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In his 1985 novel Partners in Crime, writer Rolando Hinojosa introduced homicide investigator Rafe Buenrostro, the first Chicano protagonist in one of the most enduring genres of modern literature. Since that time, Chicano writers have embraced the detective novel, successfully diversifying and refining a traditional Anglo American and British genre. The 21 whodunits of Hinojosa, Rudolfo Anaya, Lucha Corpi, Michael Nava and Manuel Ramos are closely studied in this groundbreaking work. The models, both contemporary and Romantic, of this relatively new Chicano genre are first discussed. Next come detailed analysis and reviews of such novels as Shaman Winter, Partners in Crime, Cactus Blood and 18 others, focusing on how each writer departs from contemporary detective genre formula, uniquely rendering a particular regional or cultural variation of what it means to be Chicano. It is this departure from the norm that defines these writings and distinguishes them from the Anglo American and British whodunit. Interviews with the writers conclude the work.
Popular fiction, with its capacity for diversion, can mask important cultural observations within a framework that is often overlooked in the academic world. Works thought to be merely "escapist" can often be more seriously mined for revelations regarding the worlds they portray, especially those of the disenfranchised. As detective fiction has slowly earned critical respect, more authors from minority groups have chosen it as their medium. Chicana/o authors, previously reluctant to write in an underestimated genre that might further marginalize them, have only entered the world of detective fiction in the past two decades. In this book, the first comprehensive study of Chicano/a detective fiction, Ralph E. Rodriguez examines the recent contributions to the genre by writers such as Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava, and Manuel Ramos. Their works reveal the struggles of Chicanas/os with feminism, homosexuality, familia, masculinity, mysticism, the nationalist subject, and U.S.-Mexico border relations. He maintains that their novels register crucial new discourses of identity, politics, and cultural citizenship that cannot be understood apart from the historical instability following the demise of the nationalist politics of the Chicana/o movement of the 1960s and 1970s. In contrast to that time, when Chicanas/os sought a unified Chicano identity in order to effect social change, the 1980s, 1990s, and 2000s have seen a disengagement from these nationalist politics and a new trend toward a heterogeneous sense of self. The detective novel and its traditional focus on questions of knowledge and identity turned out to be the perfect medium in which to examine this new self.
Both heroic and tragic, this novel captures the spirit, energy, and imagination of the 1960s' Chicano movementa massive and intense struggle across a broad spectrum of political and cultural issuesthrough the passionate story of the King of the Chicanos, Ramon Hidalgo. From his very humble beginnings through the tumultuous decades of being a migrant farm worker, door-to-door salesman, prison inmate, political hack, and radical activist, the novel relates Hidalgo s personal failures and self-destructive personality amid the political turmoil of the times. With a gradual acceptance of his destiny as a leader and hero of the people, this impassioned novel relates the maturation of one man while encapsulating the fever of the Chicano movement."
A Chicano PI hunts his cousin’s killer in “a compelling thriller [with] a deep-seated respect for the traditions of a people and a culture” (Booklist). The great-grandson of a legendary lawman and gunfighter, thirty-year-old Sonny Baca hopes he possesses even a tenth of El Bisabuelo’s courage. But instead of cleaning up New Mexico by hunting down dangerous desperadoes, the struggling PI looks for missing persons and deadbeat husbands. The game changes when his cousin Gloria—the first woman Sonny ever loved—is brutally slain. Her corpse is found drained of blood. A zia sun sign, the symbol on the New Mexican flag, is carved on her stomach. Gloria’s husband, Frank Dominic, a politician making a run for mayor of Albuquerque, has a powerful motive for murder. But Gloria wasn’t the first victim. A year earlier, another woman was slain in the exact same way. Is a serial killer on the loose? Or is this the handiwork of some satanic cult? Feeling his cousin’s spirit crying out for justice, Sonny and his girlfriend begin a search that takes them across New Mexico’s polluted South Valley to an environmental compound in the mountains. As Sonny moves closer to the truth, he uncovers a chilling connection between his past and a very real and present evil . . .
This text explores the ways in which crime fiction manipulates cultural constructions such as race and gender to inscribe dominant cultural discourses. It notes that even those writers who set out to revise conventions repeatedly produce some of the genre's most conservative elements.
In California, Chicana detective Gloria Damasco investigates the death of a strike leader who was involved in a grape boycott. Officially the death was suicide, but Damasco thinks murder more likely. By the author of Eulogy for a Brown Angel.
