Artful Assassins

Fernando Fabio Sanchez, Stephen J. Clark

Description

Violence as a way of life, and murder as a political tool. This philosophy is nothing new to Mexico, most recently demonstrated in the wave of assassination and indiscriminate killing brought on by the drug war gripping the country. In Artful Assassins, author and scholar Fernando Fabio Sanchez unveils the long record of violence inspiring artistic expression in Mexico, focusing on its use and portrayal in film and literature. Sanchez is uniquely positioned to explore this topic, through his work as a novelist and poet in Mexico before entering academia in the United States.

Sanchez argues that the seemingly hopeless cycle of violence experienced by Mexico in the 20th century, as reflected in its "crime genre," reveals a broader intrinsic cultural and political failure that suggests grave implications for the current state of crisis. Tracing the development of a national Mexican identity from the 1910 Mexican Revolution onward, Sanchez focuses on the indelible presence of violence and crime underlying the major works that contributed to a larger communal narrative.

Artful Assassins ultimately offers a panoramic overview of the evolution of Mexican arts and letters, as well as nationalism, by claiming murder and assassination as literary and cinematic motifs. The collapse of post-revolutionary political unity was presaged all along in Mexican culture, Sanchez argues. It need only to have been sought in the art of the nation.

Sujets

• Latin American Studies
• Political Science
• Literary Criticism
• Popular Culture
• Latin American
• Caribbean

Informations

• Publié par: Vanderbilt University Press
• Date de parution: 29 novembre 2010
• Nombre de lectures: 0
• EAN13: 9780826517289
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Artful Assassins MURDER AS ART IN MODERN MEXICO

Fernando Fabio Sánchez Translated from the Spanish by Stephen J. Clark

Artful Assassins

Artul Assassîns Murder as Art in Modern Mexico

FeRnando Fabio Sánchez TRanslated rom the Spanish by Stephen J. ClaRk

Vanderbilt University Press NasHville

© 2010  Vàéî Uîéŝî Péŝŝ Nàŝîé, Tééŝŝéé 37235 A îŝ éŝéé Fîŝ îî 2010

Tîŝ ôôk îŝ îé ô àçî-féé àé àé fô 30% ôŝ-çôŝûé éççé çôé. Màûfàçûé î é Uîé Sàéŝ ôf Aéîçà

îà ôf Côéŝŝ Cààôî-î-Pûîçàîô Dàà

Sâçé, Féàô Fàîô, 1973– Afû àŝŝàŝŝîŝ : ûé àŝ à î ôé Méxîçô / Féàô Fàîô Sâçé ; àŝàé fô é Sàîŝ  Séé J. Càk. . ç. ïçûéŝ îîôàîçà éfééçéŝ à îéx. Isbn 978-0-8265-1726-5 (çô : àk. àé) 1. Dééçîé à ŝé ŝôîéŝ, Méxîçà—Hîŝô à çîîçîŝ. 2. Mûé î îéàûé. 3. Aŝŝàŝŝîàîô î îéàûé. 4. Nàîôà çààçéîŝîçŝ, Méxîçà, î îéàûé. 5. Méxîçô—ï îéàûé. 6. îéàûé à éôûîôŝ—Méxîçô—Hîŝô—20 çéû. 7. Dééçîé à ŝé iŝ—Méxîçô—Hîŝô à çîîçîŝ. 8. Mûé î ôîô îçûéŝ. ï. Càk, Séé Jô, 1965– ïï. Tîé. pq7207.d48s36 2010 863’.087209972—ç22 2009049313

To Jennifer, because each page

is a shared day of your childhood.

   

Contents

Acknowledgments ix Introduction  Before Mexican Crime Fiction: he DeatH Scene and tHe Construction of Postrevolutionary Mexico 

Ensayo de un crimenandEl hombre sin rostro: Early Critiques of Nationalism during Mexico’s Transition to Modernity  El complot mongolandLa cabeza de la hidra: he Era of Latent National Crisis  Cosa fácil,Un asesino solitario, andAmores perros: he Age of National Disintegration  Conclusions  Notes  BibliograpHy  Index 

Acknowledgments

é éŝé éŝîô ôf îŝ ŝû ôû ô éxîŝ îôû é éffô à kôéé ôf Séé Càk, ô ô ï à àŝô îéé fô î T à îŝ îfé, Eà Càô, fô éî àîéçé ûî é ô ŝéŝŝîôŝ îŝ çéé çôîî é iŝ àf ôf é ôôk’ŝ îé. M àkŝ ô ôf îî à éîŝî. ï ôû àŝô îké ô àk Eî Bô, àçûîŝîîôŝ éîô à Vàéî Uîéŝî Péŝŝ, fô éîéî î îŝ ôéç fô é ôûŝé. Tô Gé S. Côŝé à Rôé Bûfiô, ôû àkŝ fô éî îŝîfû à éîçûôûŝ éàî ôf é àûŝçî.  ï ôû îké ô àçkôéé é ôféŝŝôŝ ï ŝûîé ûé à é Uîéŝî ôf Côôàô à Bôûé: Eîîô Béé, éôôô Béûççî, Rî- çàô àéîà, Péé Eôé, éîà Gé, ûîŝ Gôâé é Vàé, à JôŝÈ Màûé é Pîô. M ŝéçîà àkŝ ô Jûà Pàô Dàôé, àîŝé, çôéàûé, à fîé, ôŝé ûîàçé ûî é iŝ éŝîô ôf îŝ ŝû àŝ çûçîà. Mà àkŝ ô Mà K. ô, çôàîô ôf é Réûîç ôf Méxîçà ééŝ, ôŝé ééôûŝ fîéŝî çôîûé ûç ô é ûîçàîô ôf îŝ ôôk, à ô é fîéŝ à çôéàûéŝ ôf  ôû, ô àé ô éôé  ŝééà îfféé ûîéŝîîéŝ: Jéŝúŝ Eéŝô Oî Díà, Eîàé Gôé, ïâ Zààà-Gàé, à Aàà Pééŝé. Séçîà àkŝ ô  fîé, çôéàûé, àcompa- ñera de vîaje, Aîéé E-Kàî.  ï à àéfû ô é çàî ôf é Déàé ôf Fôéî àûàéŝ à îéàûéŝ à Pôà Sàé Uîéŝî, Sàà Fééŝ, fô é ŝû- ô à ûîàçé. Tàkŝ ô é éîé éàé à ô PSU’ŝ Cô- éé ôf îéà Aŝ, àîçûà ô Déà Màî Kàîŝé fô îŝ àŝŝîŝ- àçé î ŝéçûî é iàçîà ŝûô éçéŝŝà ô iîŝ îŝ ôéç à ô çôé é çôŝ ôf é îûŝàîôŝ. Fô éî îŝîfû éàîŝ à éçôûàéé, ï ôû àŝô îké ô àçkôéé  PSU çô- éàûéŝ Pàîçîà Wéé, Aôûŝà Séîî, Aàéé Dôîô, Rôéô é Aà, à Màûé Hîéŝ. Fô éî ŝûô,  ŝîçéé àîûé ôéŝ ô  çôéàûéŝ ôf é Sàîŝ Séçîô: Déŝ Oŝû, Cîà Sôà, Rôé Sàéŝ, Eà Núñé, à Oŝçà Féâé.  ï ôû îké ô àk é îŝîûîôŝ à îîîûàŝ ô ôîé

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