Eduardo
Mendoza’s La aventura
del tocador de señoras:
ex-centric
eccentricities and moral ambiguity in
Perhaps
the postmodern motto should be “Hail to the Edges!
Linda Hutcheon
Towards
the end of Franco’s dictatorship, several new
phenomena appear in Spanish literary culture. The emergence of genres
relatively new to the peninsula, including science fiction and crime
fiction,
has invited criticism seeking to clarify the position of this
literature within
a contemporary cultural context. Critics have attempted to reconcile
the
changed environment that is post-Franco
Through
a compare and contrast, “then” versus
“now” technique, critics have analyzed the emergence of science
fiction and detective fiction in
Previous investigation has
analyzed Spanish crime
fiction from an historical or at times Marxist perspective. In essence,
to
date, detective and crime fiction has been treated more as a historical
novelty
rather than as a unique expression of Spanish postmodern literature.
Since the mid-1970s, the novela negra, also known as the novela
policíaca, or the Spanish detective novel has experienced
phenomenal
success and growth in
The novela negra
is an ironic subversion of the classic ‘whodunit’ novel
incorporating a comic, marginalized, anti-hero as the sleuth seeking to
find
order in a postmodern society lacking both truth and justice.
Ultimately, the
Spanish detective is the victim of chance and change, rarely finding
any
resolution to the crimes committed in the novels. Unlike the classic
detective
novel, solving the crime by identifying the murderer and method of
killing is
never the primary theme of the novel, but merely a sub-theme of the
narrative.
This paper seeks to situate
Spanish novela negra or detective fiction within
a poetics of postmodernism by acknowledging several characteristics of
the
genres’ form. The analysis
examines Eduardo Mendoza’s novel La
aventura del tocador de señoras
(2001) in light of Linda Hutcheon’s conceptualization of the
postmodern as developed in A Poetics of
Postmodernism: History, Theory,
Fiction and demonstrates the existence of an environment of moral
ambiguity
within contemporary Barcelona society. Moral ambiguity, a feature of
postmodern
society, destroys clear distinctions between the periphery and the
center.
La aventura del
tocador de
señoras is Eduardo Mendoza’s third
novel in the
Ceferino series. In the first two
novels, El misterio de la cripta
embrujada (1978) and El laberinto de
las aceitunas (1982), the reader meets the anonymous protagonist,
often
referred to as Ceferino. The first two novels relate tales of detection
led by
Ceferino, a patient in an asylum for the mentally ill, at the behest of
the
police. The supposed clarity of vision provided by the insane patient
aids the
authorities as they seek to resolve a mystery. In both novels, Ceferino
enjoys
a temporary relief from his internment while he solves the crime,
however, once
final conclusions are drawn, he is forced to return to the asylum.
In contrast to El
misterio de la cripta embrujada and El
laberinto de las aceitunas, La aventura del
tocador
de señoras marks
a clear break from an established pattern. As a result of the
construction of a
mega-mall complex on the current site of the asylum, Ceferino receives
permanent release in the first chapter of this latest novel. The series
takes a
significant turn as Ceferino’s circular path: asylum, society, asylum
is
permanently disrupted. This rupture indicates a fundamental shift in
the
series. While the previous novels tend towards a social critique of the
past,
this newest novel, set in post-Olympic
In this third novel, Ceferino
attempts to re-establish
himself as a reliable, upright, hardworking citizen. When he is
approached by
the daughter of a wealthy businessman to aid in the self-inflicted
robbery of
corporate documents from El Caco
Español, he makes every effort to avoid involvement.
However,
fearing that his shady past may be exposed should he not comply, he
enters the
corporate headquarters and removes a mysterious blue folder from the
director’s office. Glancing through the newspaper the next morning,
Ceferino discovers the director of the company, Manuel Pardalot, has
been
assassinated and found dead in his office. Faced with the possibility
of being
implicated in the murder, Ceferino, undertakes the role of suspect as
detective, determined to solve the crime before arrested. As in the
previous
novels, Ceferino is thrust into survival mode to preserve his own
integrity,
something that is worth more to him now than ever before.
