the urban landscape transcends a simple duality; it is a complex interplay of forces. how, then, do we reconcile the inherent contradictions within a city's narrative? this analysis posits that through a sophisticated use of masking, eduardo mendoza's trilogy offers a compelling resolution to this discursive paradox.
the concept of the mask, as defined here, acts as a neutral identifier that reshapes interpersonal dynamics by establishing implicit guidelines for engagement within specific contexts.
given that individuals are multifaceted, possessing numerous identity markers, these layers or masks interact dynamically across all levels of human connection.
by placing the act of masking at the forefront of this trilogy, mendoza emphasizes its crucial role in comprehending barcelonan society, a society characterized by its diverse identities, voices, and linguistic expressions.
the resultant portrayal of a fragmented and often unpredictable society is simultaneously universal and distinct. its thinly veiled chaos could resonate with inhabitants of many large urban centers globally. however, the unique perspective on these situations, and the situations themselves, are deeply rooted in the specific cultural milieu of barcelona at particular historical junctures.
this nuanced approach ultimately allows mendoza to achieve a narrative resolution in the third novel that remains elusive in the initial two.
both earlier works depict barcelona as a city where its past and present are experienced concurrently within the collective and individual consciousness of its populace.
this intrinsic tension is particularly evident in barcelona's relationship with madrid, and the internal class struggles, often exacerbated by external interference from the capital.
for instance, under franco's regime, there was a deliberate effort to suppress catalan culture and language, including making the public use of catalan illegal, even in the naming of people and places.
barcelona has historically endured numerous occupations, both from external forces and internal spanish conflicts.
this historical reality extends beyond the forty years of dictatorship to encompass its long and often strained relationship with madrid since spain's unification in the late 15th century. to effectively convey the tension, confusion, and multiplicity of identity within barcelona, mendoza aptly employs a detached, anonymous detective figure, akin to a schizophrenic narrator.
the chronotope and the urban jungle
distinct from a recurring motif, the chronotope possesses a tangible spatial dimension intrinsically linked to a unique progression of time.
this passage of time influences all those who traverse this specific locale. this urban blend also renders it an appropriate setting for a detective novel, especially in an era where, according to detective fiction historian lewis d.
mendoza, new spatial settings were becoming increasingly rare.
the interplay between barcelona's specific chronotope and the broader chronotope of the urban jungle significantly contributes to the sense of circularity pervading the trilogy. indeed, many critics argue that the cyclical structure of each novel precludes any genuine progression or character development, except perhaps in a satirical sense.
the reader is left with a profound impression that nothing truly changes in barcelona, where the synchronic and diachronic dimensions of the city perpetually converge into an unchanging present.
while some critics interpret the trilogy as reflecting a cyclical view of a static city, this analysis contends that the series actively distorts and satirizes the conventional circular urban jungle chronotope, thereby creating a double-voiced, masked discourse.
unmasking progression: from public to relational spaces
a closer examination reveals that the superficial chronotope of the hard-boiled urban jungle, with its inherent cycle of injustice, actually masks a discernible progression in the protagonist's evolving relationship with the city as a whole throughout the trilogy.
this masked progression operates on two distinct levels: firstly, the protagonist navigates different types of spatial environments in each novel; and secondly, the accessibility of these spaces to him progressively diminishes.
in the subsequent sections, i will first delineate the progression of spatial types, commencing with a focus on public spaces in the initial novel, transitioning to private spaces in the second, and culminating in what i shall term relational spaces in the third.
the second section will then explore the progression of accessibility across the series.
as the narrative unfolds, the narrator gains increasingly privileged access to more exclusive settings. it is my argument that this enhanced access is facilitated by his adeptness in engaging in masked discourse, which allows him to introduce novel contextual environments and subsequently redefine the prevailing social interaction codes.
an understanding of these dual progressions serves to underscore the potent criticism embedded within the character portrayals, particularly those concerning public officials.
this metropolis is not a static entity, perpetually destined to repeat its errors; instead, it transforms into a crucible of change and renewal for the protagonist, and indeed for its inhabitants.
in the first novel, the protagonist is released by a comisario to investigate the disappearance of a young girl from a religious institution.
his inquiry unearths a prior disappearance, and an equally enigmatic reappearance, of a figure named isabel peraplana.
at the conclusion of his investigation, the protagonist is unceremoniously returned to the psychiatric facility, without any definitive resolution to the case or any indication of his eventual release.
he meticulously details, for instance, the metro stops along his commuting line, the terminus of which brings him close to the lazarist school.
the significance of certain locations is amplified by their nature as private spaces and their geographical anonymity. in a novel so rich with geographical detail and frequently visited locales, private spaces situated on unmapped streets assume remarkable importance and acquire a unique significance.
