Narrating Narcos presents a probing examination of the prominent role of narcotics trafficking in contemporary Latin American cultural production. In her study, Gabriela Polit Dueñas juxtaposes two infamous narco regions, Culiacán, Mexico, and Medellín, Colombia, to demonstrate the powerful forces of violence, corruption, and avarice and their influence over locally based cultural texts.

Polit Dueñas provides a theoretical basis for her methods, citing the work of Walter Benjamin, Pierre Bourdieu, and other cultural analysts. She supplements this with extensive ethnographic fieldwork, interviewing artists and writers, their confidants, relatives, and others, and documents their responses to the portrayal of narco culture. Polit Dueñas offers close readings of the characters, language, and milieu of popular works of literature and the visual arts and relates their ethical and thematic undercurrents to real life experiences. In both regions, there are few individuals who have not been personally affected by the narcotics trade. Each region has witnessed corrupt state, police, and paramilitary actors in league with drug capos. Both have a legacy of murder.

Polit Dueñas documents how narco culture developed at different times historically in the two regions. In Mexico, drugs have been cultivated and trafficked for over a century, while in Colombia the cocaine trade is a relatively recent development. In Culiacán, characters in narco narratives are often modeled after the serrano (highlander), a romanticized historic figure and sometime thief who nobly defied a corrupt state and its laws. In Medellín, the oft-portrayed sicario (assassin) is a recent creation, an individual recruited by drug lords from poverty stricken shantytowns who would have little economic opportunity otherwise. As Polit Dueñas shows, each character occupies a different place in the psyche of the local populace.

Narrating Narcos offers a unique melding of archival and ground-level research combined with textual analysis. Here, the relationship of writer, subject, and audience becomes clearly evident, and our understanding of the cultural bonds of Latin American drug trafficking is greatly enhanced. As such, this book will be an important resource for students and scholars of Latin American literature, history, culture, and contemporary issues.

This book introduces to a larger audience the work of a group of Mexican writers whose work reflects the stimulus of the “boom” of the 1960s, especially in the experimental nueva novella.

Duncan views the work of six writers in the context of more well known writers of the period (Ruflo, Fuentes, and Del Paso), and concludes with a chapter on other recent innovators in Mexican literature. Despite their diversity, these texts share many common features, and unlike social realism, the works are not openly political, but at the same time they question assumptions about reality itself-and the relation of fiction to truth.