The protagonist must navigate through a
maze of eccentric characters in order to unwind the mystery of who
killed
Pardalot, and the motives behind the murder. Eduardo
Mendoza’s novel takes us
through a societal labyrinth in pursuit of justice in a contemporary
society
lacking clear distinctions between right and wrong.
Postmodern Preoccupations: The
collapse of center
While La
aventura
…the postmodernist novel puts into question that
entire series of interconnected concepts that have come to be
associated with
what we conveniently label as liberal humanism: autonomy,
transcendence,
certainty, authority, unity, totalization, system, universalization,
center, continuity,
teleology, closure, hierarchy, homogeneity, uniqueness, origin. (Hutcheon 1988, p. 57)
In
While classic detective
fiction depends on a clear
distinction between moral versus immoral actions, postmodern detective
novels
like La aventura
If traditional society
consists of a hierarchical
system with power concentrated in the center among a select group of
individuals and a majority existing as marginalized figures on the
periphery of
society, then what is the nature of postmodern
The modernist concept of single and alienated
otherness is challenged by the postmodern questioning of binaries that
conceal
hierarchies (self/other). Difference suggests multiplicity,
heterogeneity,
plurality, rather than binary opposition and exclusion. (Hutcheon 1988,
p. 61)
The collapse does not displace
and supplant the margin
with the center and vice versa. It “avoids the trap of reversing and
valorizing the other, of making the margin into a center”. Instead, the
new class “order”, for lack of a better term, is “plural and
provisional” (Hutcheon 65).
In La aventura
Movement whithin the genre
Several types of movement
contribute to the devaluing
of the center and its collapse in the novel. First, character movement
within
society exists in both directions. Those having lived on the margins of
society, according to Linda Hutcheon’s terminology and adopted here,
are
referred to as members of “the ex-centric, off-center: ineluctably
identified with the center it desires but is denied” (Hutcheon 60). Perhaps the most evident movement of an
ex-centric figure is seen through Ceferino’s identity transformation.
All
of the eccentric characters associated with the margins in the novel
experience
to a greater or lesser degree a shift towards the center. The
transformation or
mobility of the self, according to the postmodern theorist, Francois
Lyotard is
indicative of our time: “a self
does not amount to much, but no self is an island; each exists in a
fabric of
relations that is now more complex and mobile than ever before (Lyotard
1984a,
p. 15). Ceferino’s movement lies above all in his gaining of lawful and
stable employment as a hairdresser in his brother-in-law’s salon.
Despite
a total lack of experience in the trade, Ceferino obtains “el primer
trabajo honrado de mi vida” (60). It is this
position, secured with the help of his sister, Cándida that
completely
alters the protagonist’s engagement with society: “Huelga decir
que puse en el
empeño toda la energía acumulada en tantos años de
ociosidad, toda la ilusión que me infundía la perspectiva
de
verme finalmente integrado en la sociedad de los hombres…” (30)
Through his new job Ceferino
becomes, “conocido,
respetado y muy apreciado en el barrio” (34). Overtime, he
saves money, purchases new clothes and rents an apartment. Ceferino
begins to
dress in accordance to his new status and eventually, he proclaims, “me
convertí en un señor de
As a novela
negra, a crime must arise in the novel, and eventually Ceferino
must decide
between returning to his criminal past or persevering towards a
promising future.
When trouble walks through the door, Ceferino is on the brink of
receiving the
“Creu de San Jordi” and determined to flee any scandal, he rejects
the proposition to be involved with a seemingly minor crime despite a
large
monetary reward. He expresses his desire not to be involved with any
potential
illegalities:
Soy un hombre honrado, un ciudadano
ejemplar, y ni siquiera argumentos tan convincentes como los que usted
esgrime,
muestra e insinúa lograrán apartarme del recto caminar.
No cuente
conmigo, salvo en lo que atañe a la discreción. (46)
Whereas in previous novels,
Ceferino lacks moral
judgement, he now pledges himself to remain on the straight and narrow.
