The Carvalho series extended the potential for innovation of the novella negrs by the incorporation of pastiche, gastronomy, and the interweaving of high and low literay traditions while retaining the inherent qualities of the genre: its capacity for social comment, irony, and worldview of disenchantment,
The heroes of the novella negra,exisiting on the fringes of society, cynical, and yet vulnerable to an ideal were prototypes for the investigator Carvalho.
Carvalho series is an experiment with genre, a political statement, and a celebration of the many facets of a popular culture the author delights in.
Montalban grew up among the dispossessed, the marginalized and the disadvantaged of a Spain that had little more than its basicpopular expressions of life to confirm any connection to its own past
Montalban openly acknowledged his resistance to classical detective ficti0on. Its formula is little m,ore than capable of producing “novellas policacias baratas”. Instead he attests” lo criminal en la novella es una simple convencion cultural que lo criminal pase a ser un elemeento mas dentro de una unudad literariaplurdimensional.”
Author said the novel negra (authors like Hammet and Chandler) provided a glimpse of the social and moral fiber of contemporary society”
Only writers who imbue popular genres with their own personal sensibility, who create a variation, “un derivado” or a “mutante” have achieved “un ejercicio experimental de literature destinada a revelar sonas aun oscuras del conocimiento social ehistoric” e.g mid 20th C Italian mystery writer Leonardo Sciascia, who satirized fascism and analysed Sicilian society.
The series created possibilities of a realist discourse, of chronicle, of novels about knowledge of reality, of historical and therefore legitimizes itself in literary terms. It is a chronicle which reflects the interaction of society and the individual.
Montalban “Cultivoprecisamente el genero policacio porque me permite aproximarme al problema de la lucha entre el bien y el mal a traves de un filtro de ambiguedad.
The evolution of the character of the detective and the convention of a crime allow himt o construct an imaginary literary journey through the socio-political, cultural, aesthetic and moral landscape of Spain from Franco, through the transition to democracy,to the Socialist era.
Bakhtin called the novel “a dialogized sytem made up of images of languages, styles and consciousness that are concrete and inseparable from language”. The Russian theorist traces the novel back to the epic, the Socratic dialogue and the Menippean satire.
Carvalho’s cynical outlook and his self-imposed social marginalization ensured that he could never become “un heroepositive”. Through carvalho he was able to mildly parody the detective gebre and some of its traditional conventions. P34
Series provided an examination of the role of culture in society as wells as a re-examination of “la misma concepcion de la novella”.
“era possible una novella cronica una novel que describiera la realidad, metamorfoseandola a traves del artificio de lo literario.
Whenreceiving the Planeta Prize for Los amres del sur Montalban confirmed that the Carvalho novels were intended to be read a t several levels of whwich the detection was only one element among many
The detective’s obsession with burning his books allows Montalban to comment critically on them. Even more telling that Carvalho’s destruction of Espana como prdoblema (1949) is the burning of Editorial...