the psychiatric institution emerges as one of these few private realms.
it functions as a framing device in each installment, representing a generic sphere of state and scientific authority, situated outside the realm of possibility as defined by barcelona itself. the narrator must escape the oppressive confines of this institution to immerse himself in the chronotope that underpins his journey of epistemological and ontological discovery.
another example of a private, anonymous space is the lazarist school in san gervasio, specifically the college of santa teresa, constructed between 1885 and 1910.
although ostensibly a private domain, it more closely resembles a public thoroughfare, with individuals entering and exiting freely, leaving behind deceased individuals clandestinely, or authorities gaining entry without warrant.
even her name, teresa, seems to reinforce this perception.
in each instance where private space is violated, the protagonist's intervention results not only in an individual trespass but also in the transformation of the private into the public, a collective transgression.
the private sphere is presented as essentially a masked public space.
the second novel, el laberinto, commences once more within the confines of the psychiatric institution. this time, comisario flores is enlisted by the minister of agriculture to locate a disposable individual for a money drop in madrid. the narrator subsequently falls victim to theft and an attempted murder.
upon his return, he discovers that the minister of agriculture was, in fact, a low-budget film actor named toribio pisuerga, also known as muscle power.
he suspects that the criminal activities in madrid were an orchestrated attempt by toribio to abscond with his employers' funds. the investigation inexplicably leads the narrator to an olive company, where the chief executive officer endeavors to end his life, again for reasons that remain obscure.
he inadvertently interrupts the broadcast, appearing naked before the entire television audience for several seconds before being apprehended and returned to the institution.
this leaves both him and the reader utterly bewildered regarding the nature of the crimes, some of which may or may not have occurred, and the identities of the perpetrators.
the less prominent streets mentioned, such as calle de la gaseoducto, do not appear on any map of barcelona.
the physical locations the narrator frequents also differ; this novel features a considerably greater number of private spaces that genuinely remain private: personal residences, a talent agency, an olive company, the interior of the building housing the agency, a monastery, and a satellite transmitter.
in el laberinto, the narrator embarks on his sole excursion beyond the immediate vicinities of barcelona.
nevertheless, the shift from predominantly public to primarily private spaces cannot be easily dismissed. furthermore, it is noteworthy that in a detective novel, the sole character to face legal repercussions for their wrongdoing is plutarquete pajarell, who illicitly removed books from a local library.
in essence, his transgression lies in rendering a literary space, once public, into a private one, mirroring the literary evolution from public to private settings that characterizes the transition from the first novel to the second.
the inherent injustice of this apprehension, considering the multitude of more significant crimes committed by others who evade accountability, serves to mock the very notion of this public-to-private conversion as a punishable offense.
relational spaces and restricted access
la aventura, the third novel, again begins within the psychiatric institution, but on this occasion, the narrator is released due to the head doctor's decision to pursue a career in real estate.
the narrator reconnects with his sister, now married, and takes up work at a hair salon.
ultimately, the narrator convenes all the likely suspects at the pardalot residence to reveal the identity of the culprit, an event that culminates in a shootout where everyone perishes except the protagonist and the mayor.
the protagonist then retreats to his unassuming existence as a hairdresser.
the precise geographical location of the settings becomes less critical than understanding the protagonist's connection to them. this marks the first novel in which the narrator establishes any form of profound personal connections with individuals and the environments they inhabit.
as he progresses through the spatial progression from public to private to relational, the accessibility of these spaces becomes progressively more limited.
akin to oswald, one can visit the majority of the locations depicted in the text and even capture photographic evidence of them in contemporary barcelona.
in el laberinto, the privacy of residences and the semi-private domains, such as the olive company, the airplane, and the talent agency, involve a more restricted form of entry.
companies typically limit access to the general public, yet employees, clients, and customers move through them freely.
finally, in la aventura, once the protagonist becomes involved with ivet pardalot, he gains entry into the most exclusive circles and the highest echelons of society. he finds himself attending a gathering with the mayor of barcelona.
later, in a dénouement reminiscent of poirot, within the chalet, he mingles with the city's elite.
the shootout at the conclusion of this scene is pivotal to the accessibility progression because, in its aftermath, the protagonist finds himself in a singular universe where he alone remains standing, unharmed.
with exclusive access to this space, he transcends legal boundaries, liberated from marginalization, and is empowered to confront the very source of power - those who construct and uphold the facade of social order, resulting in profound injustice towards him and the citizens of barcelona.
the spatial void he occupies outside the city is also significant in terms of this accessibility progression.
the psychiatric institution, which frames the initial two novels, exhibits reverse accessibility: individuals like the nun and comisario flores can enter, as can the employees, but the patients are prevented from leaving.
