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The Post-Dictatorial Thriller Form THE POST-DICTATORIAL THRILLER FORM A Dissertation by AUDREY BRYANT POWELL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2012 Major Subject: Hispanic Studies The Post-Dictatorial Thriller Form Copyright 2012 Audrey Bryant Powell THE POST-DICTATORIAL THRILLER FORM A Dissertation by AUDREY BRYANT POWELL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Alberto Moreiras Committee Members, Juan Carlos Galdo Teresa Vilarós Andrew Kirkendall Head of Department, Alberto Moreiras May 2012 Major Subject: Hispanic Studies iii ABSTRACT The Post-Dictatorial Thriller Form. (May 2012) Audrey Bryant Powell, B.A., Baylor University; M.A., Baylor University Chair of Advisory Committee: Dr. Alberto Moreiras This dissertation proposes a theoretical examination of the Latin American thriller through the framework of post-dictatorial Chile, with a concluding look at the post civil war Central American context. I define the thriller as a loose narrative structure reminiscent of the basic detective story, but that fuses the conventional investigation formula with more sensational elements such as political violence, institutional corruption and State terrorism. Unlike the classic form, in which crime traditionally occurs in the past, the thriller form engages violence as an event ongoing in the present or always lurking on the narrative horizon. The Chilean post-dictatorial and Central American postwar histories contain these precise thriller elements. Throughout the Chilean military dictatorship (1973-1990), the Central American civil wars (1960s-1990s) and the triumph of global capitalism, political violence emerges in diversified and oftentimes subtle ways, demanding new interpretational paradigms for explaining its manifestation in contemporary society. iv In Chile, however, despite a history ripe with the narrative elements of the thriller, a consistent thriller novelistic tradition remains underdeveloped. My research reveals that contemporary Chilean – and by extension, Latin American – fiction continues to be analyzed under the aegis of melancholy and the tragic legacy of dictatorship or revolutionary insurgency. Therefore, a theoretical examination of the post-dictatorial/postwar thriller answers the need to not only move beyond previously established literary and political paradigms toward a more nuanced engagement with the present, but to envision a form of thinking beyond national tragedy and trauma. This dissertation analyzes samples of the post-dictatorial detective narrative and testimonial account, which constitute the mirroring narrative components of the thriller. The detective texts and testimonial writings analyzed in this project demonstrate how the particular use of the detective story and testimonial account mirror one another at every fundamental level, articulating what I am theorizing as the thriller structure. Using the theoretical approximations of John Beverley, Brett Levinson, Alberto Moreiras, Jon Beasley- Murray, Michel Foucault, Giorgio Agamben, Carl Schmitt and Carlo Galli, this project makes an original inquiry into why the thriller emerges as the most apt narrative framework for exploring the forms of violence in present-day Latin America. v DEDICATION This dissertation is dedicated to the loving memory of my grandmother, Virginia W. Rounsaville, 1915 – 2009. vi ACKNOWLEDGEMENTS I would like to first thank my mentor, Alberto Moreiras, for his guidance and insightful advice during the process of completing this dissertation. I would also like to thank my committee, Juan Carlos Galdo, Teresa Vilarós and Andrew Kirkendall for their helpful comments and suggestions and their attentive reading of my manuscript. I am very thankful for these four professors for helping to shape this project, and for their gracious suggestions for my future research endeavors. I would also like to thank Guillermo García-Corales and Alicia Gandulfo Soto for their companionship and support throughout the course of my graduate studies, Diane Rolnick, Miguel Zárate, Noelle Gray and Patricia Timmons for their invaluable friendship, and the Hispanic Studies graduate students and professors who made my doctoral program so enjoyable. I am eternally grateful to my family: my parents, Douglas and Patricia Bryant, and my siblings, Stephen and Martha, for their unfailing love. Lastly, I owe the completion of this dissertation to my husband, Toby Powell, who has been my most consistent source of encouragement. vii TABLE OF CONTENTS Page ABSTRACT................................................................................................... iii DEDICATION................................................................................................ v ACKNOWLEDGEMENTS............................................................................. vi TABLE OF CONTENTS................................................................................ vii CHAPTER I INTRODUCTION ....................................................................... 1 Post-Dictatorial Melancholy and Memory Politics.............. 8 The Post-Dictatorial Detective and Mourning .................... 19 A Critique of Mourning/Melancholy.................................... 26 Mourning/Reconciliation..................................................... 27 Memory/Forgetting............................................................. 29 The Detective, the Critic and the Victim............................. 34 The Post-Dictatorial Thriller: A Theoretical Approximation............................................................ 39 II MELODRAMA, MELANCHOLY AND DETECTIVE FICTION: TOWARD A GENEALOGY OF THE THRILLER.….…………………………….………………………… 50 Latin American Modernization: A Tale of Melodrama....... 53 Chilean Detective Fiction: Beyond Melancholy.................. 66 The City and Restitution: Ramón Díaz Eterovic’s La ciudad está triste........................................................ 81 Urban Space and the Collective: Gonzalo Contreras’ La ciudad anterior ...................................................... 90 Fernando ha vuelto and the Transgression of Forensic Investigation............................................................... 102 viii III THE TESTIMONIAL ROOTS OF THE THRILLER .................... 111 The Latin American Testimonio: A Voice From Below....... 122 Tejas Verdes: Biopolitics and the Story of Anyone Whomsoever.............................................................. 137 El infierno and Mi verdad: Biopolitics and Neoliberalism ... 149 IV THE THRILLER AND GLOBAL WAR ........................................ 170 The Pinochet Case: A Legal Thriller .................................. 180 Friends, Enemies and the Nomos of the Earth.................. 190 The Enemy and the End of the Nomos?............................ 206 V THE THIRD SPACE AND MEMORY POLITICS........................ 211 VI CONCLUSION: THE THRILLER AND THE THIRD SPACE IN CENTRAL AMERICA: HORACIO CASTELLANOS MOYA AND FRANZ GALICH ............................................................... 234 Horacio Castellanos Moya’s Insensatez: A Tale of the Victim ....................................................................... 247 Franz Galich’s Managua, Salsa City: A Tale of the Criminal.............................................................................. 257 WORKS CITED ............................................................................................ 270 VITA .............................................................................................................. 282 1 INTRODUCTION The thriller is arguably the paradigmatic narrative structure of our time. Everywhere one looks literature and film increasingly incorporate topics of political intrigue into their plotlines. By thriller, I mean a loose narrative structure that is reminiscent of the basic detective story, but that reconfigures the conventional investigation formula, fusing it with other, arguably more sensational elements, such as political violence, institutional corruption and State terrorism. The recent history of Chile contains these precise thriller elements. Chile’s historical account includes the US-backed overthrow of Salvador Allende’s socialist government on September 11th, 1973, followed by seventeen years of one of Latin America’s most violent military dictatorships (1973-1989) and an aggressive transition to a globalized market economy (1989-present).1 Chile’s post-dictatorial context, too, provides the essential narrative material for the thriller narrative form. This assertion is reinforced by critics such as Nelly Richard, who refers to the transition to democracy in Chile as a ___________ This dissertation follows the style of the Revista de Estudios Hispánicos. 1 The military coup of September 11, 1973 marks the beginning of the dictatorship, which overthrew the democratically elected socialist president, Salvador Allende. For seventeen years, Chile remained under the rule of the dictator Augusto Pinochet until the nation’s return to democracy in 1989, when Pinochet was succeeded by Patricio Aylwin. Throughout the transition, Pinochet remained in power as military Commander in Chief until 1998. 2 “conspiracy of agreements,” a national project of consensus that conceals its violent episodes under a myth of reconciliation and that relativizes conflicting
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