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Detective fiction as parodic reformulation of genre's defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region's societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo's style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction. ; Detective fiction as parodic reformulation of genre's defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region's societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo's style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction. ; Detective fiction as parodic reformulation of genre's defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region's societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo's style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.

In august 1931, Lino Novás Calvo arrives to Spain from Cuba as a correspondent of Havana's magazine Orbe. True to the editorial purposes that the publication had marked, he tries to capture the hunch of society and the Spanish politics to bring the reality of the country to Cuban readers. This article covers the key of chronic journalism, reportage and interviews conducted by Novás Calvo for the magazine, granting special importance to his work as an interviewer of some of the key Spanish figures, men and women of the moment. In order to do this, the idea of literary journalism as a journalistic macro genre is conceived, which is characterized by the hybridization of journalism and literature. ; En agosto de 1931, Lino Novás Calvo llega a España desde Cuba como corresponsal del semanario habanero Orbe. Fiel a los propósitos editoriales que la publicación se había marcado, trata de captar el pálpito de la sociedad y la política españolas para acercar la realidad del país a los lectores cubanos. Este artículo recorre las claves de las crónicas, reportajes y entrevistas realizados por Novás Calvo para esa revista, concediendo especial importancia a su labor como entrevistador de algunas de las figuras españolas, hombres y mujeres, claves del momento. Para ello, se parte de la concepción del periodismo literario como un macrogénero periodístico caracterizado por la hibridación del periodismo y la literatura.

En conexión con la noción de Guerra Fría cultural (Saunders, 1999), este artículo presta atención a la conformación de un campo cultural socialista transnacional poniendo el foco en las relaciones culturales cubano-búlgaras y, sobre todo, en el caso de la literatura criminal socialista como un género altamente ideologizado y favorecido por los canales oficiales de transmisión editorial. En ese sentido, se parangona la trilogía novelística policial incluida en el volumen Tres encuentros con el inspector (leída en su traducción al castellano), del búlgaro Bogomil Rainov, y la novela Los siete pasos del sumario, de Arnoldo Tauler López. Ambos libros se publicaron en 1978 en Cuba, en una década de efervescencia de la difusión de la narrativa policial revolucionaria en la Isla a través de un fuerte apoyo institucional justificado en el uso didáctico y propagandístico del género. El contraste entre ambas producciones descubre un conjunto de coincidencias que permite afianzar la idea de una poética comparada de la literatura criminal socialista.