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Gender, Genre, and Appropriation in Argentine and Brazilian Hard-Boiled Crime Fiction

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Gender, Genre, and Appropriation in Argentine and Brazilian Hard-Boiled Crime Fiction Literatura Policial: Gender, Genre, and Appropriation in Argentine and Brazilian Hard-boiled Crime Fiction A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Katherine Ann Ostrom IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Fernando Arenas and Amy Kaminsky, advisers June 2011 © Katherine Ann Ostrom 2011 i Acknowledgements I am deeply indebted to my co-directors Amy Kaminsky and Fernando Arenas for their continuous support throughout my time as a graduate student at the University of Minnesota. This project grew out of a paper written for Professor Arenas in my first semester of graduate school, and I had been inspired by Professor Kaminsky’s scholarship even earlier. Through years of courses, meetings, exams, applications, and chapter drafts, they have offered helpful feedback and guidance while encouraging me to follow my passions and speak with my own voice. I am grateful as well to my committee members Ana Forcinito and Joanna O’Connell and to my other professors and mentors, especially Barbara Weissberger and Susan McMillan-Villar at the University of Minnesota and Patrick O’Connor, my undergraduate adviser at the University of Chicago, who have helped me discover the texts, authors, and ideas that would go into this dissertation. Among many fellow graduate students who have helped me, I am especially grateful to my friends Kajsa Larson, Adriana Gordillo, Kristin Beamish-Brown, Naomi Wood, Megan Corbin, Satty Flaherty-Echeverría, Scott Ehrenburg, Joseph Towle, and Rebecca Weaver for discussions and feedback on this project. The administrative staff and my students and other colleagues at the University of Minnesota Department of Spanish and Portuguese Studies and at Macalester College’s Department of Hispanic Studies have also provided much support and encouragement. I thank the consultants at the University of Minnesota Center for Writing, especially Assistant Director Katie Levin, and my fellow participants in the 2010 Dissertation Writing Retreat, for showing me how to write a great amount in a short period of time. I thank the staff and patrons of Saint Anthony Park Bruegger’s Bagel Bakery for the space, coffee, and companionship that helped me keep writing through the long haul. I thank all my family members and those friends not named above for their love and support, including LeAnne Laux- Bachand, Beth Kinderman, Andrea Algalith, Lora Bounds, Susanna Goodin, Rebecca and Randall Morris-Ostrom, Erik Ostrom and Kate Stewart, and above all my parents, Don and Florence Ostrom. Although I had long intended to write a dissertation on Argentine and Brazilian crime fiction, this project only truly began to take shape after my travels in Brazil and Argentina in 2008. Authors Mempo Giardinelli, Luisa Valenzuela, Guillermo Martínez, Ana María Shua, Cristina Piña, and Liliana Heker, and the program staff and participants at the Summer Seminar on Contemporary Argentine Literature at Fundación Mempo Giardinelli in Resistencia were all generous with their time and ideas. I am grateful for funding from the University of Minnesota and the University of Virginia that allowed me to make that trip and participate in the seminar, and I thank Milena Ortiz and Imyra Santana in São Paulo, the Castagné family in Resistencia, and the Carrea family in Chacabuco and La Plata for sharing their homes with me. I will always be deeply grateful to Alicia, Hugo, Jimena, Alejandra, and Jerónimo Carrea for making me feel at home in Argentina when I first came to stay with them at the age of sixteen, and to my adopted aunt Teresita Colombo for asking me what I was reading. ii Table of Contents Introduction 1 Chapter One: Rubem Fonseca and the Violence of Narrative 39 Chapter Two: Patrícia Melo and Masculine Excess 78 Chapter Three: Ricardo Piglia and the Absent Alternative 120 Chapter Four: Claudia Piñeiro and the novela negra de mujer 161 Conclusions 208 Bibliography 221 1 Introduction This is a study of gendered ways of narrating and knowing in the work of Rubem Fonseca, Patrícia Melo, Ricardo Piglia, and Claudia Piñeiro, four Latin American authors whose stories and novels about crime are influenced by the genre of hard-boiled crime fiction. Fiction about detectives and murderers is seen by most critics as fundamentally conservative because of the way it treats crime as an individual aberration in an otherwise ordered world. The hard-boiled school that developed in the United States in the 1920s and ’30s offers a darker view of society and new avenues for social criticism, including the issues of shared responsibility and government corruption; for this reason it has been influential in Latin American fiction, particularly in the Southern Cone, since the rise of dictatorships in the 1960s and ’70s. However, early US hard-boiled crime fiction also reflects its authors’ reactionary views toward women, sexual