A trajetória dramática do herói e a experiência com a forma do romance policial nas narrativas de Marçal Aquino
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Data
2019-03-08
Autores
Mendes, Fábio Marques
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Universidade Estadual Paulista (Unesp)
Resumo
Esta tese apresenta uma análise crítica dos romances de Marçal Aquino, a saber, O invasor (2002), Cabeça a prêmio (2003) e Eu receberia as piores notícias dos seus lindos lábios (2005), tendo por objetivo ressaltar como a trajetória dos heróis Ivan, Brito e Cauby contribuem para a experiência da forma do gênero policial. Para tal percepção, incluímos uma análise do conto “Matadores”, do mesmo autor, que servirá como matriz interpretativa dos romances. Argumentamos que os romances de Marçal Aquino são organizados em torno do ponto de vista de um herói que está inserido no mundo da pistolagem brasileira, contexto onde a violência é racionalizada e tornada matéria-prima do capital. Diante disso, os romances do autor não apenas dão certa continuidade, mas também realizam uma experiência com a forma tradicional da ficção policial, já que os heróis de Aquino, movidos principalmente pelo ressentimento, transitam entre os três elementos fundamentais do gênero, a saber, o detetive, o criminoso e a vítima. Sendo assim, os protagonistas de Aquino são uma espécie de síntese entre as três categorias do romance policial tradicional e o que eles vão fazer é mostrar que em termos de modelo narrativo há uma experiência da forma que problematiza aspectos da sociedade brasileira. Estes heróis tomam parte em um contexto histórico e político demarcado pela intersecção entre lei e ordem, por um Estado que agencia o crime e por matadores ajustados à lógica do trabalho e às leis do mercado, estando a violência presente em todo o tecido da ordem social. Nestes termos, a figura do herói, que elegemos como eixo de análise das narrativas de Aquino, é usada como metonímia da transgressão entre legalidade e crime, ocupando as múltiplas fronteiras (de classe, sociais, culturais, raciais, geográficas) a fim de ocupar um lugar favorável ou vantajoso no mundo, e isto com a finalidade de sobreviver numa sociedade estruturada pela perversidade. Isso é estruturado nos romances por meio de uma estratégia irônica articulada pelos narradores em 1ª e 3ª pessoa do discurso. Aquino, então agencia os modelos da narrativa policial para fazer um texto cuja dimensão política é crítica, sendo uma espécie de comentário quase parodístico sobre o que é a sociedade brasileira, interrogando-a, como um tipo de romance político-social. Destarte, as narrativas policiais de Aquino ocupam um lugar singular na ficção brasileira contemporânea.
This thesis presents a critical analysis of Marçal Aquino’s novels, namely O invasor (2002), Cabeça a prêmio (2003), and Eu receberia as piores notícias dos seus lindos lábios (2005), with the objective to highlighting how the stories of the heroes Ivan, Brito and Cauby contribute to experimenting with the detective genre form. In order to do so, we have included an analysis of the short story “Matadores”, by the same author, which will function as an interpretative matrix for the novels. We argue that the novels by Marçal Aquino are organized around the point of view of a hero who is immersed in the world of Brazilian pistolagem (banditry), a context where violence is rationalized and turned into raw material for capital. Considering this, the author’s novels not only develop the traditional form of the detective novel, but also experiment on it, since Aquinian heroes, propelled mainly by resentment, vary among the genre’s three fundamental elements: detective, criminal, and victim. In this way, Aquino’s protagonists are a kind of synthesis of the traditional detective novel’s three categories, and what they do is show that, in terms of the narrative model, there is experimentation with the novel’s form which questions and discusses some aspects of Brazilian society. These heroes take part in a historical and political context branded by the intersection between law and order, by a State that administers crime, and by hitmen adjusted to the logic of labor and market laws, violence being omnipresent in the social fabric. Therefore, the hero figure, which we emphasize as an analytical parameter for Aquino’s narratives, is used as a metonym for the transgression between legality and crime, which occurs in multiple boundaries (social, cultural, racial, geographical, and of class), in order to occupy leverage or an advantageous place in the world, and with this to survive in society that is structured around cruelty. This is built in the novels by means of an ironic strategy performed by both first and third person narrators. Aquino administers the detective novel models in order to create a text whose political dimension is critical, being a sort of almost-parodic commentary on Brazilian society, questioning it as a social-political novel. Thus, Aquino’s narratives occupy a singular place in Brazilian contemporary fiction.
This thesis presents a critical analysis of Marçal Aquino’s novels, namely O invasor (2002), Cabeça a prêmio (2003), and Eu receberia as piores notícias dos seus lindos lábios (2005), with the objective to highlighting how the stories of the heroes Ivan, Brito and Cauby contribute to experimenting with the detective genre form. In order to do so, we have included an analysis of the short story “Matadores”, by the same author, which will function as an interpretative matrix for the novels. We argue that the novels by Marçal Aquino are organized around the point of view of a hero who is immersed in the world of Brazilian pistolagem (banditry), a context where violence is rationalized and turned into raw material for capital. Considering this, the author’s novels not only develop the traditional form of the detective novel, but also experiment on it, since Aquinian heroes, propelled mainly by resentment, vary among the genre’s three fundamental elements: detective, criminal, and victim. In this way, Aquino’s protagonists are a kind of synthesis of the traditional detective novel’s three categories, and what they do is show that, in terms of the narrative model, there is experimentation with the novel’s form which questions and discusses some aspects of Brazilian society. These heroes take part in a historical and political context branded by the intersection between law and order, by a State that administers crime, and by hitmen adjusted to the logic of labor and market laws, violence being omnipresent in the social fabric. Therefore, the hero figure, which we emphasize as an analytical parameter for Aquino’s narratives, is used as a metonym for the transgression between legality and crime, which occurs in multiple boundaries (social, cultural, racial, geographical, and of class), in order to occupy leverage or an advantageous place in the world, and with this to survive in society that is structured around cruelty. This is built in the novels by means of an ironic strategy performed by both first and third person narrators. Aquino administers the detective novel models in order to create a text whose political dimension is critical, being a sort of almost-parodic commentary on Brazilian society, questioning it as a social-political novel. Thus, Aquino’s narratives occupy a singular place in Brazilian contemporary fiction.
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Palavras-chave
Marçal Aquino, Romance policial, Heróis, Violência brasileira, Detective novel, Hero, Brazilian violence