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Alicia Giménez Bartlett Y Mercedes Castro UNIVERSITAT JAUME I FACULTAD DE CIENCIAS HUMANAS Y SOCIALES INSTITUTO UNIVERSITARIO DE ESTUDIOS FEMINISTAS Y DE GÉNERO «PURIFICACIÓN ESCRIBANO» PROGRAMA DE DOCTORADO ESTUDIOS SOBRE LAS MUJERES, FEMINISTAS Y DE GÉNERO ALICIA GIMÉNEZ BARTLETT Y MERCEDES CASTRO. DIFERENTES FORMAS DE APROXIMARSE A LA NOVELA NEGRA DESDE UNA PERSPECTIVA DE GÉNERO TESIS DOCTORAL Presentada por: Dori Valero Valero Dirigida por: Dora Sales Salvador Universitat Jaume I – 2017 AGRADECIMIENTOS En primer lugar, mi más profundo agradecimiento a mi madre, Dora, y a mi padre, Juan, porque sin ellos esta tesis seguro que no estaría hecha. A mi hermana, Mar, porque siempre me anima a seguir adelante. A mis compañeras del Instituto Universitario de Estudios Feministas y de Género «Purificación Escribano» por las sugerencias y la información que me han facilitado para la investigación. A Inma Alcalá, empezamos el camino juntas y lo hemos acabado a la vez. ¡Lo hemos conseguido! A José Manuel por todos sus sabios consejos. A las amigas y amigos por su apoyo y ánimos en todo momento. Y a todas las personas que han mostrado interés en esta tesis. Y muchas gracias a mi directora de tesis, Dora Sales Salvador, por la paciencia y la disponibilidad que siempre me ha prestado, y porque siempre ha estado ahí para resolver cualquier duda. No quiero olvidar, para acabar, dar las gracias a todas las mujeres que han trabajado para que yo pueda estar aquí y tenga una voz propia. Índice Introducción …………………………………………………………………..………………..………………….…… 11 CAPÍTULO 1. El origen y desarrollo de la novela negra ………………….....…………..………... 21 1.1. Origen de la novela negra: el relato enigma ………………….……………….….…….….… 26 1.2. Hard-boiled: la evolución estadounidense del género negro …………………..….….. 41 1.3. Novela negra desde mediados del siglo XX hasta la actualidad …….……………...... 55 1.4. Aproximación a las novelas negras periféricas. El caso de la novela negra japonesa, la novela negra africana y la novela negra de la India …………………….…..... 63 1.5. Mujeres escritoras. Una forma diferente de entender la literatura ……………...... 68 1.6. Síntesis ………………………………………………………….…………………………………...……… 78 CAPÍTULO 2. La novela negra en España ……………………………….………………….……...………81 2.1. Inicios del género negro en España …………………………………………..……..………….. 83 2.2. Novela negra durante la Dictadura (1939-1975) …………………………………………. 86 2.3. Novela negra durante la Transición (1975-1982) …………………………………….............................................................................................................……. 91 2.4. La novela negra contemporánea en España…………………………………………..………94 2.5. Aproximación a las novelas negras periféricas en España…………………………… 105 2.5.1. Novela negra catalana ……………………………………………………………………….. 105 2.5.2. Novela negra gallega …………………………………………………………………………. 109 2.5.3. Novela negra en euskera ……………………………………………………………...……. 111 2.6. Síntesis ………………………………………………………………………………………………….… 113 CAPÍTULO 3. Alicia Giménez Bartlett y Mercedes Castro: dos formas de entender la novela negra protagonizada por mujeres ………………..………………………..……………….…. 117 3.1. Alicia Giménez Bartlett ……………………………………………………………...……….…….. 126 3.1.1. Alicia Giménez Bartlett: escritora ……………………………………..………….…….. 126 3.1.2. La saga de Petra Delicado: personajes ……………………………….…….…………. 129 3.1.3. La saga de Petra Delicado: sus crímenes ……………………………….….………… 132 3.2. Mercedes Castro ……………………………………………………………………….……………… 138 3.2.1. Mercedes Castro: escritora …………………………………………………...……...……. 138 3.2.2. Y punto y Mantis: personajes …………………………………………...…...……………. 139 3.2.3. Y punto y Mantis: sus crímenes ………………………………………...……...………… 142 3.3. Síntesis ………………………………………………………………………………………..…………... 144 CAPÍTULO 4. Construcción de nuevos modelos de representación de las mujeres en la novela negra española actual desde una perspectiva de género ………………………………………………………………………………………………………………………………... 145 4.1. Protagonistas femeninas de la novela negra española actual desde una perspectiva de género ……………………………………………………………………………………………………………..………... 148 4.1.1. Mujeres profesionales: Petra Delicado, Clara Deza y Teresa Sinde …………………………………………………………………………………………………...………….….. 161 4.1.2. Masculinización vs feminización en la representación de las protagonistas ……………………………………………………………………………………………...…………...……… 184 4.1.3. Representación de la maternidad en Alicia Giménez Bartlett y Mercedes Castro ……………………………………………………...……………………………………..…………. 199 4.1.4. Representación de las relaciones de los personajes femeninos en Alicia Giménez Bartlett y Mercedes Castro ………………………………………….…..……………. 216 4.1.5. Representación de la violencia de género: de la agresión física a los micromachismos ………………………………………………………………...……...