Leisa Rothlisberger Wiest 3HQQV\OYDQLD6WDWH8QLYHUVLW\
Detective Fiction in the Monster, Mexico City
Abstract: 0XHUWRVLQFyPRGRVDQRYHOFRZULWWHQE\SRSXODU0H[LFDQGHWHFWLYHÀFWLRQDXWKRU3DFR,JQDFLR 7DLER,,DQGWKH=DSDWLVWDOHDGHU6XEFRPDQGDQWH0DUFRVGHPRQVWUDWHVWKHGLIÀFXOW\RIDFFHVVLQJ the information required to uncover proof of state-supported crimes. The prospect of successfully GHSOR\LQJVXFKLQIRUPDWLRQWRVWRSLQMXVWLFHLVIXUWKHUFRPSOLFDWHGE\WKHGLVSDULW\EHWZHHQXUEDQDQG rural geography--registers often suggestively associated with aggressor and victim, respectively. 7KH QRYHO·V WZR DXWKRUV DOWHUQDWH ZULWLQJ FKDSWHUV UHODWLQJ WKH WUDYDLOV RI WZR GHWHFWLYHV RQH ORFDWHGLQ0H[LFR·VFDSLWDODQGWKHRWKHUWUDYHOLQJWRWKHFLW\IURPKLVUXUDOKRPH7KHUXUDODOVR LQH[SHULHQFHG GHWHFWLYH DVVXPHV WKDW WKH SURRI KH QHHGV WR VROYH WKH P\VWHU\ RI SHUYDVLYH LQMXVWLFHLVFRQFHQWUDWHGLQWKHFDSLWDO2YHUWKHFRXUVHRIWKHQRYHOKHOHDUQVWKHSRWHQWLDOVWUHQJWK RISHULSKHUDOLQIRUPDWLRQJDWKHULQJ KHGLVFRYHUVWKHIDOVLW\RISHUFHLYLQJWKHJRYHUQPHQWFDSLWDODV WKHFHQWHURINQRZOHGJHDQGMXVWLFH7KHQRYHO·VDXWKRUVKDYHFOHDUDQWLQHROLEHUDOSROLWLFDOJRDOV and their didacticism is heavy-handed at times, but the act of depicting the process of discovery in GHWHFWLYHÀFWLRQGHOLEHUDWHO\PRGHOVKRZWRTXHVWLRQLQMXVWLFHVWKDWDUHJORVVHGRYHUDVP\VWHULHV ,W LV WKURXJK WKH LQWHUSOD\ RI WKH WZR DXWKRUV· VWRU\OLQHV DQG ZULWLQJ VW\OHV ZKLFK LQWULQVLFDOO\ allows comparison, that the novel shows the value of sharing information to crack capital crimes.
Keywords: 3DFR,JQDFLR7DLER,,6XEFRPDQGDQWH0DUFRVGHWHFWLYHÀFWLRQ
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Mexico City Is a Monster
0H[LFR&LW\LVDPRQVWHU$FFRUGLQJWR3DFR,JQDFLR7DLER,,·VÀFWLRQDOGHWHFWLYH+pFWRU %HODVFRDUiQ6KD\QHLWLVD´WZHOYHPLOOLRQKHDGHGPRQVWHUµ 7DLERCosa fácil 0H[LFR·V VSUDZOLQJKHDYLO\SRSXODWHGFDSLWDOFLW\LVDFKDUDFWHULQLWVRZQULJKWLQ7DLER·VGHWHFWLYHÀFWLRQ,WV characterization is used to solve the mysteries of the crimes perpetrated by and in the monstrous FDSLWDO 6XFK D FRQQHFWLRQ LV VLJQLÀFDQW LW LV DOVR FRPPHQVXUDWH ZLWK 7DLER·V OHIWLVW DQWL QHROLEHUDOSROLWLFDOVWDQFH6SHFLÀFDOO\7DLER·VQRYHOFRDXWKRUHGZLWK=DSDWLVWDVSRNHVSHUVRQ Subcomandante Marcos, 0XHUWRV LQFyPRGRV IDOWD OR TXH IDOWD, or The Uncomfortable Dead: :KDW·V0LVVLQJLV0LVVLQJXVHV0H[LFR&LW\·VFKDUDFWHUL]DWLRQDVDPRQVWHUWRGLVPDQWOHWKH power of the capital. 0XHUWRVLQFyPRGRV challenges the perceived and real power of the city. As with all capital FLWLHVWKHGHFLVLRQVPDGHLQ0H[LFR&LW\RUE\WKHJRYHUQPHQWRIÀFLDOVWKHFDSLWDOFLW\PHWRQ\PLFDOO\ UHSUHVHQWV KDYH VLJQLÀFDQW RIWHQ QHJDWLYH FRQVHTXHQFHV IRU LQGLYLGXDOV DQG FRPPXQLWLHV WKURXJKRXWWKHFRXQWU\ 0XHUWRVLQFyPRGRV demonstrates the severity with which that reality is RYHUORRNHG7KHQRYHOLVWKHUHVXOWRIDQLQYLWDWLRQWR3DFR,JQDFLR7DLER,,WKHSRSXODUDQGSUROLÀF 0H[LFDQGHWHFWLYHÀFWLRQDXWKRUIURPWKHVSRNHVSHUVRQWKHVRFDOOHG6XEFRPDQGDQWH,QVXUJHQWH 0DUFRVRIWKH(MpUFLWR=DSDWLVWDGH/LEHUDFLyQ1DFLRQDO7KH=DSDWLVWDVDUHDQLQVXUJHQWJURXS ZKRVWDJHGDUHEHOOLRQDJDLQVWWKH0H[LFDQJRYHUQPHQWRQ-DQXDU\ LQWKHVRXWKHDVWHUQ 0H[LFDQVWDWHRI&KLDSDVWRFRLQFLGHZLWKWKHLPSOHPHQWDWLRQRIWKH1RUWK$PHULFDQ)UHH7UDGH $JUHHPHQW 1$)7$ ,QLWLDOO\ WKH UHEHOOLRQ ZDV YLROHQW EXW VRRQ DIWHU WKH XSULVLQJ WKH UHEHOVHPSKDVL]HG´ZRUGVDVWKHLUZHDSRQVµ VHH0DUFRVOur Word 7KHLUSROLWLFDOLGHRORJ\LV GHOLEHUDWHO\DQGRYHUWO\DJDLQVWQHROLEHUDOJOREDOL]DWLRQZKLFK1$)7$H[HPSOLÀHVIRUWKHP7KHLU LQVXUJHQF\DLPVWRFRXQWHUDFWWKHQHJDWLYHFRQVHTXHQFHVRILQFUHDVHG´IUHHWUDGHµGHFUHDVHG restrictions of corporations, privatization of formerly public services, which by their calculations DQGIURPWKHLUH[SHULHQFHVLJQLÀFDQWO\QHJDWLYHO\DIIHFWVWKHLPSRYHULVKHGE\LQFUHDVLQJLQFRPH GLVSDULW\ EHWZHHQ WKH XOWUD ULFK DQG WKH SRRU 7KH\ RSSRVH WKH XQMXVW KLHUDUFK\ DQG XQHYHQ GLVWULEXWLRQRIUHVRXUFHVDQGWKHUHIRUHSRZHUSHUSHWXDWHGE\0H[LFR·VVRFDOOHGPRGHUQL]DWLRQ HIIRUWVWKDWDFWXDOO\LJQRUHGDQGIXUWKHUPDUJLQDOL]HGWKHFRXQWU\·VSRRUHVWHVSHFLDOO\WKH´QRQ PRGHUQµUXUDOSHULSKHULHVE\H[SORLWLQJWKHPIRUFDSLWDOJDLQ 7DLER·VOLWHUDU\SURMHFWVLPLODUO\KDVDVWURQJDQWLQHROLEHUDOOHIWLVWVWDQFH+LVZULWLQJKDV shaped the tradition of the neopoliciaca, roughly the Latin American equivalent of US hard-boiled GHWHFWLYHÀFWLRQWKRXJKLWLVGLIIHUHQWIURPLWV(QJOLVKVSHDNLQJFRXQWHUSDUWLQWKDWLWLV´RYHUWO\ SROLWLFDO DQG OHIWLVWµ DV 3HUVHSKRQH %UDKDP FRQYLQFLQJO\ DUJXHV [LLL 7DLER·V PRVW SRSXODU SXEOLFDWLRQVLQFOXGHDQLQHQRYHOVHULHVZLWKGHWHFWLYH+pFWRU %HODVFRDUiQ6KD\QHWKHVDPH protagonist he writes about in 0XHUWRV LQFyPRGRV DQG PRUH WKDQ D GR]HQ RWKHU QRYHOV ,Q
