Abstract:

In recent decades, the proliferation of Mexican organized crime has led to a boom of Mexican literary fictions portraying the phenomenon from different perspectives and different genres. In this article, I analyze three Mexican novels that, traversing different decades and geographies, scrutinize the status of crime, violence, and justice across the nation. I argue that Paco Ignacio Taibo II's No habrá final feliz (1981), César López Cuadra's La novela inconclusa de Bernardino Casablanca (1996), and Daniel Sada's El lenguaje del juego (2012) suggest that crime is no longer a narratological means as it was for more traditional genres like the detective novel and the hardboiled. Instead, crime emerges as a conditio sine qua non that allows us to map the socio-cultural transformation that Mexican society has undergone. This shift has had consequences that not only revolutionized genre-based literary analysis, but have also enhanced the role of Mexican literature in its attempt to portray historical events and the way these have shaped the relationship between Mexicans, crime, and justice.

摘要：

在最近的几十年中，墨西哥有组织犯罪的激增导致墨西哥文学小说的兴起，从不同的视角和流派来描绘这种现象。在本文中，我分析了三本墨西哥小说，这些小说跨越了不同的年代和地域，仔细研究了全国的犯罪，暴力和正义状况。我认为，帕科·伊格纳西奥·泰博二世（Paco Ignacio Taibo II）的《无终局的菲利兹》（Nohabráfinal feliz， 1981年），塞萨尔·洛佩斯·库德拉（CésarLópezCuadra）的《贝纳尔迪诺·卡萨布兰卡》（1996）和丹尼尔·萨达（Daniel Sada）的《El lenguaje del juego》（2012年），都表明犯罪不再是一种叙事学手段适用于侦探小说和水煮小说等更传统的类型。取而代之的是，犯罪是作为先决条件而出现的。这使我们能够描绘出墨西哥社会经历的社会文化变革。这种转变的后果不仅改变了以体裁为基础的文学分析方式，而且还增强了墨西哥文学在描绘历史事件以及塑造墨西哥人，犯罪与正义之间关系的方式中的作用。