Abstract
This essay argues that narco-narratives--in film, television, literature, and music--depend on structures of narrative doubles to map the racialized and spatialized construction of illegality and distribution of death in the circum-Caribbean narco-economy. Narco-narratives stage their own haunting by other geographies, other social classes, other media; these hauntings refract the asymmetries of geo-political and socio-cultural power undergirding both the transnational drug trade and its artistic representation. The circum-Caribbean cartography offers both a corrective to nation- or language-based approaches to narco-culture, as well as a vantage point on the recursive practices of citation that are constitutive of transnational narco-narrative production.
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