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 addition to his popular neopoliciacas7DLERZULWHVDVDOHIWLVWKLVWRULDQ KHKDVZULWWHQELRJUDSKLHV RI FRQWURYHUVLDO SROLWLFDO OHDGHUV LQFOXGLQJ &KH *XHYDUD DQG KLVWRULHV RI WKH VWXGHQW PRYHPHQWDQGPDVVDFUHLQ0H[LFR:LWKWKHVHWH[WV7DLERUDLVHVDZDUHQHVVRIVWDWHFULPHV DQGWKHWKLQO\FRQFHDOHGH[SORLWDWLRQRIFLWL]HQV WKHVHOHIWLVWPRWLYDWLRQVDOVRFOHDUO\GULYHKLV SRSXODUGHWHFWLYHÀFWLRQ,QIDFW7DLERDUWLFXODWHGRQHFKDUDFWHULVWLFRIWKHneopoliciaca genre as ´/DREVHVLyQSRUODVFLXGDGHV XQDLQFLGHQFLDUHFXUUHQWHWHPiWLFDGHORVSUREOHPDVGHO(VWDGR FRPRJHQHUDGRUGHOFULPHQODFRUUXSFLyQODDUELWUDULHGDGSROtWLFDµ TXRWHGLQ%DOLEUHD(QUtTXH] Q 'HWHFWLYHÀFWLRQHVSHFLDOO\LQWKHZD\LWLVIRUPXODWHGE\7DLERDQGRWKHU/DWLQ$PHULFDQ authors, uses urban spaces to make evident the disempowerment of the masses who live in them. As part of the neopoliciaca genre, 0XHUWRVLQFyPRGRVKDVSDUDOOHOWHQGHQFLHV*LYHQWKLV background information about the authors and its genre, there are no doubts about the political ideology presented in 0XHUWRVLQFyPRGRV LWLVFOHDUDWÀUVWEOXVK>@ 7KHQRYHOSHUIRUPVLWVSROLWLFDOOHDQLQJVRYHUWO\ FRQVHTXHQWO\KRZWKHDXWKRUVFRPPXQLFDWH their points and prescribe remedies reveals as much about the system they are working against as what they are trying to prove. The role of the city and the duplicitous idea of capital in the novel EULQJV WR OLJKW LPSRUWDQW RIWHQ SDUDGR[LFDO GLPHQVLRQV RI WKH FRQVHTXHQFHV RI QHROLEHUDOLVP DQGDWWHPSWVWRUHVLVWWKHP7KHFLW\ÀJXUHVSURPLQHQWO\LQERWKWKHPDQQHULQZKLFKWKHQRYHO ZDVSXEOLVKHGDQGLWVSORW7KHQRYHOZDVÀUVWSXEOLVKHGLQWZHOYHLQVWDOOPHQWVLQWKHZHHNO\ Sunday editions of La Jornada D SRSXODU OHIWLVW 0H[LFDQ QHZVSDSHU EDVHG LQ 0H[LFR &LW\ EHWZHHQ'HFHPEHUDQG)HEUXDU\7DLERDQG0DUFRVDOWHUQDWHGZULWLQJLQVWDOOPHQWV each author narrating the undertakings of his own detective. Taibo resurrects the independent GHWHFWLYH +pFWRU %HODVFRDUiQ 6KD\QH RI KLV SRSXODU VHULHV WR LQYHVWLJDWH XQVROYHG PXUGHUV DQGP\VWHULRXVWHOHSKRQHPHVVDJHVIURPDGHFHDVHGSHUVRQLQ0H[LFR&LW\0DUFRV·VFKDSWHUV IROORZWKH=DSDWLVWDV·PRGHORILQFOXVLYHQHVVE\LQWURGXFLQJDOOYDULHWLHVRIFKDUDFWHUVWKRXJKKLV PDLQFKDUDFWHU(OtDV&RQWUHUDVLVD=DSDWLVWD´FRPPLVVLRQHGLQYHVWLJDWRUµIURP&KLDSDVZKR LVLQYHVWLJDWLQJRWKHUZURQJIXOGHDWKVWKHH[SORLWDWLRQRIWKHQDWXUDOUHVRXUFHVRIWKH/DFDQGRQ -XQJOHWKHPLVWUHDWPHQWRI=DSDWLVWDLQGLYLGXDOVDQGFRPPXQLWLHVE\JRYHUQPHQWRIÀFLDOVDQG RWKHUFULPHVRQJRLQJLQ&KLDSDV6XEFRPDQGDQWH0DUFRV ERWKWKHDXWKRUDQGDFKDUDFWHULQ WKHQRYHO VHQGV(OtDVWR0H[LFR&LW\WRJHWKHOSIURP%HODVFRDUiQDVDYHWHUDQGHWHFWLYHDQGWR ÀQGMXVWLFHWKDWVHHPVLQDFFHVVLEOHLQ&KLDSDV WKHFRQVHTXHQFHVFKDOOHQJHWKHSHUYDVLYHQRWLRQ WKDWWKHDQVZHUVWRWKHP\VWHULHVFDQEHVROYHGLQWKHFDSLWDO2YHUWKHFRXUVHRIWKHQRYHO(OtDV learns the potency of gathering information in the periphery and discovers the falsity of perceiving WKHJRYHUQPHQWFDSLWDODVWKHFHQWHURINQRZOHGJHDQGMXVWLFH7KHFLW\WKHUHIRUHUHSUHVHQWVWKH locus of communication and discovery, but the way it is characterized makes it seem complicit in the crimes the protagonists are investigating.
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 %HODVFRDUiQ DQG (OtDV HDFK GHVFULEH 0H[LFR &LW\ DV D PRQVWHU DQG DSSURDFK LW ZLWK FRQVLGHUDEOHWUHSLGDWLRQ(OtDVFRQWLQXRXVO\UHSHDWVWKDW0H[LFR&LW\LVD0RQVWHU,QIDFW´(O 6XSµ0DUFRV·VFKDUDFWHULQWKHQRYHOLQVWUXFWV(OtDVWRUHIHUWRLWLQWKDWZD\ZKHQKHLVJLYLQJ (OtDVLQVWUXFWLRQVDERXWKLVPLVVLRQLQWRWKHFLW\ 7KURXJKRXWWKHQRYHO(OtDVFRUUHFWVKLPVHOI DGQDXVHXP E\TXDOLI\LQJWKHGHVFULSWLRQ IRUH[DPSOHKHWHOOVVRPHRQHKHLV´LQWKH0RQVWHU WKDWLV0H[LFR&LW\µ 6LPLODUO\%HODVFRDUiQUHIHUVWR0H[LFR&LW\DVDFUHDWXUHZLWKZKLFK KHKDVDYHU\FRPSOLFDWHGUHODWLRQVKLS+HKDVD´QRWLRQRIEHLQJWLHGWRWKHFLW\E\DQXPELOLFDO FRUGWUDSSHGLQDORYHKDWHUHODWLRQVKLSµ +HDOVRGHVFULEHVWKHFRPSRQHQWVRIWKHFLW\DV LILWZHUHDOLYH IRUH[DPSOHKHVSHQGVWLPHOLVWHQLQJWRWKHQRLVHRIWKHVWUHHWDQGGHVFULEHVWKH VRXQGRIWUDIÀFDVD´URDUµ %HODVFRDUiQRIWHQUHWLUHVWRKLJKYDQWDJHSRLQWVWRREVHUYH WKHFLW\DQGFRQVLGHUKRZWRUHVROYHWKHVXQGU\P\VWHULHVKHGHDOVZLWKDVSULYDWHGHWHFWLYH ´KHKDGEHJXQWRSUHIHUVHHLQJ0H[LFR&LW\IURPDERYH)URPWKHKLJKHVWURRIVDQGEULGJHVKH FRXOGÀQG,WZDVOHVVKDUPIXOWKDWZD\PRUHOLNHDFLW\MXVWDVLQJOHVROLGWKLQJDVIDUDVWKHH\H FRXOGVHHµ :KLOHWKHFLW\VHHPVPRUHOLNHDFUHDWXUHXSFORVHIRU%HODVFRDUiQ(OtDV·VÀUVW YLHZRILWHPSKDVL]HVLWVPRQVWHUO\FKDUDFWHULVWLFVWKDWFRUURERUDWHDQREVHUYDWLRQ%HODVFRDUiQ PDNHVDERXWWKHFLW\·V´MXQJOHRIDQWHQQDVDQGODPSSRVWVµ (OtDVWUDYHOVWR0H[LFR&LW\IRU WKHÀUVWWLPHE\EXVDQGKHVD\VWKHPDQ\DQWHQQDVDUH´OLNHVNLQQ\OLWWOHKDLUVJURZLQJRQWKH KHDGVRIWKHKRXVHVµ ,QGLFDWLYHRI%HODVFRDUiQ·VDPELYDOHQWUHODWLRQVKLSWR0H[LFR&LW\KH LVGHVFULEHGDVEHLQJ´DFFXVWRPHGWRDEVXUGHQLJPDVEHFDXVHKHOLYHGLQWKHPRVWPDUYHORXVO\ DEVXUGFLW\LQWKHZRUOGµ (OtDVDOVRTXLFNO\QRWLFHVWKHSDUDGR[HVLQWKHFLW\ VRPHWLPHVWKH residents of the city are genuinely part of the creature that is the monster and sometimes they DUHWHUURUL]HGE\WKHLQIUDVWUXFWXUHWKDWLVDGDQJHURXVFUHDWXUH KHREVHUYHVWKDW´7KH0RQVWHU has big houses and small ones, tall ones and little bitty ones, fat and skinny, rich and poor. Like SHRSOHEXWZLWKRXWKHDUWV,QWKH0RQVWHUWKHPRVWLPSRUWDQWWKLQJLVWKHKRXVHVDQGWKHFDUV VRSHRSOHJHWVHQWXQGHUJURXQGWRWKHPHWUR,ISHRSOHVWD\XSWKHUHLQFDUFRXQWU\ZHOOWKHFDUV NLQGRIOLNHJHWYHU\SLVVHGDQGWU\WRJRUHWKHPOLNHEXOOVZRXOGµ (OtDVGLVFRYHUVWKDW0H[LFR &LW\LVQRWRQO\GDQJHURXVIRUVRPHRQHIURPWKHFRXQWU\VLGHOLNHKLPEXWWRWKHFLW\·VUHVLGHQW SHGHVWULDQVDVZHOO7KXVWKURXJKRXWWKHQRYHO0H[LFR&LW\LVDSRWHQWLDOO\GDQJHURXVFUHDWXUH whose components--from antennae to cars--have monsterly violent tendencies.
