The author is exploring the impact of local culture on the artistic output of Narcoculture in the form of literature and art in two specific par excellence Narco cities in Latin America. We are introduced to the Culichis of Culiacán in Mexicos Sinaloa and they can be contrasted with the paisas of Medellín in Colombia. There are unique linguistic characteristics to each area and each city produces distinct styles in terms of its experience of drug war and wide scale narco-trafficking. Culiacán is the capital of El Chapo’s Sinaloa Cartel territory and faced the brunt of the President Calderon Mexican Government War on Drugs. Medellín was home to Pablo Escobar’s capo rule during the 1980s when he declared war on the State and ran a brutal campaign akin to terrorism, brutalising many of the local population in the crossfire. The rough nature of macho Culichi campesinos, raised in the surrounding rural mountains is portrayed in the natural acceptance of violence and the local landscape is scarred with the memories of narco killings and warfare. Post Escobar paisas are dealing with the world where they had to face paramilitary suppression and the middle classes have been integrated with fast money immigrants from the shantytowns, the home of sicaresca (cultural works about sicario hitmen). Authors may use local dialects such as Medellin’s urban poor parlache in order to express their work. Most of the artists and authors have either suffered directly from the violence or know people killed in the wars. The underlying tone for cultural content from both areas is one of ultraviolence that is socially accepted and ingrained in the conscience and collective memory. The popularity of narconovelas is rising globally. The author of this study does some great work in exposing some perhaps lesser known creators and does a relatively in depth analysis of their works, often drawing on external cultural ideas and philosophies in order to justify her analyses. I found this text to be very enlightening and it opened many doors to this area for future critical study. The often dark subjects prove to be very adept at dealing with their work, often under extreme circumstances that fellow artists across the world do not have to endure. The culture of Medellín and Culiacán is opened to the world by Gabriela Polit Dueñas and I highly recommend her work.
This is a fast-moving story of the rise of Mexico’s most feared and influential drug lord, El Chapo. The Sinaloa cartel occupies the number one position in terms of prestige of drug organisations and Guzman Loera has hit the Forbes list of the wealthiest and most powerful men in the world. After a daring prison break he hides out from Mexican and US authorities as well as rival gangs in the hills of his native Mexico. Beith is a journalist who attempts to piece together the myths surrounding this elusive character and he weaves a very readable and exciting story together which combines romance, bloodthirsty homicide, big business administration, corruption and the life of the modern day Mexican Robin Hood and his associates. The situation in Mexico is extreme and unbelievable in may ways. It has certainly transcended all the boundaries first witnessed during the rise of the Colombian cartels decades ago. This book is perhaps lacking in truth in some ways as the evidence is so difficult to establish, yet it is well-written and gives the reader a good insight into one of the greatest plagues of the modern world.