Ceferino’s sister,
Cándida, also
experiences considerable movement away from the periphery and towards
the
center. In the previous two novels, Cándida, a popular
In addition to character
transformation, the spatial
periphery undergoes an urban renewal.
Cándida notes Ceferino’s shock at the renaissance of the
off-center neighborhood and the ex-centric individuals that
once-typified the
area: “El negocio familiar va viento en popa, gozamos de una
posición acomodada…Los
tiempos han cambiado hombre.” (24)
Indeed, times changed and the
marginal areas around
If the eccentric ex-centric’s
experience a
movement towards the center in the novel, a counterbalancing movement
of the center
towards the margins also exists. While the traditional order associates
criminality with the marginalized subaltern, the proposition to commit
a crime
in this novel comes from a centric character, a wealthy
When the supposed daughter of
successful entrepreneur
Manuel Pardalot, offers Ceferino a million pesetas in order to enter
Pardalot’s office and steal a file, thereby feigning a theft of
documents
whose existence threatens the integrity of the business, Ceferino is
trapped.
By threatening to undermine his progress towards the center, the
bourgeoisie
characters force him to act in defense of his reputation. The
conspirators reveal:
Hemos removido cielo y tierra hasta dar
con usted, en quien concurren las características más
idóneas para este tipo de trabajo por la fama de que goza en el
barrio,
por el modo ejemplar con que está labrándose un futuro al
frente
de su magnífica peluquería, y por supuesto, por las
peculiaridades de su pasado…(52)
Ceferino hopes that his good
reputation will prove
strong enough to exonerate him. For the first time in his life,
Ceferino must
rely on his reputation as an upright citizen. Pardalot mentions
the vulnerability of the center whilst negotiating the crime: “Es
natural: un proletario, haga lo que haga, nunca corre el riesgo de dejar
de serlo. En
cambio un rico, al menor descuido, se encuentra en el más
absoluto
desamparo.” (50) Marginal figures, or the
proletariat, cannot fall
from the center or move to the periphery. The wealthy, or the centric,
however,
fall from grace. In the words of the mayor of
Barcelona: “en
Barcelona la circulación es muy fluida a todas horas y en toda
red
viaria” (306).
In the novel, each character
typically associated with
the center of society is corrupt. The nature of their business,
corporate, or
in the case of the mayor of
Manuel Pardalot and his
associates
owned multiple businesses whose failure resulted from, “fraude fiscal,
blanqueo de
dinero, tráfico ilegal de personas o cosas o una mezcla de todo
lo
antedicho” (185). Agustín Taberner’s
abominable performance
in his legal studies and the shared “moral” principals of his
society exemplify the corruption that characterizes the center. One learns that the motive for the crime
was personal revenge. Accused of disloyalty by his associates, Taberner
was
forced to surrender all assets related to their businesses and to
retire. According to
Ivet, “mi
padre quedó al margen…arruinado, enfermo”
(261).
The centric figures hide their
scandals in the hope
that their corruption remains veiled and their authority thereby
protected. In a private
meeting with Abelardo Arderiu, another prominent, wealthy businessman
and
associate of Pardalot, Ceferino is told: “Yo soy parte de una conjura y
mi
mujer es parte de una conjura y tengo motivos para pensar
que mi conjura y la conjura de
mi mujer son dos conjuras diferentes…tengo motivos para pensar que actuamos
en bandos opuestos.” (160)
The center appears caught up
in a labyrinth of
lawlessness in which no clear alliances are drawn and everyone is a
player in a
conspiratorial plot. Santi, the bodyguard and private investigator to
nearly
all of the centric figures is most aware of these alliances. He
contributes to
the unwinding of the mystery by reminding the characters of the inbred
nature
of their relationships, “la cuestión es saber quién
pertenece a un grupo y quién a otro, y quién, al
proclamar sus
lealtades, dice la verdad o miente” (307).