Neoliberal Cities
7KHGHVFULSWLRQVRI0H[LFR&LW\DVDPRQVWHUDUHPRUHVLJQLÀFDQWWKDQDFRPPRQDOLW\ EHWZHHQWKHWZRDXWKRUV·LQVWDOOPHQWV FKDUDFWHUL]LQJDFLW\LQVXFKDZD\LVQRWXQLTXHWRMuertos LQFyPRGRVQRU0H[LFR&LW\6LPLODUGHVFULSWLRQVDUHIUHTXHQWO\IRXQGLQÀFWLRQDQGQRQÀFWLRQÀOP DQGSULQWQHZVSDSHUDQGQRYHO/LNHRWKHU´PHJDFLWLHVµZKLFKJHRJUDSKHU)UHG3HDUFHDUJXHV
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 DUHRIWHQGHSLFWHG´DVRXWRIFRQWUROPRQVWHUV>DQG@HFRQRPLFFXFNRRVVXFNLQJLQWKHSRRUHVW SHRSOHLQWKHSRRUHVWFRXQWULHVµ 0H[LFR&LW\LVDODE\ULQWKZLWKPLOOLRQVRISHRSOH0HJDFLWLHV DUHODEHOHGDVVXFKEHFDXVHRIWKHLUPRUHWKDQPLOOLRQLQKDELWDQWVDQGWKHLUPRQVWURXVGHSLFWLRQ LVZDUUDQWHGE\WKHIDFWWKDWPDQ\RIWKHLULQKDELWDQWV´OLYHLQVOXPVDQGVTXDWWHUVHWWOHPHQWV ZLWK SRRU DFFHVV WR FOHDQ ZDWHU VDQLWDWLRQ DQG JDUEDJH FROOHFWLRQµ 0HJDFLWLHV DUH DOVR GDQJHURXVEHFDXVHRIWKHLUH[WUHPHSROOXWLRQ³´PRUHWKDQDELOOLRQXUEDQLQKDELWDQWVEUHDWKHDLU SROOXWHGWRGDQJHURXVOHYHOVµ³DQGYLROHQFH³´WKHODUJHVWFDXVHVRIGHDWKDPRQJ\RXQJSHRSOH LQ>VRPHVXFKFLWLHV@DUHWUDIÀFDFFLGHQWVDQGKRPLFLGHµ %XWWKHSRRUDQGGDQJHURXVOLYLQJ FRQGLWLRQVDUHQRWWKHRQO\UHDVRQIRUPHJDFLWLHV·PRQVWURXVGHSLFWLRQ WKH\DUHUHQRZQHGIRU UDPSDQW FRUUXSWLRQ7DNHDQ DGPLWWHGO\ RXWGDWHG WKRXJK UHOHYDQW WR WKH =DSDWLVWD UHEHOOLRQ QHZVSDSHUDUWLFOHIURP WLWOHG´7KH0RQVWHURI0H[LFRµFODLPLQJWKDW0H[LFR&LW\·V´UHVLGHQWV ORYHWKHLUFLW\EXWDGPLWLWKDVEHFRPHDPRQVWHUµ 5RELQVRQ 6SHFLÀFDOO\WKHDUWLFOH suggests that the then recently elected Cuauhtemoc Cardenas won the election to become Mayor RI0H[LFR&LW\E\FDPSDLJQLQJIRU´GHPRFUDF\DQGIRUÀJKWLQJSRYHUW\FRUUXSWLRQFULPHDQG SROOXWLRQµDSODWIRUPWKDWGRHVQRWVHHPUHYROXWLRQDU\LQUHWURVSHFW 7KHQHZVUHSRUWJRHV RQWROLVWWKHFRUUXSWHOHPHQWVRI0H[LFR·VFDSLWDOFLW\IURPEULEHGSROLWLFLDQVWRGDQJHURXVSROLFH WRGUXJORUGVWRFULPLQDOEHJJDUV,WVODXQGU\OLVWRI´SODJXHVµLVSRSXODWLRQSRYHUW\SROOXWLRQ FULPHDQGFRUUXSWLRQ7KHSRLQWLVWKDWWKHDXWKRUVRIWKDWDUWLFOHDOVRODEHO0H[LFR&LW\DVD monster and imply that its residents understand it to have those characteristics as well. The FODLPVPDGHE\WKDWDUWLFOHDUHQRWGLVVLPLODUIURPDPXFKPRUHUHFHQW-XO\DUWLFOHDERXW WKHWLHVEHWZHHQDFRQWUDFWRU*UXSR+LJDUHFHLYLQJELOOLRQVRIGROODUVLQ0H[LFDQJRYHUQPHQW SURMHFWVDQGWKHFXUUHQW0H[LFDQSUHVLGHQW(QULTXH3HxD1LHWR 9LOOHJDV 5HPDUNDEOHLQWKHVH descriptions as well is the dichotomy between the people and the systemic mechanisms that make the city monsterly. The political and economic conditions that contribute to the development of monsterly cities are precisely the conditions Marcos and Taibo aim to blame for the capital crimes in 0XHUWRVLQFyPRGRVDQGWKHLURWKHUSROLWLFDOSURMHFWV7KHLGHDRI´FDSLWDOFULPHVµKHUHSOD\VRQ WKHYDULRXVGHQRWDWLRQVDQGFRQQRWDWLRQVRI´FDSLWDOµLQFOXGLQJWKDWLWLVWKHJRYHUQPHQWVHDW money, mortality, etc. Taibo and Marcos show the capital, or life-and-death, consequences of their message. Though their tone is parodic and often playful, both detectives are investigating murders and in fact both detectives have already died as a result of their involvement in uncovering crimes. 0DUFRVHQXPHUDWHVZKDWFDQEHFRQVLGHUHG´FDSLWDOFULPHVµLQRQHRIKLVSHUKDSVWRRKHDY\ KDQGHG UDQWV 7KURXJK (OtDV DV QDUUDWRU KH GHVFULEHV WKH ÀOHV (OtDV DQG %HODVFRDUiQ KDYH EHHQÀOOLQJZLWKLQIRUPDWLRQDERXWFRUUXSWLRQDQGFULPHVDV´DGLFWLRQDU\RIWKHVKLWSLVVDQG corruption in the system, which made them like a perspective of all the ways the system of the SRZHUIXOIXFNHGHYHU\ERG\HOVHWREHQHÀWWKHULFKDQGWKHEDGJRYHUQPHQWV7KHQKHVDLGWKHUH
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 ZDVDOLWWOHRIHYHU\WKLQJ 7KHUHZDVUHSUHVVLRQPXUGHUSULVRQSHUVHFXWLRQGLVDSSHDUDQFHV IUDXGUREEHU\ODQGJUDEELQJWKHVDOHRIQDWLRQDOVRYHUHLJQW\KLJKWUHDVRQFRUUXSWLRQ¶,QVXP· >%HODVFRDUiQ@VDLG¶WKRVHDWWKHWRSVFUHZWKRVHDWWKHERWWRP·µ 7KH´V\VWHPµDQGWKH ´VFUHZHGµ DUH RIWHQ UHIHUHQFHG LQ WKH QRYHO DQG LQ =DSDWLVWD UKHWRULF WR PHDQ WKH QHROLEHUDO EXUHDXFUDFLHVDQGKLHUDUFKLHVWKDWPDNHOLIHGLIÀFXOWIRUWKHLPSRYHULVKHGDQGWKHLPSRYHULVKHG themselves, respectively. There are strong connections among the capital crimes that are encouraged by neoliberalism DQGWKHGHYHORSPHQWRIPHJDFLWLHV*HRJUDSKHUVDQGRWKHUVRFLDOVFLHQWLVWVKDYHDUJXHGWKHUH LVDFRQQHFWLRQEHWZHHQQHROLEHUDOLVPDQGWKHFRQGLWLRQRIWKHPHJDFLW\'DYLG+DUYH\DUJXHV IRUWKH´FRPSOH[G\QDPLFRIXUEDQL]DWLRQµDVWKH\UHODWHWRPDMRUVKLIWVLQJOREDOL]DWLRQLQUHFHQW \HDUV ´WKH FRQQHFWLRQ EHWZHHQ XUEDQL]DWLRQ SURFHVVHV DQG ÀQDQFH FDSLWDO KDV EHFRPH PRUHGLUHFW,WLVXQPHGLDWHGE\RWKHULQVWLWXWLRQDOIRUPVRIFRQWURODQGPXFKPRUHSURQHWRUDSLG DQGHSKHPHUDOJHRJUDSKLFDOGLVSHUVDODFURVVWKHJOREH,GHRORJLFDOO\LWVHHPVDVLIDOOXUEDQ SODFHVPXVWVXEPLWWRWKHGLVFLSOLQHRIIUHHÁRDWLQJÀQDQFHµ +DUYH\ 0RUHRYHUWKHUHLV DFRQFHSWRID´QHROLEHUDOFLW\µZKLFKLVRQH´ZKRVHPRGHRIJRYHUQDQFHVRFLDOVWUXFWXUHDQG VSDWLDOGHYHORSPHQWH[SUHVVWKHQHROLEHUDOYLVLRQRIDIUHHPDUNHWXWRSLD(FRQRPLFSURJUHVV in the neoliberal city springs from individual initiative and unfettered markets in land, labor, and PRQH\*RYHUQPHQWLVPRGHOHGRQWKHHQWHUSULVHWKHFLWL]HQRQWKHFRQVXPHUDQGJRYHUQDQFH RQ EXVLQHVV PDQDJHPHQWµ +LOO 7KH FRQVHTXHQFHV RI VXFK QHROLEHUDOL]DWLRQ RI XUEDQ VSDFHVLQFOXGHWKDW´QDWLRQDOFXWEDFNVLQXUEDQH[SHQGLWXUHVUHTXLUHFLWLHVWRÀQGQHZVRXUFHV RIUHYHQXH'HUHJXODWLRQRIÀQDQFHVLPXOWDQHRXVO\H[SDQGVWKHUDQJHDQGDYDLODELOLW\RISULYDWH capital. Federal retrenchment and the devolution of revenue raising responsibility to localities IRUFHVFLWLHVWRFRPSHWHIRUUHVRXUFHVLQWKHSULYDWHFDSLWDOPDUNHWµ +LOO )XUWKHUPRUH