he establishes a new framework for interaction among barcelona's diverse voices by introducing a new contextual space, regardless of his own disheveled, unclothed, or impolite state.
the protagonist as barcelona's mask
seeing the protagonist as an identity marker for barcelona addresses several apparent inconsistencies in the characters' attitudes within the texts, particularly concerning political figures.
the protagonist appears to embody barcelona more completely through his very lack of a fixed identity than do the public officials who govern the city.
if the protagonist serves as a mask for barcelona, his anonymity is eminently fitting for this conceptualization. despite the ostensibly generic nature of the setting, the novels consistently maintain a sense that their events could only unfold in barcelona.
this peculiar amalgamation fosters a fierce pride in the catalan spirit of innovation and national identity, even amidst social commentary so pervasive that nearly every utterance contains a subtle critique.
an illustration of this curious blending is the highly critical depiction of the minister of agriculture in el laberinto, portrayed by toribio pisuerga, also known as muscle power.
he is acutely aware of public perception. the narrator, much like toribio, demonstrates remarkable resourcefulness in his dealings with, or deception of, others.
in el misterio, he imbues a bottle of wine with psychotropic drugs to extract information from the school gardener, and gains entry to the peraplana residence by wrapping two sardine tins in newspaper and posing as a jeweler.
in el laberinto, after being robbed and left with an empty suitcase that was meant to contain a substantial sum of money, he fills it with toilet paper so that it at least retains a sense of substance.
under the narrator's direction, the shop achieves a modest profit.
examples of the protagonist's unconventional thinking and problem-solving abound. the mayor, as a gifted orator, wields all the catchphrases necessary to inspire public confidence.
"se equivocaban.
lo supimos ejercer, a nuestra manera. hemos sufrido reveses. pero, en lo esencial, no hemos cambiado…seguimos con las mismas convicciones."
rather than explicitly rejecting the offer, the mayor simply emphasizes the need to await a more opportune moment and setting for its consideration.
the protagonist in el misterio obtains freedom, dons a false beard, engages in drug use, and emits an unpleasant odor.
authorities anticipated he would be unable to cope with liberty, yet he manages, albeit in his own distinctive manner. he is institutionalized on two separate occasions.
he remains fundamentally the same individual, despite shifts in his circumstances, the city, and his relationship with it.
in both instances, their actions ambiguously affirm and undermine their pronouncements, thereby highlighting the arbitrary nature of labeling individuals as miscreants and undesirables.
on camera, he presents himself as a sophisticated yet corrupt electoral candidate. in his private conversation with the protagonist, he reveals himself as a man who, despite overwhelming self-interest, also harbors a fear of being blackmailed over his business dealings with pardalot.
both the mayor and the narrator serve as representations of barcelona within the narrative, which partially accounts for the parallels observed between these characters.
the narrator, conversely, converses with individuals from all strata of barcelona's society, irrespective of time, place, or social standing, and nothing ultimately remains beyond his reach.
this extends even to his language, which skillfully juxtaposes the erudite with the colloquial and the profane.
secondly, although both individuals act in their own self-interest to deflect suspicion of murder, only the protagonist demonstrates any inclination to assist the other involved parties - ivet, reinona, magnolio - or to achieve a genuine resolution of the case simply for the satisfaction of knowing what transpired.
the mayor exhibits no interest whatsoever in the case's resolution; his sole objective is to ensure his name remains untainted by it.
finally, the mayor functions merely as a textual representation of barcelona.
the first-person narrative technique significantly contributes to this effect, and the protagonist's role as the identity marker for barcelona provides readers with an alternative avenue to engage dialogically with the city as a collective entity.
beyond the trilogy: masking barcelona
the concept of masking barcelona through a character is not exclusive to these three novels.
notably, critics such as patricia hart recognize onofre bouvila from la ciudad de los prodigios as the quintessential mendoza parallel between protagonist and city. bouvila embodies the city so completely that he cannot endure the decline of its glorious modernist era.
however, the anonymity and unique circumstances of the protagonist in el misterio, el laberinto, and la aventura render him a more adaptable and fitting mask for a barcelona undergoing transformation.
he possesses the capacity to evolve with the times and more fully represent the city's polyphony.
understanding and accessing this distinctive urban chronotope necessitates a specialized dialogic tool that enables readers to enter its contextual framework.
by delving into his consciousness, we gain entry into the embodied context he represents of the transitional city, in both its triumphs and its failures.
within this framework, readers can appreciate the pride of the catalan people, their singular ability to seize immediate opportunities, and their resourcefulness in challenging circumstances.
the interplay of multiple languages and voices, the stark social conditions faced by the lower classes, the profound squalor of impoverished neighborhoods contrasted with the pristine, quiet streets of affluent areas, and the pervasive corruption within authoritative bodies become vividly apparent throughout the trilogy.