Abstract
The present essay presents some considerations about novels and the noir style of Leonardo Padura Fuentes, a Cuban writer who revisits the police genre. Intertextuality enables many voices to introduce Mario Conde´s successful adventures; Mario Conde is a skeptical investigator aspiring to be a writer. However, nostalgia deeply affects his human perspective so that, from disappointed to hopeful, he solves despicable and famous crimes of ordinary and important personalities. The analysis focuses on the tetralogy Las cuatro estaciones, extended to two other narratives through different perspectives, and introduces La Havana to the reader. These brief notes aim to present the current state of Cuban Literature through an author who retakes a genre deeply marked by the castrist system in order to transform it into discourse about the country, contemporaneity and the act of writing
Highlights
The present essay presents some considerations about novels and the noir style of Leonardo Padura Fuentes, a Cuban writer who revisits the police genre
A segunda encontra sua base no contexto social e econômico relativo ao fato de os países pertencerem ao Terceiro Mundo
É assim que se constrói uma boa novela negra: com psicologias que mal se percebem, como um enigma que permanece mesmo depois de ler-se a última página
Summary
Resumo: Este artigo apresenta algumas considerações sobre as novelas e o estilo noir de Leonardo Padura Fuentes, escritor cubano que revisita o gênero policial. A intertextualidade permite que muitas vozes apresentem as exitosas aventuras de Mario Conde, um investigador cético e aspirante a escritor. A nostalgia, no entanto, afeta profundamente a perspectiva humana desse sujeito que, entre desencantado e esperançoso, desvenda crimes célebres e infames, de personalidades importantes e medíocres. A análise se detém na tetralogia Las cuatro estaciones, ampliada para outras duas narrativas, que através de variados ângulos apresenta La Habana ao leitor. O objetivo destas breves notas é apresentar, em parte, os atuais passos da literatura em Cuba, através de um autor que retoma um gênero profundamente marcado pelo regime castrista para transformá-lo em discurso sobre o país, a contemporaneidade e o ato de escrever.
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