state operations have become much more strongly disciplined by money FDSLWDO DQG ÀQDQFH 6WUXFWXUDO DGMXVWPHQW DQG ÀVFDO DXVWHULW\ KDYH EHFRPH¶WKHQDPHRIWKHJDPH·DQGWKHVWDWHKDVWRVRPHGHJUHHEHHQ UHGXFHG WR WKH UROH RI ÀQGLQJ ZD\V WR SURPRWH D IDYRXUDEOH EXVLQHVV climate. Welfare for the poor has largely been replaced, therefore, by SXEOLFVXEYHQWLRQVWRFDSLWDO+RZHYHUWKHSRZHURIWKHQDWLRQVWDWHKDV QRWGLVDSSHDUHG,WKDVEHHQHQKDQFHGUDWKHUWKDQGLPLQLVKHGLQFHUWDLQ DUHDVVXFKDVODERXUFRQWUROÀVFDOGLVFLSOLQHRIVWDWHH[SHQGLWXUHVDQG infrastructural investments. The guiding philosophy of state action has LQFUHDVLQJO\EHHQWKDWRIWKH¶SXEOLFSULYDWHSDUWQHUVKLS·LQZKLFKSXEOLF investments are increasingly geared to securing private rather than social LQWHUHVWV +DUYH\
With increased urbanization has come bigger, more dangerous slums, which Teresa $OPHLGDDUJXHVLVDVSHFLÀFFRQVHTXHQFHRIQHROLEHUDOLVP$FFRUGLQJWRKHUUHVHDUFK´VOXPV are a result of a global economic system based on neoliberal principles that induced the formation
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 RI ODUJH FLWLHVµ DV LW ´HPSKDVL]HG ÀQDQFLDOL]DWLRQ DW WKH FRVW RI SURGXFWLYH PDQXIDFWXULQJ DQG privatization at the cost of public investment and infrastructure. This new economic policy resulted LQ WKH GHSHQGHQFH RI GHYHORSLQJ FRXQWULHV· HFRQRPLHV RQ WKH JOREDO PDUNHWSODFHµ $OPHLGD >@ 1HROLEHUDO SROLF\ LPSHOOHG XUEDQL]DWLRQ DV FRQJORPHUDWHV GHFUHDVHG UXUDO IDUP ZRUN VR people migrated to cities, where less money was being spent on social services, wages were EHLQJGHSUHVVHGE\WKHLQÁX[RIPRUHSRWHQWLDOODERUHUVDQGWKHLQIUDVWUXFWXUHDVLWZDVFRXOG not support so many more people. Consequently, the depiction of the city as a monster that endangers its citizens illustrates well the conditions precipitated by neoliberalism, under which the government protects business interests as much as if not more than its citizens even while more DQGPRUHFLWL]HQVDUHÁRFNLQJWRFLWLHVWRÀQGDOLYHOLKRRG ,QWKHPRQVWURXVFLWLHVPDGHVRXQGHUWKHLQÁXHQFHRIQHROLEHUDOJOREDOL]DWLRQSRZHULV pulled into the capital because the government seat has made commitments to protect corporations and make business favorable for their capital accumulation. People are also pulled in, but they do not receive such obsequious protection. Neoliberal policies favors money over citizens--they EHFRPHFRQVXPHUVLQWKHFRQÀJXUDWLRQDQGVRLIWKH\KDYHQRPRQH\WRSXUFKDVHZKDWLVEHLQJ sold they are unimportant to the system. Thus the capital city becomes purely focused on monetary capital and the citizens there are merely peripheral, or, as we see through the discussions of the metro in 0XHUWRVLQFyPRGRV, subterranean. The components of the city that are monsterly are WKRVHFRPSRQHQWVWKDWDUHSDUWRIWKH´V\VWHPµRUWKHRQHVWRZKLFKRQO\WKHSULYLOHJHGEXVLQHVV and government elite have access. The antennas that indicate consumption of media and the cars that endanger pedestrians and force them underground to the metro tunnels are indicators of participation in the market, which is protected above all else.
7KH´5HDO0H[LFRµ
From this discussion of the well-used metaphor of the megacity, it should be clear that the citizens of the city, while they contribute to its monsterly condition, are endangered by it. The PRQVWHUDQGWKHSHRSOHLQLWDUHPRQVWURXVWKURXJKQRGHOLEHUDWHFRQVFLRXVIDXOWRIWKHLURZQ the conditions arise gradually more out of necessity and neglect than anything. Consequently, (OtDVDQG%HODVFRDUiQKDYHDPELYDOHQWUHODWLRQVKLSVZLWKWKHFLW\DQGLWVFLWL]HQV7KH\VHHWKH GDQJHURXVFRQGLWLRQVDQGPRGHOKRZWRQDYLJDWHWKHPLQRUGHUWRÀQGWKHDQVZHUVWKH\VHHN As part of the neopoliciaca genre, 0XHUWRV LQFyPRGRV addresses the monstrosity of the city to challenge the provenance of its powerful conglomeration and deconstruct the inaccessible mystique of capital crimes. The cityscape highlights the systemic corruption, perhaps because of LWVGHQVLW\DQGWKHSURSHQVLW\IRUH[WUHPHFRQGLWLRQV :RUNE\:LOOLDP1LFKROVHVSHFLDOO\KHOSVSODFH7DLER·VZRUNLQUHODWLRQWRWKHFRQGLWLRQV
