by Adriana V.
This collection is comprised of works of fiction. All names, characters, places, and incidents are the product of the authors’ imaginations. Any resemblance to real events or persons, living or dead, is entirely coincidental.
Published by Akashic Books
©2011 Akashic Books
Series concept by Tim McLoughlin and Johnny Temple
Barcelona map by Aaron Petrovich
ISBN-13: 978-1-936070-95-4
eISBN-13: 978-1-617750-45-8
Library of Congress Control Number: 2010939099
All rights reserved
First printing
Akashic Books
PO Box 1456
New York, NY 10009
[email protected]
www.akashicbooks.com
ALSO IN THE AKASHIC NOIR SERIES:
Baltimore Noir, edited by Laura Lippman
Boston Noir, edited by Dennis Lehane
Bronx Noir, edited by S.J. Rozan
Brooklyn Noir, edited by Tim McLoughlin
Brooklyn Noir 2: The Classics, edited by Tim McLoughlin
Brooklyn Noir 3: Nothing but the Truth
edited by Tim McLoughlin & Thomas Adcock
Cape Cod Noir, edited by David L. Ulin
Chicago Noir, edited by Neal Pollack
Copenhagen Noir (Denmark), edited by Bo Tao Michaëlis
D.C. Noir, edited by George Pelecanos
D.C. Noir 2: The Classics, edited by George Pelecanos
Delhi Noir (India), edited by Hirsh Sawhney
Detroit Noir, edited by E.J. Olsen & John C. Hocking
Dublin Noir (Ireland), edited by Ken Bruen
Haiti Noir, edited by Edwidge Danticat
Havana Noir (Cuba), edited by Achy Obejas
Indian Country Noir, edited by Sarah Cortez & Liz Martínez
Istanbul Noir (Turkey), edited by Mustafa Ziyalan & Amy Spangler
Las Vegas Noir, edited by Jarret Keene & Todd James Pierce
London Noir (England), edited by Cathi Unsworth
Lone Star Noir, edited by Bobby Byrd & Johnny Byrd
Los Angeles Noir, edited by Denise Hamilton
Los Angeles Noir 2: The Classics, edited by Denise Hamilton
Manhattan Noir, edited by Lawrence Block
Manhattan Noir 2: The Classics, edited by Lawrence Block
Mexico City Noir (Mexico), edited by Paco I. Taibo II
Miami Noir, edited by Les Standiford
Moscow Noir (Russia), edited by Natalia Smirnova & Julia Goumen
New Orleans Noir, edited by Julie Smith
Orange County Noir, edited by Gary Phillips
Paris Noir (France), edited by Aurélien Masson
Philadelphia Noir, edited by Carlin Romano
Phoenix Noir, edited by Patrick Millikin
Pittsburgh Noir, edited by Kathleen George
Portland Noir, edited by Kevin Sampsell
Queens Noir, edited by Robert Knightly
Richmond Noir, edited by Andrew Blossom, Brian Castleberry & Tom De Haven
Rome Noir (Italy), edited by Chiara Stangalino & Maxim Jakubowski
San Diego Noir, edited by Maryelizabeth Hart
San Francisco Noir, edited by Peter Maravelis
San Francisco Noir 2: The Classics, edited by Peter Maravelis
Seattle Noir, edited by Curt Colbert
Toronto Noir (Canada), edited by Janine Armin & Nathaniel G. Moore
Trinidad Noir, edited by Lisa Allen-Agostini & Jeanne Mason
Twin Cities Noir, edited by Julie Schaper & Steven Horwitz
Wall Street Noir, edited by Peter Spiegelman
FORTHCOMING:
Bogotá Noir (Colombia), edited by Andrea Montejo
Jerusalem Noir, edited by Sayed Kashua
Lagos Noir (Nigeria), edited by Chris Abani
Long Island Noir, edited by Kaylie Jones
Mumbai Noir (India), edited by Altaf Tyrewala
New Jersey Noir, edited by Joyce Carol Oates
Staten Island Noir, edited by Patricia Smith
Venice Noir (Italy), edited by Maxim Jakubowski
TABLE OF CONTENTS
Title Page
Copyright Page
Introduction
PART I: FOLLOW ME IF YOU CAN
ANDREU MARTÍN Villa Olímpica
The Law of Escape
ANTONIA CORTIJOS El Born
Brawner’s Shadows
SANTIAGO RONCAGLIOLO Barri Gòtic
The Predator
ISABEL FRANC Poble Nou
The Enigma of Her Voice