The mayor of
Moral Ambiguity
What is at the root of the
collapse of center and the
resulting movement between the center and the periphery? The critic
believes
that an overwhelming sense of moral ambiguity operates to destabilize
modern
notions of morality, order and hierarchy within the novel. For Ceferino
to
succeed in society to make wise decisions that will allow him to stay
out of
the asylum, he must first distinguish between good and evil and then
consciously choose what is right. Problematically, however, Ceferino
discovers
that his society, postmodern
Moral ambiguity acts as the
compelling force behind
both the collapse of an identifiable center and the movement and flux
between
the modern center and periphery. As Manuel Pardalot explains to
the
protagonist in the beginning of the novel, “vivimos en la era de la
imagen, y yo
quiero dar una buena imagen” (50). The visual, the illusory, the
image operate as
benchmarks for morality. The very nature of the crime, a self-inflicted
robbery
is indicative of the blurred line between right and wrong. The
conspirators tell Ceferino, “…la operación es
sólo una falsa
operación. No del todo correcta, pero tampoco ilegal” (50).
Centric figures throughout the
novel describe their
society using corrupt or morally questionable characterizations. In one
of his encounters with the mayor, Ceferino is told, “…una sociedad
como la nuestra
no funciona si no se untan de cuando en cuando los engranajes”
(153). In the
same scene, one of two episodes in the novel that consists of an
all-character meeting to gather the accumulated evidence, Reinona, the
wife of
one of the corrupt associates concludes, “en una sociedad civilizada
como
la nuestra todos dan su aquiescencia y nadie da las órdenes”
(153). The decay of the center, represented symbolically by the city
itself,
does not go unnoticed, however. One prominent lawyer in the
novel
declares, “el
día menos pensado la ciudad va a colapsar”
(306).
The absence of an ethical code
governing their society
leaves each to operate in his or her own interests. Not even reason, a
fundamental measure by which one may predict the actions of others,
functions
within their society. In his
contemplation of his electoral campaign, the mayor entertains the
opposition’s assertion that they are capable of governing more
effectively, “Tal vez tengan razón, pero ¿desde
cuándo la razón es un argumento válido?”(133).
Again,
a staple of liberal humanism, the ability to employ reason to find
justice, is
undermined.
When Ceferino’s initially
resists involvement in
the crime, Manuel Pardalot and his daughter Ivet appear perplexed at
his apparently
strong moral compass. They attempt to ridicule the
protagonist by
trivializing his morality: “A juzgar por su actitud, por sus modales y
sobre todo por su
forma de vestir, usted debe ser de los que aún se empeñan
vanamente en distinguir entre el bien y el mal. (50)
The attempt to distinguish
between good and evil is
characterized as a vain and naïve effort on behalf of Ceferino.
The master
narrative of good and evil provides fruit for humor and cynicism.
Ultimately,
Ceferino is mocked and told that his justification for not accepting
the task
is based on, “estúpidas razones éticas” (50).
The ultimate indication of
moral ambiguity is a
reaffirmation of Linda Hutcheon’s assertion postmodern order is
“plural and provisional”. Several months after the conclusion of
the crime, while working in the salon, Ceferino is interrupted by a
former
fellow inmate, Cañuto, whom he has not seen since the day of
their
release. Eager to catch up, Ceferino, inquires, “¿No has vuelto
a
robar bancos?” (381). Cañuto explains that due to advances in
technology and security, his profession has become more difficult. The
protagonist however reassures his friend, “Cuanta más
tecnología más sencillo debe ser dar el golpe” (381),
thereby calling into question the stability of Ceferino’s movement
towards the center. The ultimate blow is dealt in the final sentences
of the
novel. Ceferino begins to negotiate a
joint project with Cañuto: “…desde hacía
unos días me rondaban la cabeza o por la cabeza, porque ya
llevaba
invertidos en la peluquería ilusión, tiempo y esfuerzos
sobrados
y si finalmente me decidía a imprimir a mi vida un sesgo
nuevo…las
habilidades de Cañuto podían resultarme de mucha
utilidad.” (382) Was
Ceferino’s movement purely temporary or
“provisional”? Given the postmodern nature of his society, the
certainty of his commitment to the moral or, for that matter the
immoral,
remains ambiguous.
Movement of the
genre
La aventura
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