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 QHROLEHUDOLVPLPSRVHVRQFLWLHVDQGFLWL]HQV$V1LFKROVDUJXHVDERXW7DLER·VZRUNJHQHUDOO\ WKRXJK LW DSSOLHV ZHOO WR KLV DQG 0DUFRV·V MRLQW SURMHFW ´E\ VHWWLQJ WKH LQYHVWLJDWLRQV RI WKHLU GHWHFWLYHVDJDLQVWWKHEDFNGURSRI0H[LFR&LW\µWKH\´H[SRVHWKHIUDJPHQWDWLRQDQGPDUJLQDOL]DWLRQ ZLWKLQWKHVRFLDOUHDOLW\DVXUEDQUHQHZDOSURMHFWVDGKHUHWRWKHORJLFRIFDSLWDOµ 1LFKROV ,QGHHG´0H[LFR&LW\·VUHDOLW\UHSUHVHQWVIRUWKHGHWHFWLYHDPDHOVWURPRIYLROHQFHFRUUXSWLRQ DQGGDQJHUWKDWDUHDQHYHUSUHVHQWWKUHDWWRWKHFLWL]HQVWKHUHµ 7KHFLW\·VLQIUDVWUXFWXUHLV GDQJHURXVIRUWKHFLWL]HQVDQG%HODVFRDUiQ·VPDLQJRDOLVWRSURWHFWLQGLYLGXDOVIURPWKDWGDQJHU ZKLFKLVPRVWRIWHQWKHUHVXOWRIDEVXUGH[SORLWDWLRQ+HGLVWLQJXLVKHVEHWZHHQWKHWUHDFKHURXV XUEDQHQYLURQPHQWDQGWKHFLWL]HQVZKREDWWOHLW(DUOLHULQ7DLER·VVHULHVZLWK%HODVFRDUiQDVWKH FRQVLVWHQWSURWDJRQLVW%HODVFRDUiQEHFRPHVGLVLOOXVLRQHGZLWKWKHPLGGOHFODVVDQGDEDQGRQV KLVSRVLWLRQWKHUHLQE\TXLWWLQJKLVHQJLQHHULQJMREGLYRUFLQJKLVZLIHDQGOHDYLQJKLVZHOONHSW KRXVHEHKLQG+HEHFRPHVDGHWHFWLYHRQDZKLPLQDQHIIRUWWREHFRPHSDUWRIZKDWKHFDOOVWKH ´UHDO0H[LFRµ+HVKDUHVDQRIÀFHZLWKDQXSKROVWHUHUDSOXPEHUDQGDVHZHUHQJLQHHUWRSURYH KLVZRUNLVFRQQHFWHGWRWKHUHDO0H[LFRRUWKHDFWXDOQRUPDOSHRSOHRI0H[LFR,Q7DLER·VQRYHOV· QDUUDWLYHVWKHGHWHFWLYHRIWHQUHÁHFWVRQKLVDPELYDOHQWUHODWLRQVKLSZLWKWKHFLW\DQGLWVFLWL]HQV 2QHVXFKUHYHULHJLYHVDVHQVHRIWKHLVVXHV ´+HDYHUUHGFRQÀUPHG 7KHUHLVQRKDWUHG-XVWDQ LPPHQVHLQÀQLWHVHQVDWLRQRIORYHIRUWKLVHYHUFKDQJLQJFLW\WKDWKHOLYHVLQDQGWKDWOLYHVLQKLP that he dreams of and that dreams of him. A determination to love that goes beyond all the rage, SRVVHVVLRQDQGVH[DQGGLVVROYHVLQWRWHQGHUQHVVµ(MI +LVZRUNDVGHWHFWLYHOHDGVKLPWR interact on a personal level with the people and mechanisms of the city. 0RVWRIWHQ%HODVFRDUiQVROYHVKLVP\VWHULHVE\WDONLQJWRSHRSOHDURXQGWKHFLW\ VRPH he meets by chance and some he seeks out because of possible connections that would help VROYHZKDWHYHUFDVHKHLVLQYHVWLJDWLQJ:KHQKHPDNHVPDMRUDGYDQFHVLQVROYLQJWKHP\VWHU\ in 0XHUWRVLQFyPRGRV, he is reviewing the documents and other information he has collected ZLWK(OtDV$OORIKLVYDULRXVRIÀFHPDWHVFRQWULEXWHWRWKLQNLQJWKURXJKWKHFOXHVDQGLVVXHVRIKLV FDVHV LQIDFWRQHRIWKRVHRIÀFHPDWHVDVVHUWVWKDWDQ\VXFFHVV%HODVFRDUiQKDVDVDGHWHFWLYHLV WKHUHVXOWRI´SRSXODUZLVGRPµ +HHPSKDVL]HVWKDWKHVROYHVFDVHV´E\OLVWHQLQJZDWFKLQJ ZDONLQJDURXQGDQGSDUWLFXODUO\UHDGLQJ%XWWKHPRVWLPSRUWDQWWKLQJVDUHZKDW>KH·V@OHDUQHG IURP>KLVRIÀFHPDWHV@µ &RPPRQVHQVHRU´FRKHUHQFHµDUHDOVRHVVHQWLDOFRQFHSWVLQKLV GLVFRYHU\ SURFHVV LI VRPHWKLQJ VHHPV WR ÀW RU LI LW VHHPV WR ÀW ZLWK VRPHRQH·V FKDUDFWHU RU FRQGLWLRQWRKDYHGRQHVRPHWKLQJ%HODVFRDUiQWUXVWVKLVLQVWLQFWVWREHOLHYHWKH\GLG,QRWKHU QRYHOV KH VROYHV P\VWHULHV VLPLODUO\ E\ FRQQHFWLQJ WR WKH ´UHDO 0H[LFRµ WKURXJK KLV DOO\ LQ D ODWHQLJKW'-ZKREURDGFDVWVPHVVDJHVWRKLPDQGWKHUHVWRIWKHODWHQLJKWOLVWHQHUV,W·VFOHDU that this DJ represents the potential of mass communication to generate solidarity among the KHWHURJHQHRXV PDVVHVWKH RSSUHVVHG RIWHQ GHMHFWHG ODWHQLJKW OLVWHQHUV ,QIRUPDWLRQ DERXW KLV FDVHV JHW SKRQHG LQ WR WKH UDGLR VWDWLRQ DQG SDVVHG SDFN WR %HODVFRDUiQ LQ D FROOHFWLYH
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 LQIRUPDWLRQH[FKDQJH7KHFDWHJRU\RI´ODWHQLJKWOLVWHQHUVµZLWKWKHVXQGU\UHDVRQVIRUEHLQJ awake in the middle of the night, encompasses more than the shift workers, the marginalized or oppressed, and the non-conformists who use the metaphoric cover of darkness to combat the V\VWHPWKDWWKUHDWHQVWKHP*DWKHULQJLQIRUPDWLRQIURPWKHRSSUHVVHGWKRVHHQGDQJHUHGE\WKH monster, but who are also average late-night listeners--represents a model of resistance to the V\VWHPLFH[SORLWDWLRQ 7DLERXVHV0H[LFR&LW\·VPRVWO\XQUHDOL]HGSRWHQWLDOLQLWVKLJKO\FRQFHQWUDWHGSRSXODWLRQ WRVKHGOLJKWRQWKHFDSLWDOFULPHVDQG0DUFRVVHQGV(OtDVWROHDUQKRZWRGRVR$WÀUVW0DUFRV VHHPVWRSHUSHWXDWHDQGVXSSRUWWKHSUHHPLQHQFHRIWKHFLW\7KHIDFWWKDW(OtDVKDGWRJRWRWKH FLW\WRLQYHVWLJDWHWKHFULPHVFRPPLWWHGLQKLVUXUDOVWDWHDQGWKDWKH´KDGWRKDQJDURXQGSLFNLQJ XSFLW\ZD\VDQGWKHQ>KH@FRXOGGRWKHMREµ JLYHVGHIHUHQFHWRWKHFDSLWDOFLW\DVDFHQWHU RISRZHULQIRUPDWLRQDQGMXVWLFH+RZHYHURYHUWKHFRXUVHRIWKHQRYHODQGWKURXJK(OtDV·V LQWHUDFWLRQVZLWKWKHFLW\DQG%HODVFRDUiQZHVHHWKDWWKHULJKWUHVRXUFHVDUHFRQFHQWUDWHGLQWKH city, but not because it is the seat of government and business power, but because it has a high FRQFHQWUDWLRQRISHRSOHZKRDUHSRWHQWLDODOOLHV)RUWKDWUHDVRQLWLVZKHUH(OtDVLVVXSSRVHGWR OHDUQKRZWRDVNWKHTXHVWLRQVEXWGRHVQ·WGLVFRYHUDQ\RIWKHDQVZHUVWKHUH(OtDVWDONVDERXW WKH´VFUHZHGSHRSOHµZKRDUHH[SORLWHGE\QHROLEHUDOSROLFLHVDQGFDSLWDOGULYHQGHFLVLRQVDQG KHPHHWVPDQ\DQGLQFOXGHVWKHPLQVROYLQJKLVFDVHV,QRQHRI0DUFRV·VPRVWFRQYLQFLQJO\ JHQXLQHQDUUDWLYHPRPHQWV(OtDVGHVFULEHVWKHSURFHVVRIXQGHUVWDQGLQJWKHGLIIHUHQFHEHWZHHQ WKHPRQVWHUFLW\DQGLWVUHVLGHQWV
´$OOLQDOO,KDGDUHDOKDUGWLPHLQWKHEHJLQQLQJEXWWKHQODWHU,EHJDQWR XQGHUVWDQGFLW\ZD\VDQG,NLQGDOLNHGLW(O6XSKDGWROGPHWKDWLI\RX want to know the Monster, you have to walk it. Walk through it, he told PHDQG\RX·OOVHHWKDWWKHFLW\LVEXLOWRQWKHSHRSOHZKRFDQVDYHLW6R WKDW·V ZKDW , GLG , ZDONHG DOO DURXQG WKDW FLW\$QG , ZHQW HYHU\ZKHUH DQGHYHU\ZKHUH,ZHQW,UDQLQWRSHRSOHOLNHXV=DSDWLVWDVZKLFKPHDQV SHRSOH ZKR DUH VFUHZHG ZKLFK PHDQV SHRSOH ZLOOLQJ WR ÀJKW ZKLFK PHDQVSHRSOHZKRGRQ·WJLYHXSµ
,QWKDWSURFHVV(OtDVFUHDWHVDSRZHUIXOLPDJHRIGLVFRYHULQJWKHSRWHQWLDORI%HODVFRDUiQ·V ´UHDO 0H[LFRµ 7DSSLQJ LQWR WKDW SRWHQWLDO MLEHV ZLWK WKH SDWWHUQ WKH =DSDWLVWDV IROORZ DV WKH\ SXEOLFL]HWKHLUPHVVDJHDQGJRDOVRIUDLVLQJDZDUHQHVVORFDOO\QDWLRQDOO\DQGJOREDOO\>@ ,QDGGLWLRQWRWKHSHRSOHWKDW(OtDVDQG%HODVFRDUiQFDOOXSRQORFDOO\WRKHOSVROYHWKH P\VWHULHVWKH\ERWKUHDFKRXWVLGH0H[LFR&LW\WRJDWKHUWKHLQIRUPDWLRQQHFHVVDU\(DFKGHWHFWLYH KDVDFRPSXWHULQJHQXHKDFNHULQD860H[LFRERUGHUWRZQWRJLYHKLPYDOXDEOHLQIRUPDWLRQIRU H[SODLQLQJWKHFRQIXVLQJLGHQWLW\RIWKHVRFDOOHG0RUDOHVZKRPLJKWEHDPXUGHUHUDQGWKHHYHQ more confusing answering machine messages from a dead person. Additionally, in his sections, 0DUFRVGHOLEHUDWHO\VKRZVKRZWKH=DSDWLVWDVGHVLUHWKHVROLGDULW\WKDWFRPHVIURPFRQFHQWUDWHG
