Las viudas de los jueves by Claudia Piñeiro

An old-school crime journalist, Jaime Brena, has been demoted to writing absurd stories on “general interest” trivia, and his role is now filled by an unnamed youngblood who knows everything about Google and nothing about police sources and digging up stories beyond the official version. The plot revolves around those deaths and the dark secrets behind them, but also about El Tribuno and the role of the press. The setting of the story, which begins with an apparent suicide in a country club (the husband of a woman who had been murdered on the same house, a not-at-all-veiled allusion to the García Belsunce case) and takes place mostly within its well-guarded boundaries, also looks back on Las viudas de los jueves, but reverts the perspective: this time, the outsiders are looking in and treading foreign ground as workers or temporary guests which are not used to the Kafkaesque security routines, feel baffled by the mechanics of the lifestyle and cannot fully grasp the web of prejudice and perverseness behind it all. On the moon.īetibú is rare, also, because Piñeiro makes her career and reputation a centerpiece in the story through Nurit Iscar (a strange name indeed, and an anagram for “satiric run”, but if there is a meaning behind it Piñeiro is yet to reveal it), “the queen of detective fiction,” a washed-out crime novelist who stopped writing after a catastrophic attempt at a romantic tale and a scathing review it got in El Tribuno, the country’s leading newspaper. In Argentine literature, this is as rare as a unicorn playing jazz guitar. And yet, readers can’t get enough of her. She does perform clever variations of the crime fiction pattern, with shades of noir even, and she develops in all these books an evolving craft for fleshing out interesting characters and weaving plots full of twists and turns in all the right places, but that is where similarities end, and in all other respects her writing is uncompromising – say what you want about it, but it is neither copycat nor written to please. Las viudas de los jueves struck gold with its detective story set in the secret spaces of a gated community (with plot sometimes yielding to the portrayal of the infamous life of the rich and secluded, a major part of the book’s appeal), but Elena sabe was more about disease than crime and Las grietas de Jara was more about the growing pains of its middle-aged protagonist than the suspense of its enigmas.

This first paragraph begs for the followup “a writer struck on a formula for bestsellers and is riding it big time,” if it weren’t for the fact that it is actually difficult to find that many similarities between the books.

Las viudas de los jueves by Claudia Piñeiro