minorities, people of color, and immigrants, and these aspects of the genre have often gone unremarked and unreformed in the critical appropriations made by Latin American authors. I seek to fill a gap in the critical literature about Latin American crime fiction, which has given significant attention to changes in the genre but not to the gender of authors, characters, and modes of writing. Critics have tended to look at the literary traditions of various nations – including Great Britain, the United States, Argentina, Brazil, and Mexico – in terms of their attitudes toward individual, collective, and state- sponsored violence. Besides noting these national differences, they have studied the frictions between them, the productive use that Latin American authors have made of 2 the perceived foreignness of detective fiction, including their use of parody and upsetting of reader expectations. Crime fiction’s approaches to urban violence and state violence are certainly fundamental aspects of the genre and are an important part of my study, but they should not be separated from the issues violence against women or the exclusion of women from the public sphere and the world of literature. I take the word appropriation to have several meanings that can be approached along various axes, of which the most commonly studied is the national. A classic detective story, in which a single detective aids the well-intentioned but less clever police in apprehending a single criminal and thus restoring the general order of society, has generally been considered inappropriate if set in a Latin American context. Latin American authors have found a more appropriate model in hard-boiled fiction, which may focus on either a detective or a criminal and which may not end with a simple solution. They have further transformed it by displacing the figure of the detective while keeping the gritty urban milieu, the structure of suspense, and the view of society as irredeemably corrupt. In this way authors from Argentina, Brazil, Mexico, Chile, Cuba, and other parts of the Americas have appropriated the genre in a way that corresponds with the Spanish and Portuguese adjectives propio/próprio: they have made it their own. When I speak of crime fiction, then, it is important to stress that the works I examine here do not fit neatly into the category of hard-boiled crime fiction, repeating its style and formula without innovation, nor is the Argentine novela negra merely a translation of the French roman noir; rather it is a distinct tradition that uses the audience’s knowledge of that foreign genre to generate meanings of its own. The 3 authors I study are influenced by the literary fiction of their own countries and of the United States and Europe as well as the traditions of crime fiction in those countries. They engage with the conventions of those traditions, pulling out what is useful while discarding what is not, or in some cases exaggerating what is inappropriate in order to draw attention to it. Although many of my critical sources deal exclusively with detective fiction, my study also includes stories about murderers. The English term hard-boiled has come to be associated principally with private detectives but originally also referred to novels about criminals such as the work of James M. Cain (see Abbott 10, Marling ix). In addition to the terms hard-boiled, noir, and novela negra I also use the English crime fiction and the Spanish and Portuguese policial in the broader sense that refers to fiction about police, private detectives, other investigators, and criminals in all their national settings and variations. Besides appropriating a foreign genre and making it relevant in their own countries, these authors are appropriating a masculinist genre – one that developed in part as a reaction to women’s gains in society and in the literary world – and using it to speak about their cultures’ changing attitudes about gender, sexuality, race, and class. Each of the authors I have chosen to study – Rubem Fonseca and Patrícia Melo from Brazil and Ricardo Piglia and Claudia Piñeiro from Argentina – takes a different approach toward the sexism that underlies the structure, plots, characters, and style of narration traditionally associated with hard-boiled fiction. In each case their appropriation is critical and provocative but still preserves some of the sexism that is part of the literary tradition and part of the societies they are writing about. 4 I choose to limit my study to four authors from Brazil and Argentina, two countries with strong but separate traditions of crime fiction. Argentina has the longest history of detective fiction in Latin America and, more than in any other Latin American country, it has appropriated the genre as its own, now counting it as an essential part of Argentine literary history. Brazil offers valuable contrast because it follows a different literary orientation, often looking towards Europe and away from the Spanish-speaking part of Latin America while insisting on authenticity and realism from Brazilian authors.
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