Hacia una nueva poética del policial cubano: la trilogía de Leo Martín, de Lorenzo Lunar Cardedo

Translated title of the contribution: Towards a new poetics of Cuban police: The trilogy of Leo Martin, Lorenzo Lunar Cardedo

Research output: Contribution to journalArticleResearchpeer-review

Abstract

The popularity inside and outside Cuba of Leonardo Padura’s Mario Conde series
has certainly had a positive impact, as it has served to catch the attention of
many readers who until recently perceived the police procedural as a minor
genre. Similarly, Padura's novels have led to a series of studies, many of them
written by academics usually reluctant to pay attention to crime fiction. At the
same time, however, the impact of Padura’s novels, and the tendency to focus
exclusively on them, has meant that few detailed analyses have been published
on both the Cuban neopolicial as a phenomenon, and the work of certain writers
in particular.
Against this trend, this essay focuses on the Leo Martin trilogy, by Cuban writer
Lorenzo Lunar (Que en vez de infierno encuentres gloria, 2003; La vida es un
tango, 2005; Usted es la culpable, 2006), with the aim to show how the author
develops his own crime fiction framework, born not as a mere annex to Padura's
novels, but rather as a way of dismantling the ideological and formal parameters
of the Cuban revolutionary detective fiction.
Original languageSpanish
Pages (from-to)257-269
Number of pages13
JournalAltre Modernita: rivista di studi letterari e culturali
Volume15
DOIs
Publication statusPublished - May 2016

Cite this

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title = "Hacia una nueva po{\'e}tica del policial cubano: la trilog{\'i}a de Leo Mart{\'i}n, de Lorenzo Lunar Cardedo",
abstract = "The popularity inside and outside Cuba of Leonardo Padura’s Mario Conde serieshas certainly had a positive impact, as it has served to catch the attention ofmany readers who until recently perceived the police procedural as a minorgenre. Similarly, Padura's novels have led to a series of studies, many of themwritten by academics usually reluctant to pay attention to crime fiction. At thesame time, however, the impact of Padura’s novels, and the tendency to focusexclusively on them, has meant that few detailed analyses have been publishedon both the Cuban neopolicial as a phenomenon, and the work of certain writersin particular.Against this trend, this essay focuses on the Leo Martin trilogy, by Cuban writerLorenzo Lunar (Que en vez de infierno encuentres gloria, 2003; La vida es untango, 2005; Usted es la culpable, 2006), with the aim to show how the authordevelops his own crime fiction framework, born not as a mere annex to Padura'snovels, but rather as a way of dismantling the ideological and formal parametersof the Cuban revolutionary detective fiction.",
author = "Carlos Uxo",
year = "2016",
month = "5",
doi = "10.13130/2035-7680/7189",
language = "Spanish",
volume = "15",
pages = "257--269",
journal = "Altre Modernita: rivista di studi letterari e culturali",
issn = "2035-7680",
publisher = "Universit{\`a} degli Studi di Milano",

}

Hacia una nueva poética del policial cubano: la trilogía de Leo Martín, de Lorenzo Lunar Cardedo. / Uxo, Carlos.

In: Altre Modernita: rivista di studi letterari e culturali, Vol. 15, 05.2016, p. 257-269.

Research output: Contribution to journalArticleResearchpeer-review

TY - JOUR

T1 - Hacia una nueva poética del policial cubano: la trilogía de Leo Martín, de Lorenzo Lunar Cardedo

AU - Uxo, Carlos

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AB - The popularity inside and outside Cuba of Leonardo Padura’s Mario Conde serieshas certainly had a positive impact, as it has served to catch the attention ofmany readers who until recently perceived the police procedural as a minorgenre. Similarly, Padura's novels have led to a series of studies, many of themwritten by academics usually reluctant to pay attention to crime fiction. At thesame time, however, the impact of Padura’s novels, and the tendency to focusexclusively on them, has meant that few detailed analyses have been publishedon both the Cuban neopolicial as a phenomenon, and the work of certain writersin particular.Against this trend, this essay focuses on the Leo Martin trilogy, by Cuban writerLorenzo Lunar (Que en vez de infierno encuentres gloria, 2003; La vida es untango, 2005; Usted es la culpable, 2006), with the aim to show how the authordevelops his own crime fiction framework, born not as a mere annex to Padura'snovels, but rather as a way of dismantling the ideological and formal parametersof the Cuban revolutionary detective fiction.

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