralogía, no se ajustan a la secuencia cronológica arquetípica del policial clásico y la novela negra –el cronotopo de seguimiento–, sino que participan de una tensión entre la sucesión circular de la historia y el desencanto utópico de un detective que funda sus escasas esperanzas en el porvenir. La imbricación de dichos tiempos, bien trabajados narrativamente, permite trazar algunas líneas interpretativas desde las que será posible caracterizar el neopolicial de Padura. The purpose of this article is to think about the suppression of linear time in ‘Tetralogy of the Four Seasons’ by Leonardo Padura, in the light of notions such as ‘chronotope’ and ‘ouroboros’. The first of the neo-crime novels by Padura gathered in the above-mentioned tetralogy, are not adjusted to the archetypal, sequential chronological sequence of the classic crime and noir novel genre. On the contrary, they participate in the tension between the circular succession of history and the utopian disillusionment of a detective who pins his scant hopes on the future. The overlap of these times, in a skilfully worked narrative, allows the plotting of interpretative lines from which it will be possible to characterise the neo-crime style of Padura.

A prolific, award-winning writer of fiction, non-fiction, poetry, short stories and, most recently, an opera, Cristina Rivera Garza won her second Sor Juana Inés de la Cruz award for La muerte me da (2007), a novel that initially appears to be a traditional whodunit. The reader soon discovers, however, that it by no means follows the typical trajectory of the detective story, but rather subverts many of its conventions, perhaps most notably the development, or the lack thereof, of the criminal investigation itself. The investigator who has no proper name but is simply called \"la Detective,\" works alongside an informant-the author's alter ego who is also named Cristina Rivera Garza. In lieu of a thorough investigation into the multiple murders, the search at the center of the novel is one of self-discovery, which is not limited to the characters in the novel, but rather represents a universal quest, as suggested by the characters' anonymity. Using Lacanian theory that establishes the importance of language in mediating knowledge of the self, I will argue that the focus we see on language in Rivera Garza's novel both affirms and problematizes identity. La Detective and Cristina find that despite their initial assurance that they are unique and dissimilar individuals, they are, in fact, doubles of each other. Moreover, both women perceive a darker unconscious side of themselves that also links them to the killer. Finally, in the repeated emphasis upon shifting gender and gender roles, Rivera Garza insists upon the instability of identity. Through the individuals' perception of their doubles and the ambiguous nature of gender, Rivera Garza suggests an inherent futility in the drive to find oneself. I will argue that Jacques Lacan's concepts of jouissance, symbolic castration in language, and language's role in the formation of identity constitute the organizing critical discourse at the center of Rivera Garza's La muerte.