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Differing from the closed narrative of the whodunit, gnero negro fiction favors the open textuality of the hardboiled, where content and themes critically codify social and historical contexts. Given this frame of reference, this essay analyzes three representative detective novels of the last fifty years as works of ambiguity and irony that criticize and reinterpret Mexico’s changing society: Rafael Bernal’s El complot mongol casts a cynical eye on the weaknesses of the so-called Mexican “miracle;” Paco Ignacio Taibo’s No habr final feliz questions police-directed violence against a rebellious populace whose repression exhibits the nation’s “revolutionary” mythology; and lmer Mendoza’s Balas de plata encodes the patent crisis of an emergent narco state characterized by unheard-of violence, dubious morality, and social paranoia.
Despite being two Spanish-language and two English-language authors, these texts both emerged from the same period in Mexican history. Rafael Bernal's El complot mongol (1961, second edition 1968, 1976, 1992) of his generation lies in the tradition of detectives that emerged in Mexico prior to the revolution of 1910. El complot mongol chronicles the experience of an idealistic, Mexican-born expatriate who returns to Mexico as a vigilant and jaundiced observer but who becomes an unlikely but passionate participant in some revolting nefarious affairs. Bernal's novel becomes politically didactic by the time of the 1988 edition, a time of national turbulence in which parts of the country have become the home of clandestine drug laboratories and their production of illegal narcotics, and in which professional police in the city of San Miguel de Allende are allegedly implicated in these illegal activities. That same year also saw the publication of the novel that ignited the trend of Law and Justice novels in Mexico, Upoy ni tuyo poy en el mundo (1988, 1990, 2005), by Paco Ignacio Taibo II
whose work is preceded by his Muere el que conoce el secreto ("Who knows the secret is dead," 1973). The change in Taibo's mood and his writing style are emblematic of broader changes in Mexican literature. d2c66b5586