……………… 221 4.1.6. Representación de la sexualidad de las protagonistas en las novelas de Alicia Giménez Bartlett y Mercedes Castro …………………………………...……….…….. 229 4.2. Síntesis ………………………………………………………………………………….………………… 237 CAPÍTULO 5. Conclusiones y futuras líneas de investigación ……………………….………. 243 5.1. Conclusiones ………………………………………………………………………………….………… 245 5.2. Otras líneas de investigación ………………………………………………………….…………. 257 Bibliografía …………………………………………………………….……………………………….…..………… 263 Bibliografía primaria ………………………………………………………….…………………………… 265 Corpus de la tesis ……………………………………………………………...………………………… 265 Otras obras literarias citadas ………………………………………………………………………. 266 Bibliografía secundaria ………………………………………………………….……………………….. 268 Índice de imágenes …………………………………………………………………………...…………………… 289 Introducción Introducción La novela negra es, desde su origen, un género literario que goza de gran popularidad, a pesar de que parte de la crítica textual la considera un género menor. El origen del género lo situamos, siguiendo el consenso general al respecto en la publicación de «Los crímenes de la calle Morgue» (1841), de Edgar Allan Poe. Una narración que establece algunas de las características que se consolidarán como configuradoras de la novela enigma. El momento histórico en el que se produce la aparición de este nuevo género se sitúa a mediados del siglo XIX, porque se dan las condiciones socioeconómico-políticas para el surgimiento de este nuevo tipo de literatura. Es cierto que existen narraciones anteriores a este cuento, entre policiaco y terrorífico, que presentan algunas de las características del género negro, sin embargo, entendemos este primer «subgénero» como un género más próximo a los relatos de misterio. La popularidad a la que nos referimos, y a pesar de su consideración de género menor, hace que se hayan realizado múltiples investigaciones sobre su estructura narrativa, la historiografía de su género, los autores y autoras más relevantes que han asentado el género, incluso se han tratado autores del género españoles y en los últimos años se añaden nombres de autoras españolas, especialmente desde 2000 hasta la actualidad. Sin embargo, estos análisis se han venido realizando desde una óptica investigadora dominante, sin dejar espacio a revisiones, a nuestro juicio más adecuadas, como son la teoría crítica feminista. En un mundo cambiante, desde la década de los sesenta del siglo XX (en España los ochenta) las mujeres han ido conquistando espacios que les permiten asumir diferentes formas de relacionarse con este mundo. La conquista de los derechos laborales, los derechos sexuales y reproductivos, los derechos políticos, etc., aunque todavía quede mucho camino por recorrer para llegar a una igualdad completa, dan la oportunidad a las mujeres para expresar sus deseos, necesidades y vivencias con una voz propia, y esto debería cambiar su representación en las - 11 - Alicia Giménez Bartlett y Mercedes Castro diferentes formas artísticas1. ¿Se aprecia el protagonismo de las mujeres en estas novelas? ¿Las autoras crean nuevos modelos femeninos? ¿Los modelos de feminidad son asimilados a los modelos tradicionales de masculinidad? Estas son sólo algunas de las cuestiones que nos planteamos para ayudarnos a responder a los objetivos planteados en esta tesis. El objetivo inicial es identificar los modelos de mujeres que aparecen en novelas negras contemporáneas, en novelas de escritoras españolas que están publicando actualmente (de 2010-2016, periodo de realización de esta tesis). Entendiendo la novela negra como novela eminentemente social, queremos desvelar modelos femeninos, si existen, que surgen de «nuevos» referentes sociales, pues siguiendo a Paco Ignacio Taibo II consideramos que «una novela negra es aquella que tiene en su corazón un hecho criminal y que genera una investigación. Lo que ocurre es que una buena novela negra investiga algo más que quién mató o quién cometió el delito, investiga a la sociedad en la que los hechos se producen. Empieza contando un crimen, y termina contando cómo es esa sociedad» (Taibo en Salados, 1 de julio de 2000: 26-27). La novela policiaca que evoluciona convive con la novela negra que siempre ha contado con mujeres tanto como escritoras como entre sus personajes. Sin embargo, estos personajes femeninos no se diferenciaban demasiado de los personajes masculinos del género. ¿Qué diferencia hay entre Miss Marple, una anciana con extraordinarias dotes de observación, y Sherlock Holmes, un cocainómano superdotado? Pongamos un ejemplo más claro, ¿qué diferencia hay entre los personajes de Miss Marple y Hercules Poirot? Parece que la novela policiaca centrada en el enigma tiene una estructura tan marcada que no permite generar novedades, sin embargo, la novela negra abre el abanico hasta donde quiera o llegue la imaginación de la autora o el autor (por ejemplo, Mantis
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