Desde os anos 1970, o narcotráfico tem figurado papel de destaque nos principais veículos de comunicação da América Latina, com uma cobertura caracterizada pela superficialidade e, em alguns casos, flertando com o sensacionalismo. Porém, alguns repórteres foram bem-sucedidos ao aproximar o narcotráfico e a reportagem, principalmente, a partir da produção de livros-reportagem. O tema influenciou a literatura do continente (originando termos como narcoliteratura, narconarrativa e narcocultura), bem como o contexto do tráfico de drogas proporcionou a produção editorial de obras de não ficção, a partir dos anos 80, atingindo o ápice nos anos 90 e 2000. Desta forma, esta dissertação, apoiado no referencial teórico da análise crítica da narrativa, proposta por Luiz Gonzaga Motta (2013), buscou analisar a contribuição do livro-reportagem em relação à produção cultural da narcoliteratura, a partir do estudo de duas obras: Abusado: o dono do morro Dona Marta (Record, 2011), de Caco Barcellos e El Cártel de Sinaloa (Randon House, 2009), de Diego Enrique Osorno. De forma geral, debruçando-se sobre características como enredo, personagens, tempo, espaço e narrador, encontrou-se aproximações narrativas entre o que ficou considerado como narconarrativas (MEJÍAS; SANTOS; URGELLES, 2016) e a produção jornalística do livro-reportagem. / Since the 70\'s, the cover of drug trafficking showed superficiality in narratives and, the process almost industrial, does not allow a deep analysis. Despite this fact, some journalists was succeded uniting the drug trafficking and the reportage, mainly, with the production of non-fiction books. This theme had influenced the literature of continent (creating terms like narcoliteratura, narconarrativa and narcocultura), as well, the context of drug trafficking provided a mass editorial production of non-fiction books, starting in final of the 80\'s, and reaching the apex in the 90\'s and 2000. In this way, this dissertation, referenced in the concepts of critic analysis of narrative, developed by Luiz Gonzaga Motta (2013), will analyse the contribution of the non-fiction books in relation to the cultural production of narcoliteratura, from the analysis of two books: Abusado: o dono do morro Dona Marta (Record, 2011), of Caco Barcellos and El Cártel de Sinaloa (Randon House, 2009), of Diego Enrique Osorno. In general, looking at characteristics such as plot, characters, time, space and narrator, we found narrative approximations between that was considered narconarrativas (MEJÍAS; SANTOS; URGELLES, 2016) and the journalistic production of the non-fiction books.

In this dissertation, I argue against the idea that literary works that portray drug-trafficking, or “narconovelas,” are mere apologias for drug-trafficking and governing failures unique to Colombia and Mexico. In order to problematize that statement, it is necessary to understand how drug-trafficking and its policies started, changed over time, and came to shape our contemporary practices of citizenship and our sense of justice. Drawing on Foucault’s concept of “governmentality”, I argue that a political reading of narconovelas will help us to rethink categories of governmentality such as governed subjectivities, governed bodies and inhabited spaces. In narconovelas, these categories reveal the construction of a criminal otherness, which is portrayed as antagonistic to an ideal middle-class model of citizen. In other words, readers of “narconovelas” do not learn about “narcoculture” or drug-trafficking but paradoxically about the markers of a middle-class citizen: “well spoken,” educated, able to control his/her own pleasures, conservatively dressed, and responsive to the disciplining of security dispositifs. In the first part of this dissertation, I explain how the opium policies and wars in China during the 19th century as well as the colonialist efforts of the United States established a precedent for the governing of drugs on a global level. Colombian and Mexican governing of drugs is linked not only to that precedent but also to the neoliberal ways of the governing of drugs. The second part of this work contains the literary analysis. I found that feminine subjectivities are constructed by highlighting the differences between a middle-class woman and a subaltern woman, and the body of the criminal is constructed based on distinctions of social class; in addition, the micro-politics for the representation of bodies derive from the colonial assumption that bodies can be owned, abused and disposed. I also found that narconovelas reverse our understanding of the center and the periphery; some novels even depict a transforming sense of citizenship by reimaging the inhabited spaces. With this work, I demonstrate that cultural production and in particular the narconovelas reinforce, challenge or remain ambiguous to the various biases that shape contemporary categories of governmentality such as gender, body and space. This dissertation is written in Spanish.