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 SRSXODWLRQV,QZKDWKDVEHFRPHDFOLFKpRI=DSDWLVWDLQFOXVLYHQHVV(OtDV·VSRVLWLRQDVQDUUDWRULV ceded multiple times to other characters who have peripheral connections with the story at hand. 7KH\DOOKDYHVRPHWKLQJWRVD\DERXWWKHRSSUHVVLYHJRYHUQPHQWRUWKHLQMXVWLFHVSHUSHWXDWHG by the neoliberal system. While these narrative techniques frequently feel heavy-handed—both 0DUFRV·VDWWHPSWVDQGWKHZD\WKH\PLUURU7DLER·VWRVKRZWKHLPSRUWDQFHRIXVLQJWKHLQIRUPDWLRQ JDWKHUHGWKURXJKLQGLYLGXDOH[SHULHQFHWRKHOSRWKHULQGLYLGXDOVQHDUDQGIDU³HPSKDVL]HWKH potential of the population to overthrow the power of the capital system. 2QH H[DPSOH RI WKLV LV D UHIHUHQFH WR D UHSRUW DERXW WKH ÀQGLQJV RI D KXPDQ ULJKWV commission in Chiapas published in La JornadaWKHQHZVSDSHULQZKLFKWKHQRYHO·VLQVWDOOPHQWV ZHUHSXEOLVKHGRULJLQDOO\(OtDVH[SHFWHGUHDGHUVWRKDYHUHDGWKHUHSRUWZKLFKLQGLFWVWKHZD\ WKH0H[LFDQSDUDPLOLWDU\KDYHEHHQWUHDWLQJWKH=DSDWLVWDVDQGFLWL]HQVRI&KLDSDVDQGKDYH DQRSLQLRQDERXWLW%\UHIHUULQJWRWKHQHZVSXEOLVKHGLQWKHQHZVSDSHUMXVWGD\VSULRUWRWKH novel installment, 0XHUWRVLQFyPRGRV models the need for individuals to become detectives— not because there are simple answers, but because asking the right questions, being informed JHQHUDOO\DQGXVLQJWKDWLQIRUPDWLRQWRÀJKWFRPSODFHQF\SUHVHQWVRSSRUWXQLWLHVWRGLVPDQWOH the oppressive conditions under which they live. Even if with no other method, they can do that WKURXJKDZDUHQHVVRIWKHPHFKDQLVPVDQGV\VWHPVWRZKLFKWKH\DUHVXEMHFWHG Each detective makes productive connections to solve their crimes, but the fundamental connection on which the novel is based is the two authors and their protagonists cooperating. Each detective investigates crimes perpetrated by someone called Morales. Because of the shared name of the criminal, the two detectives initially assume they should work together. 7KHWZRGHWHFWLYHVPHHWEULHÁ\LQ0H[LFR&LW\WRFROODERUDWHEXWZKHQWKH\GLVFRYHUWKHUHDUH multiple criminals named Morales they decide to split their efforts and so each works to bring to MXVWLFHWKH0RUDOHVZKRRSHUDWHVLQKLVYLFLQLW\7KHFULPHVUHODWHWRUHDOHYHQWVWKDWKDYHEHHQ either deliberately covered up, gone unnoticed, or are ongoing unhindered, including attempts WRSULYDWL]HDQGVHOOWKHODQGDQGUHVRXUFHVRIWKH/DFDQGRQ-XQJOHLQ&KLDSDVWKH´GLUW\ZDUµ DJDLQVW0H[LFDQJXHUULOODVLQWKH VDQGYLROHQWDWWDFNVRQWKH VWXGHQWPRYHPHQWDQG PRUHUHFHQWO\SUR=DSDWLVWDSHDVDQWVLQ&KLDSDV7KHDXWKRUVDQGWKHLUUHVSHFWLYHGHWHFWLYHV VKDUHLQIRUPDWLRQWKURXJKDYDULHW\RIPHWKRGVWRHPSKDVL]HWKHEHQHÀWVRIFROODERUDWLRQ³HYHQ IURP GLIIHUHQW ORFDOHV 7KH\ KDYH WKH FRPPRQ JRDO RI ZDQWLQJ ´WR JUDE WKH EDVWDUG WKDW ZDV GRLQJKLVGLUW\EXVLQHVVKHUHRURYHUWKHUHµEXWWKH\GHFLGHWKDWRQO\IRFXVLQJRQRQH0RUDOHV DW D WLPH LV QRW WKH PRVW HIÀFLHQW ZD\ RI VWRSSLQJ WKH FULPHV WKH 0RUDOHVHV DUH FRPPLWWLQJ 7KH\ DJUHH WR KDYH HDFK ´WDNH RII LQ KLV RZQ GLUHFWLRQ DQG RSHUDWH LQ KLV RZQ WHUULWRU\WKDW ZRXOGEH%HODVFRDUiQLQWKH0RQVWHUDQG>(OtDV@LQ&KLDSDVEXWKHOSLQJHDFKRWKHUZLWKFRQVWDQW LQIRUPDWLRQH[FKDQJHVµ (YHQWKRXJKLWVHHPVOLNHDOOWKHLQIRUPDWLRQDERXWFULPLQDODFWLYLW\ DQGWKHSRZHUWRVWRSVWDWHVXSSRUWHGLQMXVWLFHLVFRQFHQWUDWHGLQWKHJRYHUQPHQWFDSLWDOZLWK
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 this decision the novel shows that because crimes have local consequences, they can be solved DQGEURXJKWWRMXVWLFHRQWKHSHULSKHU\7KXV7DLERDQG0DUFRVGLVPDQWOHWKHIDOVHSHUFHSWLRQ WKDWLQIRUPDWLRQDQGMXVWLFHDUHQHFHVVDULO\FRQFHQWUDWHGLQWKHFDSLWDOLQ0XHUWRVLQFyPRGRV.
3RSXODU*HQUH&ULWLFDO0HVVDJH
(OtDVKHDGVEDFNWR&KLDSDVHPSRZHUHGWR¿QGORFDOVROXWLRQVWRWKHFULPHVFRPPLWWHG LQKLVYLFLQLW\DQGDFWXDOO\GRHVVXFFHHGLQWDNLQJGRZQRQH0RUDOHV+HFDQEHFDXVHRIWKH QHZIRXQG GHSHQGHQFH RQ SHULSKHUDO LQIRUPDWLRQ JDWKHULQJ7KLV LV D VNLOO DQG YDORUL]DWLRQ KH OHDUQVRUDWOHDVWVHHVPRGHOHGLQWKHGHWHFWLYHZRUNRI%HODVFRDUiQ,QIDFWWKHGHWHFWLYH¿FWLRQ JHQUHLVSHUIHFWIRUWKHPRGHOLQJWKDW0DUFRVSUDFWLFHVLQZKLFKKHH[SHFWVUHDGHUVWRPLPLFWKH KDELWVWKDWUHVXOWLQSURGXFWLYHFRQQHFWLRQVERWKZLWKLQIRUPDWLRQDQGDPRQJFKDUDFWHUV(DUOLHU ,TXRWHGIURP3HUVHSKRQH%UDKDPWRFRQ¿UPWKDW/DWLQ$PHULFDQGHWHFWLYH¿FWLRQLVRIWHQRYHUWO\ SROLWLFDOEXWWKHUHLVDOVRDORJLFWRXVLQJWKHJHQUHWKDWUHYHDOVWKHIUXVWUDWLQJSDUDGR[HVRIWKH QHROLEHUDOPDUNHW,WLVDSRSXODUFRPPRGLW\ZLWKIRUPXODLFFRQYHQWLRQVWKDW7DLERDQG0DUFRV XVH GHOLEHUDWHO\ WR FKDOOHQJH WKH FRQVHTXHQFHV RI DGYDQFHG IUHH PDUNHW FDSLWDOLVP 1LFKROV DOVRPHQWLRQHGHDUOLHUDUJXHVWKDWLWLV³DJHQUHRISRSXODU¿FWLRQLURQLFDOO\ORFDWHGZKHUHPDUNHW DSSHDODQGOLWHUDWXUHLQWHUVHFW´ VRLWSURYLGHVDQH[FHOOHQWYHKLFOHIRUFRPPXQLFDWLQJZLWK WKHJHQHUDOSRSXODWLRQDERXWWKHQHJDWLYHFRQVHTXHQFHVRIWKHQHROLEHUDOV\VWHPZKLOHXVLQJWKH FRPPRGL¿FDWLRQWKDWV\VWHPHQFRXUDJHVWRGLVVHPLQDWHWKDWPHVVDJH+HDUJXHVWKDWLQJHQHUDO 7DLERXVHVLWWR³LQ¿OWUDWHWKHPDUNHWZLWKDµSRSXODU¶IRUPXODLFWH[WZKLOHFULWLTXLQJWKHQHROLEHUDO VWUDWHJLHVWKDWFRPPRGLI\LW´ 