LOLITA BOSCH Sant Gervasi
In This World, and at the Time Mercedes Died
PART II: SHELTERED LIVES, SECRET CRIMES
DAVID BARBA El Carmel
Sweet Croquette
TERESA SOLANA Sant Antoni
The Offering
(Translated from Catalan by PETER BUSH)
JORDI SIERRA I FABRA Turó Parc
A High-End Neighborhood
IMMA MONSÓ L’Eixample
The Customer Is Always Right
(Translated from Catalan by VALERIE MILES)
PART III: DAYS OF WINE (WHITE LINES) AND ROSES
ERIC TAYLOR-ARAGÓN Barceloneta
Epiphany
CRISTINA FALLARÁS Nou Barris
The Story of a Scar
VALERIE MILES Gràcia
Bringing Down the Moon
RAÚL ARGEMÍ Montjuic
The Slender Charm of Chinese Women
FRANCISCO GONZÁLEZ LEDESMA El Raval
The Police Inspector Who Loved Books
About the Contributors
INTRODUCTION
BLOODY RAMBLINGS
Its physical beauty alone, surrounded by mountains with a view of the sea, was cause enough for architect Antoni Gaudí to raise his version of Candy Land upon its soil; a daily impetus for the city’s mimes and living statues to claim a spot along Las Ramblas and transform it into their stage.
But don’t be fooled: Barcelona, with all its illustrious color and exterior fineness, hasn’t always been able to curb the darker yearnings of its Hyde to its Jekyll. Blame it on a bubbling, repressive concoction made with a pinch of Church, a touch of Crown, and a large dose of General Francisco Franco to stir up the insides of its very independent and anarchic Catalonian spirit. One that has allowed it to conserve its own language and modus operandi from the rest of Spain, and that has always attracted the vanguard to create under the sereneness of its palm trees and Mediterranean light.
It may be hard to imagine, but Barcelona, presumably named after the Carthaginian general Hamilcar Barca in third century B.C., was once trapped behind the shadows of Roman walls, hidden within the largest concentrated labyrinth of Gothic architecture in all of Europe. Hundreds of years later, the thriving port city would open itself up to commerce, its industrial age, and with it came immigrants, workers, revolution, and vice. Then the city would endure the bloodshed of the Spanish Civil War (1936–1939), thirtyfive years of Franco’s iron fist, and, when that was finally over, its cobblestoned streets became breeding grounds of resentment.
If noir is the genre most apt to expressing unease and malice within a society, it took awhile for Barcelona to feel safe to do so. In fact, Spain didn’t produce its first novela negra, with a police character and crimes of passion, until 1853, with the publication of Pedro Antonio de Alarcón’s El Clavo (The Nail). But bear in mind that Spain, in general, was not the easiest of places to be an author. Those brave or crazy enough to question the orthodoxy through their writing faced torture, imprisonment, or worse: death. Just remember Federico García Lorca’s tragic fate at the hands of the Nationalists in 1936.
Over time, more crime fiction was
published, though it still faced heavy censorship. Francisco García Pavón’s novelas policíacas featuring the police chief Manuel González, a.k.a. Plinio, garnered a following in the 1950s and were eventually adapted into a popular television series. This Plinio character—who could be described as a man of few words, with his right hip attached to his gun and a cigarette appended to the side of his mouth—was without a doubt a pioneer of his time. But a true noir fan would rate the series tepid in comparison to the brutality of Franco’s very real hit men; the violence portrayed, well, a mere stroll in the park.
