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The neo-detective narrative by Cuban author Leonardo Padura Fuentes dilutes genre boundaries by focusing on the social element rather than on the detective process. The crimes investigated by police lieutenant Mario Conde in the tetralogy Las cuatro estaciones (the four seasons) recreate the 1989 Cuba. Through both the transnational migration approach and the characteristic methodology of the field of memory in his work with photographs, this paper analyzes the family album of the protagonist as a literary device linked to nostalgia. By using this resource, Padura intensifies the representation of the peculiar Cuban transnationalism, a paramount feature of its reality, mainly since the Special Period which started in the early 90s.

El álbum familiar de Mario Conde: transnacionalismo y memoria en Las cuatro estaciones de Leonardo Padura