1LFKROV 0RUHRYHU7DLER´WDNH>V@DGYDQWDJHRIWKHPDVVDSSHDO RI >WKH@ JHQUH >E\@ LQIXV>LQJ@ LW ZLWK OLWHUDU\ IUDJPHQWDWLRQ DHVWKHWLF H[SHULPHQWDWLRQ DQG VHOI referential parody. The result «FRQYH\>V@GHHSO\SROLWLFDOPHVVDJHVWKDWVXEYHUWWKHKHJHPRQLF QDUUDWLYHVRIPRGHUQLW\E\LQYHVWLJDWLQJLVVXHVRIWUXWKSRZHUGRPLQDQFHDQGMXVWLFHLQ0H[LFR GXULQJWKHDJHRIQHROLEHUDOLVP´ 1LFKROV 3HUKDSVLWZDV7DLER¶VHYLGHQWVXFFHVVXVLQJWKH SRSXODUJHQUHWRVXEYHUWWKDWLQVSLUHG0DUFRVWRVHHNKLPRXWDVFROODERUDWRUWRDFFHVVDVZLGH DQDXGLHQFHDVSRVVLEOHZLWKMuertos incómodos Muertos incómodos LVQRH[FHSWLRQLQ7DLER¶VXVHRIDSRSXODUIRUPWRFKDOOHQJHWKHYHU\ V\VWHPWKDWGLVVHPLQDWHVLWE\HQFRXUDJLQJLQYHVWLJDWLRQ²DFRQFHSWWKDW¿WVSHUIHFWO\ZLWKWKH GHWHFWLYH IRUP 0DUFRV DV WKH =DSDWLVWD VSRNHVSHUVRQ VLPLODUO\ XVHG SRSXODU PHGLD OLNH WKH ,QWHUQHWWRVHQGKLVVXEYHUVLYHFRPPXQLTXpV7KH=DSDWLVWDSXEOLFLW\HIIRUWVPDNHDVKRZRI XVLQJFRQYHQWLRQDOIRUPVWRVKRZZKDW¶VZURQJZLWKWKHP:KHQLQGLYLGXDOVDUHVXEMXJDWHGE\ WKHV\VWHPLWWDNHVWKHV\VWHPWRUHDFKWKHPEXWJLYLQJWKHPQHZPHVVDJHVDQGPRGHOVKDVWKH JUHDWSRWHQWLDOWRHPSRZHUWKHP7KHQRYHOZDVSXEOLVKHGLQLQVWDOOPHQWVLQDSRSXODUQHZVSDSHU WR HQFRXUDJH UHDGHUVKLS DQG WR PDNH FOHDU WKH FRQQHFWLRQ EHWZHHQ ZKDW ZDV KDSSHQLQJ LQ
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 0H[LFRDQGWKHSURFHVVRILQYHVWLJDWLRQPRGHOHGLQWKHQDUUDWLYH8VLQJWKHSRSXODUGHWHFWLYH ¿FWLRQJHQUHPDNHVLWDFFHVVLEOHDQGHQWLFLQJWRDZLGHYDULHW\RIUHDGHUV,WDOVRGUDZVUHDGHUV LQE\ORRNLQJIRUWKHFOXHVDORQJZLWKWKHGHWHFWLYHV²DKDELW0DUFRVGHOLEHUDWHO\PRGHOVIRUKLV WH[WXDOFRPPXQLW\7KRXJK7DLER¶VFKDSWHUVDUHPRUHRULHQWHGWRZDUGWKHSRSXODUJHQUHERWK DXWKRUVGUDZRQWKHSRSXODUP\VWHU\IRUPWKDWDOVRPRGHOVWKHW\SHRIDWWHQWLRQUHDGHUVZRXOG QHHGWRSD\WRLQMXVWLFHVZKRVHSHUSHWUDWRUVDUHSURWHFWHGE\WKHQRUPDWLYHV\VWHP7\SLFDORI 0DUFRV¶VLURQLFIRUPVWKRXJKWKHP\VWHU\SXWVSLHFHVWRJHWKHUDVWKH\DUHGLVFRYHUHGWKRVH SX]]OHSLHFHVDUHKLGGHQLQSODLQVLJKW²LQWKHQHZVSDSHULQWKHWUHDWPHQWRIWKHLQGLJHQRXVLQ WKHJRYHUQPHQWSURJUDPVGHYHORSHGHWF,QWKLVZD\WKHDXGLHQFHEHFRPHVGHWHFWLYHVMXVWDV (OtDVDQG%HODVFRDUiQDUH 7KHDFWLYHDXGLHQFHSDUWLFLSDWLRQHQFRXUDJHGE\Muertos incómodos LVW\SLFDORIWKHVHULDO JHQUHZKLFKGUDZVODUJHDXGLHQFHVEHFDXVHLWLVGHOLEHUDWHO\DOOLQFOXVLYH-XVWDVWKH=DSDWLVWDV¶ FRPPXQLWLHVVSHFL¿FDOO\VHHNODUJHFRPPXQLWLHVDQGLQFOXGHDOOWKHVHULDOIRUPFKDUDFWHULVWLFDOO\ GRHVVRDVZHOOVKRZLQJWKHSDUDOOHOVEHWZHHQ0DUFRV¶VLQWHQWDQGWKHIRUP¶VSRWHQWLDO $ GHHSHQLQJ RI WKH DOOLQFOXVLYHQHVV RI WKHLU VHOHFWHG IRUP 7DLER DQG 0DUFRV¶V WH[WV DUHRSHQHQGHGDQGGHOLEHUDWHO\GHI\VLPSOLVWLFUHVROXWLRQRUH[SHFWHGSDWWHUQV)RUH[DPSOH LQ Muertos incómodos DV ZHOO DV WKURXJKRXW KLV SRSXODU VHULHV SULRU WR Muertos incómodos 7DLER¶V GHWHFWLYH %HODVFRDUiQ VSHFL¿FDOO\ GLVUXSWV WKH GHWHFWLYH ¿FWLRQ QRUPV DQG VKRZV WKH VKRUWFRPLQJVRIWKHYHU\DFWRIGHWHFWLYHZRUNLQDVHOIDZDUHZD\7DLERPDNHVWKHQDUUDWLYH PHFKDQLVPV RI WKH GHWHFWLYH JHQUH WUDQVSDUHQW WKURXJK WKH FKDUDFWHUL]DWLRQ RI %HODVFRDUiQ DV DQ XQOLNHO\ VRPHWLPHV LQHSW GHWHFWLYH ZKRVH LQWHUQDO PRQRORJXH RIWHQ FRPSDUHV KLPVHOI DQGKLVDFWLRQVWRWKRVHWKDWZRXOGEHH[SHFWHGLQDIRUPXODLFFULPH¿FWLRQ(YHQWKRXJKWKHUH DUHPRPHQWVZKHQ%HODVFRDUiQVHHPVWRZDQWWR¿OOWKHVWHUHRW\SLFDOUROHKHRIWHQGRHVWKH H[DFWRSSRVLWHRIZKDWWKHW\SLFDOKHURZRXOGKDYHGRQH7KRXJK0DUFRV¶VLQVWDOOPHQWVFDQEH FULWLFL]HGIRUWKHLULQFOXVLYHJLPPLFNVWKDWVHHPDPDWHXULVK(OtDVDOVRLVQRWWKHW\SLFDOGHWHFWLYH WKRXJKKHLVVXFFHVVIXOEHFDXVHKHLVZLOOLQJWRUHDGDQGOLVWHQWRSHRSOHVKRZLQJWKDWKHLV RSHQPLQGHGLQFOXVLYHDQGKHOSIXO(OtDVDQG%HODVFRDUiQDOVRRIWHQDYRLGIROORZLQJVWHSE\ VWHSORJLFZKHQVROYLQJFULPHV7KH\WU\WRDVNWKHULJKWTXHVWLRQVEXWNQRZWKDWWKHUHZLOOQRW EHDVLPSOHDQVZHUWRWKHTXHVWLRQV&RQVHTXHQWO\Muertos incómodosHVVHQWLDOO\VKRZVWKDW WKHPRQVWURXVPHVVWKDWLV0H[LFRRU0H[LFR&LW\VSHFL¿FDOO\IUXVWUDWHVWKHORJLFRIWKHVLPSOH ³ZKRGXQLW´TXHVWLRQDQGDQVZHU7KHVLPSOHDQVZHUZRXOGEHWKDWWKHSHUSHWUDWRURIWKHFULPHV² WKHVRFDOOHG0RUDOHV²LVDVLQJOHLQGLYLGXDOEXWEHFDXVHWKHUHDUHDFWXDOO\PDQ\FULPLQDOVFDOOHG 0RUDOHVDQGWKH0RUDOHVWKDWFDXVHVVRPDQ\SUREOHPVLQ&KLDSDVPD\DFWXDOO\EHWKHV\VWHP LWVHOIZHVHHWKDWLQYHVWLJDWLQJWKHV\VWHPGH¿HVUHVROXWLRQ7KHUHLVQ¶WDVLPSOHZD\WREULQJ MXVWLFHEXWWKHSRLQWLVDVNLQJWKHTXHVWLRQVDQGXVLQJWKHULJKWUHVRXUFHVWR¿QGWKHPXOWLSOLFLW\ RIDQVZHUV²RUDWOHDVWRQHWKDWZLOODVVLVWLQDVSHFL¿FVLWXDWLRQ
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 ,QMuertos incómodosWKHFDSLWDOODQGVFDSHPD\EHPRQVWURXVDQGLQWLPLGDWLQJEXWWKH NH\LVWU\LQJWR¿QGDZD\WRXVHWKHPRQVWHUDJDLQVWWKHULJKWHQHPLHV/LNHWKHDQVZHUWRVR PDQ\RWKHUQHROLEHUDOFRQXQGUXPVWKHVROXWLRQZKLFKLVUHDOO\MXVWWKHVWDUWWRWKHVROXWLRQLV DSDUDGR[ WRVXUYLYHRQHPXVWXVHWKHPRQVWHUDJDLQVWLWVHOI7KLVPD\VHHPWRRRSWLPLVWLFRU LGHDOLVWLFDQGWKHUHLVFHUWDLQO\DWURXEOLQJODFNRIFRQQHFWLRQEHWZHHQWKHPHVVDJHRIWKHWH[WDQG LWVPHGLXPRIFLUFXODWLRQEXWQHROLEHUDOLVPWKULYHVRQWKDWGLVFRQQHFW7KDWLVRQHUHDVRQZK\WKH =DSDWLVWDVWDNHVXFKSDLQVWREHRYHUWDERXWWKHPHFKDQLVPVRIFLUFXODWLRQ)RUWKHPLWVHHPV WKH¿UVWVWHSLVUHDOO\WRUDLVHDZDUHQHVVDQGWKHQJUDVSFRQWURORIDWWKHYHU\OHDVWKRZWKH\ DQGLQIRUPDWLRQDERXWWKHPLVFLUFXODWHG5HFDOOWKDWRQFH(OtDVLVDZDUHRIKLVSRVLWLRQLQ³WKH PRQVWHU´WKHPDFKLQHU\LVQRORQJHULQWLPLGDWLQJDQGJDUJDQWXDQ,QVWHDGSHUVSHFWLYHDOORZVKLP EUHDNLWGRZQWRLWVFRQVWLWXHQWSDUWVDQGJHWWRNQRZWKHSHRSOHWKDWUHVLGHWKHUHLQ7KHSHRSOH WKHFLWL]HQVDUHQRWUHFRJQL]HGE\WKHV\VWHPIRUWKHLUSRVLWLYHSRWHQWLDOLQWKHZRUNLQJVRIWKH PRQVWHUDQGLIWKH\FRQWLQXHXQDZDUHRIWKHV\VWHPLFYLROHQFHWKHFDSLWDOFULPHVZLOOFRQWLQXH WRH[SORLWWKHP+RZHYHUZKHQFRQVXPHUVUHFRJQL]HHDFKRWKHUDVFLWL]HQVDQGSRWHQWLDODOOLHV DQGLQIRUPDQWVDV%HODVFRDUiQDQG(OtDVVHHRWKHULQGLYLGXDOVWKHPRQVWURXVV\VWHPEHFRPHV XVHIXOWRWKHP$FFRUGLQJWRMuertos incómodosGHWHFWLRQLVWKH¿UVWVWHSWRZDUGDUHDOQRW PRQVWURXV0H[LFR