A New Mexico PI tries to stop a cult leader’s murderous rampage in “a fascinating hybrid of detective story, adventure yarn, and shamanistic magic.” —Kirkus Reviews The world-famous International Balloon Fiesta of Albuquerque is one of the city’s most eagerly anticipated annual events and its biggest moneymaker. But when a woman plunges to her death from one of the balloons—foreshadowed by Sonny Baca’s vision of a body plummeting from the sky—Sonny’s sure it’s murder. The dead woman was the chief witness to testify against the cult implicated in the murder-for-hire of Sonny’s cousin Gloria, whose death still haunts him. In addition to motive, Sonny finds means and opportunity: a homeless family who saw someone push Veronica Worthy out of the hot-air balloon. Worthy was one of the four wives of Raven, leader of the sun cult, and a dangerous, shamanlike criminal who’s supposed to be dead. But the four black feathers found on the corpse are his calling card—clues to let Sonny know he’s alive and kicking. And his murder spree isn’t over. Now, led by his spirit guides, Sonny must race to stop a vengeful madman and save the woman he loves. From the American Book Award–winning author, this is “a completely entertaining mystery novel [that] offers two parallel lands of enchantment” (Booklist).
This volume examines how the field of Chicana/o studies has developed to become an area of interest to scholars far beyond the United States and Spain. For this reason, the volume includes contributions by a range of international scholars and takes the concept of place as a unifying paradigm. As a way of overcoming borders that are both physical and metaphorical, it seeks to reflect the diversity and range of current scholarship in Chicana/o studies while simultaneously highlighting the diverse and constantly evolving nature of Chicana/o identities and cultures. Various critical and theoretical approaches are evident, from eco-criticism and autoethnography in the first section, to the role of fiction and visual art in exposing injustice in section two, to the discussion of transnational and transcultural exchange with reference to issues as diverse as the teaching of Chicana/o studies in Russia and the relevance of Anzaldúa’s writings to post 9/11 U.S. society.
Part of the American Literatures Initiative Series Chicano Nations argues that the transnationalism that is central to Chicano identity originated in the global, postcolonial moment at the turn of the nineteenth century rather than as an effect of contemporary economic conditions, which began in the mid nineteenth century and primarily affected the laboring classes. The Spanish empire then began to implode, and colonists in the “new world” debated the national contours of the viceroyalties. This is where Marissa K. López locates the origins of Chicano literature, which is now and always has been “postnational,” encompassing the wealthy, the poor, the white, and the mestizo. Tracing its long history and the diversity of subject positions it encompasses, Chicano Nations explores the shifting literary forms authors have used to write the nation from the nineteenth to the twenty-first centuries. López argues that while national and global tensions lie at the historical heart of Chicana/o narratives of the nation, there should be alternative ways to imagine the significance of Chicano literature other than as a reflection of national identity. In a nuanced analysis, the book provides a way to think of early writers as a meaningful part of Chicano literary history, and, in looking at the nation, rather than the particularities of identity, as that which connects Chicano literature over time, it engages the emerging hemispheric scholarship on U.S. literature.
Writer and activist Lucha Corpi was four years old when she started first grade with her older brother, who refused to go to school without her. The director of the small school in Jàltipan de Morelos in the Mexican state of Veracruz knew the family, and he gave permission for the young girl to accompany her brother ñjust for a while.î She was given a desk in the back of the classroom, where she sat quietly in her little corner. Just as quietly, she learned to add and subtract, to read and write. In this moving memoir, Corpi writes about the pivotal role reading and writing played in her life. As a young mother living in a foreign country, mourning the loss of her marriage and fearful of her ability to care financially for her son, she turned to writing to give voice to her pain. It ñgave me the strength to go on one day at a time,î though it would be several years before she dared to call herself a poet. CorpiÍs insightful and entertaining personal essays span growing up in a small Mexican village to living a bilingual, bicultural life in the United States. Family stories about relatives long gone and remembrances of childhood escapades combine to paint a picture of a girl with an avid curiosity, an active imagination and a growing awareness of the injustice that surrounded her. As an adult living in CaliforniaÍs Bay Area, she became involved in the fight for bilingual education, womenÍs and civil rights. In addition to examining a variety of topics relevant to todayÍs world„including race, discrimination and feminism„Corpi relates riveting family tales of mountain men and cannibals, preachers and soothsayers, old-style machos and women who more than hold their own. These confessions offer an intriguing vision of the rich and complex world of an acclaimed poet and novelist.