Crime narrative topology

Opening words

13 or 14 years ago I started writing The Killers, a novel in which violent action prevailed. I wanted it to be a first-rate literary novel that reflected the nature of the Colombian criminal. At the end of 2021, after many versions, the novel was published by a prestigious publisher. As happens during the elaboration of creative works, during those almost 14 years of work I was not fully aware of what I had written. After I had finished the text, my editor asked what genre it fit into. I questioned several people knowledgeable about literary things who had read my manuscript – my writing does not seek to be inscribed in some thematic genre – and no one knew with certainty what to answer. The only certainty is that it was not a detective novel. I told my editor that, by commercial offer, I would list it in the black genre template. But I was clear that The Killers was not twinned with the classic works of American or European hardboiled or in any of the subgenres, which abound. I couldn’t locate it anywhere.

Investigating what has been produced in my country about the black and police genre, I found that there was very little information, yes many studies on foreign authors, and only one book on the black genre in Colombia. This is La novela policiaca en Colombia, by the well-known German critic Hubert Pöppel, published in 2001 by the University of Antioquia, when he taught there. Getting the complete book was quite difficult (on the Web there are only a few chapters) since the University of Antioquia did not publish it again and the author left the country. I finally made contact with Dr Pöppel at the Universität Regensburg in Bavaria, at the end of 2021. After my assurances that the use of his book would be for essay purposes, he very kindly sent me the rough draft of his book, chapter by chapter.

So I have it in full pdf. Pöppel’s work tracking the origin, reception and development of this genre in Colombia is of enormous value, and is virtually unknown. It is an essential guide for those who wish to expand their field of study of the noir and detective genre, so precarious and fragmentarily studied in our country.

On the other hand, after listening to some interviews with well-known Colombian authors in Spain in 2019, who were questioned in some of those conversations about the state of the crime novel in our country, I realised that they were not clear about what the thing was about, or who had written significant books. They were more lost than I was, to the point of giving the idea that the police-detective genre and the hardboiled are one and the same. Does the crime novel exist in Colombia? At the time I write these words, April 2023, no satisfactory answer has been given to this question, nor is it clear whether there is a ‘development and consolidation of the novel genre’ in our country, which henceforth I shall call “novelistic”. Or if rather, as I propose in this work, what there has been is a certain specific and general continuity in the elaboration of a criminal story, which goes beyond the detective and the noir, which have had, since the second half of the nineteenth century, small developments. However, as A. Carpentier pointed out in 1964, “A great novel can be produced in an epoch, in a country. This does not mean that at that time, in that country, the novel really exists. To talk about the novel it is necessary that there be a novelistic”¹ (italics of the author).

Before continuing, I must make it clear that this is not a work that pretends to do some archaeology, development or state of the detective – police – noir genres in Colombia; far from it. It is focused on giving some historiographical response to a creative act that, over time, extended to one of my concerns when writing any of my books: what is the origin of violence in Colombia, and by and why are we so violent? As these are excessively broad questions, the answers to which are multifactorial, in the long run they became tutelary guides that were connected, in a very strange way, with the literary/narrative creative act. Not in poetic art, which is governed by a different statute even though the narrative comes from the universe of poetry.

In this literary exploration of narrative creativity, I have tried to understand, from classical and contemporary thought, what is the act of writing; what is literature; what is language; what is the story; what the detective – police – noir genres, and what is criminal, not only from my experience (confronting the other, otherness) and my experience as a narrator (entering the other, to be part of that other)², but by turning to philosophy as an autonomous act of knowledge, to its history and its context in the Western world. Trying to understand some complexities such as those mentioned above, in my case, in this book, moves definitively away from maieutics and peripatētikós and the dialectic of Aristotelian lineage that ponders on a par with the master. Very little of what is elaborated in this work has been discussed with the experts in these topics orally. My writing is my way of organising and shaping the shapeless mass of the kháos and leaving the text as clean as possible.

Relevant authors related to this essay:

Germán Gaviria Álvarez

Juanita
Juanito

Index

Opening words

Part One. Genre, intention, fusion

1. Genre

2. Discussion: gender, form, creativity

3. Intention of realistic criminal, police, hardboiled, etc. story: merged

4. Intentions

4.1 Zero intent

4.2 First intention

4.3 Second intention

4.4 Third intention

4.5 Fourth Intention

5. Fusion

Part Two. Origins

1. Almost a starting point

2. From Dime novels to Pulp

3. From Pulp to Noir (Criminal)

Part Third. Understanding the Criminal

1. Thinking the act of writing

2. From Dime Novels to Pulp

3. From Pulp to the noir (criminal) genre

4. Coda

References

Primary sources

Secondary sources

Third Part

Understanding of the criminal

4. Coda

The genetic and cultural inheritance mentioned above began to be collected in writing in the first half of the 17th century, in a main work, already cited here, The Ram (1636 -1638), by Juan Rodriguez Freile. The stories about crimes that it contains are probably the most distant records of the criminal story in Colombia. For a genealogy of the crime story, which is yet to be written, this is an obligatory reference. We also cite here the work of José Ma. Ángel Gaitán, Dr Themis, of 1851. 30 years after Independence, it is perhaps the only work thought and elaborated as an extended novel, with the intention of criminal diegesis, which synthesises not only the modus operandi of the criminals and other characters of the time, but rather it is a clear example of the first generation of Creoles (there are not, and could not be, Spaniards involved in the plot) who act on their own in a purely fictional context. It’s worth observing this. The foreword of the first edition, José Ma. Maldonado Castro, a renowned jurist, claimed ‒as later critics and historians of Colombian literature have pointed out‒, that it was a costumbrista novel. It isn’t, full stop. So there are some passages that honour the genre. The analytical style of the plot and the psychology of the characters ‒the latter with a strong post-romantic influence, in the best style of the time‒, is Benthamian in nature, which is very far from local costumbrista literary thought.²²⁸ For the composition of this novel, Ángel Gaitán also used the forensic ‒ journalistic genre born in France in 1763 (cause celebre.²²⁹ In this way he established a bridge between urban oral culture predominant from the Conquest until the consolidation of the independence command, and the written culture. This oral culture, which in turn had begun to favour non-state, military, or religious use of the printing press at the end of the 18th century (the printing press patriotic, de A. Nariño, 1793), made a slow, very slow transition to printed paper (scribal culture, see supra) with the affirmation of civil liberties and the birth of political parties, essential for a social order based on Laws. It was in the decades from 1840‒1860 when the printed matter was definitively established as the main and more authorised form of communication. Laws were enacted for freedom of expression and pamphlets of all kinds and serialised novels were published. Among these loose pamphlets or booklets that circulated freely or through a newspaper, are the aforementioned causes celebres, which served as input for other criminal stories that gave an original impulse to Colombian literature that was just beginning to collect the writings of past centuries. The publication of The Ram, for example, dates from 1867. And The prodigious desert and prodigy of the desert (ca. 1650) ‒work of religious theme in harmless dispute (academicist) with The Ram, being the first novel in Colombia and perhaps in Latin America‒, by Pedro de Solís y Valenzuela, was found in 1963, but not published until 1985.

It is the non-grammatical or official literature, the intention of which is to report the criminal act in Colombia; that is, creative literature, as we understand it here. It is The Ram which elaborates an original diegesis, but not by its mere existence. It was the seed of a crime tale of its own that grew and prospered continuously and systematically over three centuries. Although we mark the beginnings of such a story with this work, there is no documentary evidence to indicate that Ángel Gaitán read this book, even if the manuscripts of 1795 and 1812 already existed, privately owned. Nor, in the history of Colombian literature, until December 1851, are there stories written aligned with The Ram. If there were, they appear to have been lost. We have the famous causes of the Colombian 19th century, but its true contribution to national literature has not been studied either.²³⁰ The development of the criminal narrative from Doctor Temis until the early 1990s, with the rise of the drug-trafficking novel, the hitman, and armed violence, was weak and scant. That is to say, one could, at first glance, affirm that the novel about the hitman, the drug trafficker or about paramilitaries is criminal. This is an apparent contradiction. The creative foundations of this type of novels and stories, as we have seen, do not produce and have never produced first-rate literary works. Perhaps it is because their stories have focused on the media/commercial, social/political spectacularity rather than an elaborate analysis of the evil that these themes generate. However, in the absence of further systematic study of such productions, neither claim is conclusive. It is probable that the lack of knowledge of the creative sources on the part of Colombian writers is one of the determining causes of the unstable national literary quality, as well as its discontinuity.

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Footnotes

Opening words footnotes

Carpentier, Alejo. “Problemática actual de la novela latinoamericana”, en: Tientos y diferencias. Barcelona: Plaza y Janés, [1964] 1987, p. 7. ↑
Han, Byung ̶ Chul. Topología de la violencia. Barcelona: Herder, 2016, p. 49. ↑

Part 3. Chapter 4 footnotes

Although not for political and social thought. J. Bentham’s thinking was in vogue at the time. ↑
The cause celebre or judicial case of social importance, is a genre of judicial literature that borrowed the title phrase from the 37th edition of the Nouvelles Causes Celebres,of 1763. The publication comprises 37 volumes that were released to the public at the initiative of the jurist François Gayot de Pitaval from 1734 with the title Causes célèbres et intéressantes avec les jugements qui les ont décidées. This genre also spread as a journalistic form (very controversial, to generate debate and political control, father of today’s red chronicle) and public self-defence. Clear examples of this in our country are the public defences of Raimundo Russi in 1851, the famous criminal chronicles of Cordovez Moure that he began to publish for The Telegram from 1891 until his death in 1918, and the even more pure chronicles of Pedro María Ibáñez, as well as the well-known criminal defences of Jorge Eliécer Gaitán. José María Ángel Gaitán, for the elaboration of Doctor Temis, based his work on that of Russi, which he closely followed not only because he was a neighbour of Bogotá and due to the spectacular nature of the process, as narrated by Cordovez Moure and Pedro María Ibáñez, but also because Ángel Gáitan was also a jurist and had a great interest in understanding criminality in Bogotá, as his novel attests. There is no known important biography of this author who died when he was just 32 years old. From the little information we have, this novel of 310 tight pages was written in a few months. It began serialisation in July 1851, the same month that Russi was executed. ↑
For an approach to the importance of famous causes on the origin of the criminal story in Colombia, see: germangaviriaalvarez.com series Rescates, naufragios y comentarios 2023. ↑

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Crime narrative topology – Part 3. Chapter 4

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