It wasn’t until Franco’s death in 1975 that grittier tales began pounding themselves out upon typewriter keys soiled with absinthe and cigarette ash. The bans had been lifted and a new era had emerged. But instead of your classic whodunit style of noir that was popular in the U.K., Spain’s take on the genre stung with social criticism. Thanks to memorable protagonists created by Catalan novelists such as Francisco “Paco” González Ledesma, with his jaded inspector Ricardo Méndez (featured in this collection), as well as the great and late Manuel Vázquez Montalbán, with his bon vivant detective Pepe Carvalho, Barcelona began to be depicted as it actually was: a city riddled with violence, endemic corruption, and lack of social mobility.
While some of the stories in Barcelona Noir still capture a certain air of this former era, a strange if more sadistic mood lurks through this small postindustrial city of today. Smeared with the pleasure-seeking sheen of its rampant tourist industry, combined with a constant stream of immigration from Africa, Latin America, and Asia, and with the ever-growing tensions of Catalonian nationalism, the city has spawned a fresh new batch of resentments and culture clashes. Enter the underground world of Raúl Argemí’s “The Slender Charm of Chinese Women,” where drugs, xenophobia, and people trafficking manage to remain hidden in the city’s darkest corners. In Eric Taylor-Aragón’s “Epiphany,” two heartbroken outsiders meet at a bar and make a horrid attempt to escape their existential pain together, while in Jordi Sierra i Fabra’s “A High-End Neighborhood,” the city’s rich outright torture the foreign help.
There are portraits here of Catalans struggling with their own sense of identity, feeling suffocated in a conservative society, as depicted in Imma Monsó’s mind-bending retail story “The Customer Is Always Right”; in Teresa Solana’s “The Offering,” where a respectable clinic becomes the setting for surgical terror; and in tiny clues scattered throughout Lolita Bosch’s scandalous tale of crosscontinental hate crimes. This repression is also expressed in Santiago Roncagliolo’s “The Predator,” where a group of officemates partake in Carnival night’s fun by putting on masks so they can take their real-life ones off; and in Valerie Miles’s “Bringing Down the Moon,” when the magic surrounding Saint John’s festival becomes the perfect excuse to commit murder.
In the meantime, plots take us back in time in search of ghosts of the Second World War, such as in “Brawner’s Shadows” by Antonia Cortijos. And even further back, to the era of the gangster anarchists running scared through the Ciutat Vella, in Andreu Martín’s “The Law of Escape.” Today, the detectives and the pursuers aren’t necessarily men anymore either; they can be lesbian and pregnant, and penned by respected writers in the genre such as Isabel Franc and Cristina Fallarás.
In fact, noir is so entrenched in Barcelona’s pop culture and street lore that a tourist can easily partake in it browsing the shelves of the Negra y Criminal bookstore in the Barceloneta, at its yearly BCNegra literary festival, or visiting the plaza between Sant Rafael Street and the Rambla del Raval dedicated to the memory of Vázquez Montalbán—the aforementioned creator of beloved character Pepe Carvalho, an ex-Communist detective and food connoisseur who, accompanied by his prostitute girlfriend, baptized the Raval district’s watering holes and best restaurants. There are fine-dining tour-guide musts, such as the Boquería Market’s Pinotxo bar or Casa Leopoldo, where if you tell your waiter, “Pepe Carvalho recommended I come, so serve me whatever you wish,” you’re bound for a killer meal you’ll never forget. If you are seeking a hard-to-swallow serving of Catalonia’s culinary snobbism, we recommend your next course be David Barba’s “Sweet Croquette,” a fascinating journey into one man’s obsession with the star chef Ferran Adrià.
Repression, vice, immigration … the fourteen stories within will divert your eyes from Barcelona’s lively Ramblas and Gaudí spires, opening them onto the city’s tainted side. One that will never appear in any recommended walking tour.
Adriana V. López & Carmen Ospina
Barcelona, Spain
January 2011
PART I
FOLLOW ME IF YOU CAN
THE LAW OF ESCAPE
BY ANDREU MARTÍN
Villa Olímpica
At the end of the nineteenth century and beginning of the twentieth, Barcelona was known as “The City of Bombs.” It was considered the world capital of anarchy. More than seven hundred political assassinations were carried out between January 1919 and December 1923. This tale is based on a true story that took place on September 1, 1922; a review of the case appeared in León-Ignacio’s book, Los años del pistolerismo (The Years of Gangsterism).