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Endnotes
>@,DPDZDUHRIWKHH[WHQVLYHFULWLFLVP0XHUWRVLQFyPRGRVhas received because of its heavy-handed SROLWLFDOPHVVDJH0DUFRV·VFKDSWHUVDUHSDUWLFXODUO\GHULGHGIRUEHLQJDPDWHXULVKRURIDFDUQLYDOHVTXH DWWLWXGH:KLOH,DJUHHWKDWLWVOLWHUDU\PHULWVDUHQRWWKHEHVWWKHPHWKRGVDQGLGHDVEHKLQGWKHWH[WLV LPSRUWDQW IRU QDYLJDWLQJ RXU DGYDQFHG FDSLWDOLVWLF ZRUOG DQG WKHUHIRUH ZRUWK\ RI VWXG\1HYHUWKHOHVV , ZDQWWRJLYHYRLFHWRWKHFULWLFLVP,QSDUWLFXODU*OHQ&ORVHZKRZULWHVH[WHQVLYHO\RQWKHUHFHQWODUJH LQFUHDVHLQGHWHFWLYHÀFWLRQWH[WVIURP/DWLQ$PHULFDFRPSODLQVWKDW0DUFRV·VZULWLQJKDV´DQLQGRPLWDEOH SHUVLVWHQFHRISURSDJDQGLVWLFUKHWRULFDQGYRLFHDOEHLWÀOWHUHGWKURXJKDVHULHVRIFRORUIXOLQWUDGLDJHWLF QDUUDWRUVµ +HFDOOV0DUFRVDQ´LGHRORJXHµDQGDUJXHVWKDWWKHHPSKDWLFGLYHUVLW\RIWKHFKDUDFWHUV ZKRVHSHUVSHFWLYHVDUHVKDUHGLVPHUH´VXUIDFHGLYHUVLW\µLQWKDWLW´EHOLHVDQXQPLVWDNDEOHRUXQGHUO\LQJ ideological uniformity or monologism, leaving the reader with the ultimate impression of a central narrative LQWHOOLJHQFHFOXPVLO\GHOHJDWLQJWKHH[SUHVVLRQRIGRFWULQHRUSUHDFKLQJ, as it were, throughWKHFKRLUµ
>@)RUDGGLWLRQDODUJXPHQWDWLRQRQWKHHIIHFWVQHROLEHUDOSROLF\KDVKDGRQFLWLHVVHHDOVR'DYLV0LNH Planet of Slums9HUVR 3ORHJ)UHGHULFNYDQGHU 3RHOKHNNH6WHYHQGlobalization and the Rise of Mega-cities in the Developing World&DPEULGJH-RXUQDORI5HJLRQV(FRQRP\DQG6RFLHW\ 6DVNLD Sassen. Cities in a World EconomyQG(GLWLRQ3LQH)RUJH3UHVV
>@7KRPDV2OHVHQ·VSRLQWUHJDUGLQJLQWHUQDWLRQDOFRQQHFWLRQVPDGHE\WKH=DSDWLVWDVLOOXVWUDWHVWKLVDV ZHOO ´7KH=DSDWLVWDV·UHODWLRQVKLSZLWKWUDQVQDWLRQDODFWLYLVWVLVKLJKO\JOREDOLVHGLQWKHVHQVHWKDWLWLVEDVHG RQPXWXDOLW\ LQFRQWUDVWVROLGDULW\UHODWLRQVKLSVLQWKHFROGZDUSHULRGLQFOXGLQJ7KLUG:RUOGVROLGDULW\ tended to have more of a one-way character in which there was a clear distinction between providers and EHQHÀFLDULHVRIVROLGDULW\7KHVHFKDQJHVWRDODUJHH[WHQWUHVXOWIURPVRFLDOLQQRYDWLRQVRQWKHSDUWRIWKH =DSDWLVWDVWKDWLVWKHLUDELOLW\WRPHGLDWHFRQVWDQWO\EHWZHHQWKHSDUWLFXODUDQGWKHXQLYHUVDOµ 2OHVHQ
L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Works Cited
$OPHLGD7HUHVD´1HROLEHUDO3ROLF\DQGWKH*URZWKRI6OXPVµProspect: Journal of International Affairs0D\:HE$XJXVW
%DOLEUHD(QUtTXH] 0 3D] ´3DFR ,JQDFLR 7DLER ,, \ OD UHFRQVWUXFFLyQ GHO HVSDFLR FXOWXUDO PH[LFDQRµ&RQÁXHQFLD 5HYLVWD+LVSiQLFDGH&XOWXUD\/LWHUDWXUD 3ULQW
Braham, Persephone. Crimes against the State, Crimes against Persons: Detective Fiction in Cuba and Mexico0LQQHDSROLV01 8RI0LQQHVRWD33ULQW
&ORVH *OHQ 6 ´0XHUWRV LQFyPRGRV 7KH 0RQRORJLF 3RO\SKRQ\ RI 6XEFRPDQGDQWH 0DUFRVµ Ciberletras 1S:HE 2FWREHU
Davis, Mike. Planet of Slums/RQGRQ1HZ +DUYH\'DYLG´3RVVLEOH8UEDQ:RUOGVµMegacities: Exploring a Sustainable Future. Edited by 6WHHI%XLMV:HQG\7DQDQG'HYLVDUL7XQDV5RWWHUGDP 3XEOLVKHUV² Print. +LOO5LFKDUG&KLOG´5HYLHZRI¶7KH1HROLEHUDO&LW\ *RYHUQDQFH,GHRORJ\DQG'HYHORSPHQWLQ $PHULFDQ8UEDQLVP· E\-DVRQ+DFNZRUWKµContemporary Sociology :HE$XJXVW Marcos, Subcomandante. Our Word Is Our Weapon: Selected Writings. Ed. Juana Ponce de /HyQ1HZ 0DUFRV6XEFRPDQGDQWHDQG3DFR,JQDFLR7DLER,,7KH8QFRPIRUWDEOH'HDG ZKDW·VPLVVLQJLV missing)7UDQV&DUORV/RSH]/RQGRQ 6HUSHQW·V7DLO3ULQW ---. 7KH8QFRPIRUWDEOH'HDG ZKDW·VPLVVLQJLVPLVVLQJ 7UDQV&DUORV/RSH]1HZ ---. 0XHUWRVLQFyPRGRV IDOWDORTXHIDOWD 0H[LFR&LW\ -RDTXtQ0RUWL]3ULQW ´0XHUWRVLQFyPRGRV IDOWDORTXHIDOWD .µ La Jornada>0p[LFR')@6XQGD\HGLWLRQV'HFHPEHU ²)HEUXDU\0LFURÀOP Nichols, William J. Transatlantic Mysteries: Crime, Culture, and Capital in the “Noir Novels” of Paco Ignacio Taibo II and Manuel Vázquez Montalbán./HZLVEXUJ3$ %XFNQHOO83 Print. Olesen, Thomas. “Globalising the Zapatistas: From Third World Solidarity to Global Solidarity?” Third World Quarterly ². Print. 3HDUFH )UHG ´0HWURSROLWDQ 0RQVWHUVµ Geographical (Campion Interactive Publishing) 1S:HE$XJ 3ORHJ)UHGHULFNYDQGHUDQG6WHYHQ3RHOKHNNH´*OREDOL]DWLRQDQGWKH5LVHRI0HJDFLWLHVLQ WKH'HYHORSLQJ:RUOGµCambridge Journal of Regions, Economy and Society 3ULQW 5RELQVRQ /LQGD DQG /XF\ &RQJHU ´7KH 0RQVWHU 2I 0H[LFR0H[LFR &LW\ PD\RUHOHFW & &iUGHQDVµU.S. News & World Report -XO :HE$XJ L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Sassen, Saskia. Cities in a World Economy QG(G 7KRXVDQG2DNV 6$*(3XEOLFDWLRQV,QF 3ULQW 7DLER3DFR,JQDFLR,,Cosa fácil0H[LFR&LW\ 3DWULD3UR[HPD 3ULQW Suggested Citation: 5RWKOLVEHUJHU:LHVW/HLVD´'HWHFWLYH)LFWLRQLQWKH0RQVWHU0H[LFR&LW\µIRUXPIRULQWHUDPHULFDQ UHVHDUFK 0D\ $YDLODEOHDW ZZZLQWHUDPHULFDGH L. Rothlisberger Wiest ÀDU9RO 0D\ Detective Fiction in the Monster IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661