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© 2018 Melissa Lynn Widdis ALL RIGHTS RESERVED © 2018 Melissa Lynn Widdis ALL RIGHTS RESERVED LAW(LESSNESS) AND (DIS)ORDER: CRIME FICTION OF THE HISPANIC CARIBBEAN By MELISSA LYNN WIDDIS A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Spanish Written under the direction of Camilla Stevens And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey October, 2018 ABSTRACT OF THE DISSERTATION Law(lessness) and (Dis)order: Crime Fiction of the Hispanic Caribbean By MELISSA LYNN WIDDIS Dissertation Director: Camilla Stevens This dissertation examines how Hispanic Caribbean crime and detective fiction spanning the end of the twentieth century to the first decade of the twenty-first century pushes against classical conventions, modifies them to fit their social context, and some cases uproots the tenets of the genre altogether. I argue that crime fiction is indicative of the moral, social, and political values of a culture and its people, for it shows what crimes are acceptable and unacceptable through the representation of the processes of investigation and justice. In Chapter One I frame my reading of Virgilio Díaz Grullón’s “Crónica Policial,” Ana Lydia Vega’s “Pasión de historia,” Edgardo Rodríguez Juliá’s Sol de medianoche, and Leonardo Padura Fuentes’s Pasado Perfecto and Máscaras with models of classical detective fiction and theories of metafiction and postmodernism to show how they invert the mode of metafiction traditionally seen in the detective story and provoke the reader to question the relationship between fiction and reality. Chapter Two investigates the relationship between the Hispanic Caribbean detective and urban space in Sol de medianoche, Desamores (Wilfredo Mattos Cintrón), and Las puertas de la noche (Amir Valle Ojeda) and argues that they display an amalgamation of Baudelaire’s flâneur and de Certeau’s “practitioner” regarding their interaction with urban spaces. Like the flâneur, the detectives are active observers of their surroundings, but they are also ii actively engaged in their urban environments and give life and significance to their communities through their travels, observations, and resulting narratives. Similarly, the detectives featured in the third chapter are deeply entrenched in their milieu, which affects their cultural attitudes and professional investigations. I turn to theories of post- colonialism in my analysis of Candela by Rey Emmanuel Andújar and Que en vez de infierno encuentres gloria by Lorenzo Lunar Cardedo to reveal the detective as representing and negotiating the liminal space between oppressor and oppressed, thereby transcending the boundaries between authority and community and in so doing highlighting the dynamics of race, class, and social differences in the Hispanic Caribbean. In the final chapter I read Seva by Luis López Nieves, El crimen verde by Emilia Pereyra, and El hombre triángulo by Rey Emmanuel Andújar as works of crime and detective fiction even though they deviate radically from the normative structure of the genre by lacking either a detective or a crime. By putting these texts into dialogue, I illuminate how narratives utilize crime to portray the social realities of their time and place, as well as how they adapt and transform the detective genre, enabling the reader to understand the distinctive cultural complexities of the Hispanic Caribbean. iii Acknowledgements The road to completing this dissertation has been rather lengthy and filled with personal and professional obstacles. Despite the setbacks, I would like to thank my dissertation committee for their continued and persistent support over the last several years. I am deeply grateful to my dissertation director, Camilla Stevens, for her inspiration, guidance, understanding, encouragement, and for believing in me even when I didn’t believe in myself. Words cannot express my gratitude to her for her unending support and for continually advocating for me. I am grateful to Marcy Schwartz for her critical readings and insightful questions and comments that helped me to develop my own voice and deepen my analysis in this project. I thank Tom Stephens for his constant encouragement and positive feedback, especially when I was feeling discouraged. Without these remarkable mentors, I would not have been able to achieve this goal. I thank Elena Valdez for being a sounding-board and motivator during our studies together and for her reading and feedback on this project during the final stretch. I also thank my undergraduate professors at Colby College for instilling in me a love of Spanish and Latin American literature: to Jorge Olivares for inspiring the topic of this project in his senior seminar; and to Marisela Funes Jones and Meriwynn Grothe Mansori for inspiring me, without even knowing it, to pursue graduate studies in Spanish Literature and Culture. Although it has been awhile since I have spent time with my fellow graduate students of the Department of Spanish and Portuguese, I fondly remember many classes, conversations, conferences, and social events that helped me to not feel so alone during my graduate studie. Molly Palmer, Ben Arenger, Elena Valdez, and Candace Plunkett, among others, provided support and camaraderie when I felt particularly alone. iv As I have spent the majority of my time over the last five years teaching at Christian Brothers Academy, I am deeply grateful to my friends and colleagues that have supported and encouraged me through the process of completing this dissertation. In particular, I would not have survived the last five years of teaching and writing had it not been for the friendship and intellectual, professional, and personal support of Jonathan Broehl and Gisela Cordero-Cinko. Moreover, I appreciate the daily and support and inspiration I have received from my CBA students over the last few years. My Spanish 4 Honors students of 2017-2018 provided the perfect audience to discuss my ideas and always offered their enthusiastic encouragement for me to finish this project. I am thrilled to graduate this year and celebrate this milestone along with them. Finally, I am forever grateful to the people in my life who support me endlessly in all of my endeavors, personally and professionally. My dear friends Laura Flippin, Emily Day, Caitlin Glover, and Marion Candrea were always there to provide encouragement, glasses of wine, and distractions when necessary. I am especially thankful to my fiancé Bill Frake for his unending and enthusiastic support and encouragement. He spent endless hours listening to me form my thoughts, reading draft upon draft of this project, consoling me through the tears, and telling me that he believed I could finish this. If not for his love and support, I would have never been able to complete this project. Finally, to my family: my parents, Jim and Susan Widdis, and my brother Stephen, without whom I would not be the person I am today. v Table of Contents Abstract of the Dissertation ...................................................................................................................... ii Acknowledgements .................................................................................................................................... iv Introduction ................................................................................................................................................... 1 Crime Fiction in Latin America ......................................................................................................................... 9 Classical, Golden Age, and Hard-boiled Detective Fiction ................................................................ 16 Crime fiction in Cuba, Puerto Rico, and the Dominican Republic ................................................. 19 Chapter 1: The Frustrated Writer-Detective as Creator ................................................................ 31 “Crónica Policial”: The Journalist as Failed Detective ........................................................................ 40 “Pasión de historia”: Writer Becomes Subject/Victim of Her Own Story ................................. 44 Sol de medianoche: Reverse Bildungsroman .......................................................................................... 50 Mario Conde Series: Detective as Frustrated Writer .......................................................................... 56 Conclusions ........................................................................................................................................................... 62 Chapter 2: Urban Caribbean Detective: Flâneur or “Practitioner,” Consumer or Producer of Urban Space? ......................................................................................................................................... 64 Isabelo Andújar: Detective as Curator of “Puertorriqueñidad” ...................................................... 76 Manolo Pérez Cáceres: Failed Detective and “Beach flâneur” ........................................................ 84 Alain Bec: Detective as Exposer of Cuban Social Reality .................................................................. 93 Conclusions ........................................................................................................................................................
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