Tino Orté’s father was pinched by the cops while painting No God, No Master, No King on the walls of the Poble Nou cemetery. He had the brush in his hand, ready to dip it into the bucket with the shiny black tar that Gerardo was holding, while Fabregat encouraged them and, supposedly, looked out to make sure they weren’t caught.
But Fabregat was paying much more attention to the actual painting, to the text, to his two friends’ fears, and to hurrying them along, than to the movements in the fog around them. Fabregat was the one who’d recruited the other two to fill the neighborhood of Poble Nou with anarchist slogans: “C’mon, damnit, come with me right now and we’ll make sure that by the time everyone wakes up tomorrow, they’ll be converted to anarchism.” Nobody said no to Fabregat, who always carried a pistol, was part of the union leadership, and boasted of having gotten rid of two bosses the previous month. If anybody said no, he took them for scabs and killed them right then and there.
The police didn’t come with horns and sirens, nor was it a coincidence the three men were caught. They had been looking for Fabregat, because they’d gotten a tip that he’d be there. They approached him stealthily, hidden within the shadows, and then they shouted: “Stop! Police! Hands up!” The bucket of tar spilled on the ground and over the anarchists’ feet as they raised their hands, offering no resistance.
Five uniformed police with rifles and two undercover cops wearing derbies and carrying pistols shoved them against the wall, frisked them, and asked, “Are you the one called Fabregat?” And to the other two they said: “Who are you?”
Tino’s father should have said, Constantino Orté, at God’s and your service, because the priests had taught him humility and life had taught him that the police were Catholic and would never kill another Catholic.
“So, No God, No Master, No King, eh?” an undercover cop said. “You can stop being such a fool and just go.”
Tino’s father and Gerardo thought they’d gotten a pass and smiled gratefully at the benevolence of those officers of the law and went ahead and turned their backs. Fabregat, however, knew what was really up.
“You can go now.”
They’d all heard talk about the Law of Escape, but Gerardo and Tino’s father probably thought it was an urban legend, or that it didn’t apply to them because they’d never been in trouble and that those felled by the bosses’ bullets were probably “up to something.” But Fabregat knew it wasn’t like that. Fabregat knew that twenty-three comrades had already fallen, all shot in the back, since the Law of Escape had been instituted on December 5, 1920.
The police officer repeated, “You can go now,” and Fabregat let out an anguished cry: “The Law of Escape!” And they took off running, their six espadrille-covered feet leaving a trail of black tar footprints on the sidewalks, and then there was gall
oping, and the sounds of guns cocking, and an endless volley of bullets that shook the neighbors who’d been hiding in the dark on their balconies and looking out at the cemetery.
Tino found out what happened from one of those neighbors who heard, and more precisely saw, everything from one of the balconies. She told him about it at the Poble Nou cemetery, the oldest in Barcelona, on the other side of the wall where his father had been painting, just as the city workers were putting his father’s coffin in the crypt where it would rest forever.
“You’re his son?” the woman asked, full of hate. “I saw what happened.” And then she told him how they were painting No God, No Master, No King and how the police shouted and the tar footprints on the sidewalk detailed the last steps of the three men before the shooting, the red blood spilling over the black tar like a symbol. The anarchists’ flag was black and red.
“Ma’am, please,” was all Tino could manage to say.
He hugged his wife Elena and stepped away from the crypt’s high walls, from the modest bouquet of flowers, from the crowd of indignant workers, from the cemetery, from the wall his father had been painting.
He didn’t want any trouble.
Tino wanted to tear off the worker’s skin that had covered him his whole life. He’d been born in Poble Nou—an area so proud of being proletariat, so poor and dirty, a cauldron of conspiracies and hate—but he’d managed to save up and buy a flashy white car from a member of the bourgeoisie who was afraid to drive, and he’d fled from Poble Nou and taken up residence in Gràcia, also a worker’s neighborhood, but cleaner, more bourgeois. When you went out on the streets, you could greet tidy middle-class people. Neither the bosses’ bullets, which pursued workers in Ciudad Antigua and in their barracks, nor the proletariat’s hunt for impresarios in rich neighborhoods, ever reached Gràcia.
