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Queen of the South Kindle Edition
From “master of the intellectual thriller” Arturo Pérez-Reverte, a remarkable tale, spanning decades and continents—from the dusty streets of Mexico to the sparkling waters off the coast of Morocco, to the Strait of Gibraltar and Spain—in a story encompassing sensuality and cruelty, love and betrayal, and life and death.
Teresa Mendoza's boyfriend is a drug smuggler who the narcos of Sinaloa, Mexico, call "the king of the short runway," because he can get a plane full of coke off the ground in three hundred yards. But in a ruthless business, life can be short, and Teresa even has a special cell phone that Guero gave her along with a dark warning. If that phone rings, it means he's dead, and she'd better run, because they're coming for her next. Then the call comes.
In order to survive, she will have to say goodbye to the old Teresa, an innocent girl who once entrusted her life to a pinche narco smuggler. She will have to find inside herself a woman who is tough enough to inhabit a world as ugly and dangerous as that of the narcos-a woman she never before knew existed. Indeed, the woman who emerges will surprise even those who know her legend, that of the Queen of the South.
- LanguageEnglish
- PublisherPlume
- Publication dateMay 31, 2005
- Reading age18 years and up
- File size1407 KB
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Editorial Reviews
From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
Copyright © 2004 Phillips & Nelson Media, Inc.
From Booklist
Copyright © American Library Association. All rights reserved
Review
“John Le Carre meets Gabriel Garcia Marquez...Pérez-Reverte has a huge following...and it’s spreading.”—The Wall Street Journal
“A modern-day epic...bearing the unmistakable ring of authenticity and a slam-bang narrative sure to resonate with legions of appreciative readers…All the core elements, after all, are here: love, violence, betrayal and honor.”—Los Angeles Times
“The Da Vinci Code and The Rule of Four...pale in comparison with Pérez-Reverte novels...Pérez-Reverte shines in some white-knuckles action sequences...but his greatest triumph is [his] heroine.”—Time Out New York
“Pérez-Reverte’s literary thriller explodes with history, heartbreak [and] determination...An epic suspense story of heart and grit.”—Entertainment Weekly (Editor’s Choice)
“The hand of a master is apparent even in the novel’s opening line...This sweeping tale of drug-running and intrigue...is an engrossing yet literary tale of an embattled heroine on the run for her life.”—Seattle Post-Intelligencer
“A heart-stopping narrative...It’s a rare novelist who can create a literary page-turner. Pérez-Reverte is one of those rarities.”—The Denver Post
About the Author
From The Washington Post
Like the great 19th-century French novelist whom he so openly and unapologetically emulates, Pérez-Reverte is drawn to elaborate plots adorned with numerous subplots, full-speed-ahead narrative, outsized characters and a degree of intellectual seriousness not ordinarily associated with bestseller-list fiction. Formerly a journalist, he puts his reporter's skills to work in the accumulation of intricate detail and the evocation of exotic cities and landscapes. His work is a great deal of fun to read and offers the bonus of substance as well as style.
Like The Count of Monte Cristo, The Queen of the South is a story of betrayal and revenge. The betrayed is Teresa Mendoza, a Mexican in her early twenties whose boyfriend, a pilot and drug-runner named Raimundo Davila Parra, aka Guero, is killed when his plane is shot down by a couple of hit men in the employ of . . . in the employ of whom is one of the mysteries not solved until the novel's closing pages. In any event, what matters more than naming names is the effect of the killing on Teresa Mendoza.
Until then she had been, or had seemed, just another pretty girl attached to just another daredevil, "a girl like so many others -- quieter, even, than most, not too bright, not too pretty," but like Edmond Dantès she is transformed by betrayal and its aftermath. In her case "something had died with Guero," a "certain innocence, perhaps, or an unjustified sense of security." Assaulted by gunmen who clearly intend to kill her (and one of them rapes her), she responds violently and escapes. She makes her way to Spain and then Morocco. She takes a new lover, another drug-runner, Santiago Fisterra, and when his sidekick is killed she steps in, learning the tricks of a very tricky, dangerous trade: "The little Mexican girl that little more than a year earlier had taken off running in Culiacán was now a woman experienced in midnight runs and scares, in sailing skills, in boat mechanics, in winds and currents."
Eventually she lands in prison, El Puerto de Santa Maria, where she meets her mentor just as, in the Chateau d'If, Dantès meets his Abbé Faria. Hers is named Patricia O'Farrell Meca. She gives Teresa a copy of The Count of Monte Cristo -- "Edmond Dantès is me," Teresa tells her -- and teaches her many things, as a former prison social worker remembers a few years later:
"Mendoza discovered the usefulness of an education. . . . She read, studied. She discovered that you don't have to depend on a man. She was good at figures, and she found the opportunity to get even better at them in the prison education program, which allowed inmates to get time off their sentences for taking classes. She took an elementary mathematics course and a course in Spanish, and her English improved tremendously as well. She became a voracious reader, and toward the end you might find her with an Agatha Christie novel or a book of travel writing or even something scientific. And it was O'Farrell, definitely, who inspired all that."
Before the two are released, Patty tells Teresa, "I've got a treasure hidden on the outside," to which Teresa replies, "Just like Abbé Faria." Like the Abbé's treasure, it is hidden in a cave, but it is something quite different from the gold and silver and jewels that await Dantès: a "stash of coke, the half a shipment, half a ton that everybody thought was lost and sold off on the black market . . . still all packed up nice and neat and stashed in a cave on the coast near Cape Trafalgar, waiting for somebody to come and give it a lift home." Which is just what Patty and Teresa do, though it is Teresa who quickly becomes the dominant partner as they hook up with the Russian mafia and then set up "an infrastructure whose legal front was named Transer Naga, S.L.," and which turns "the Strait of Gibraltar into the largest cocaine entry point in southern Europe." Soon Teresa is "a legend: a woman thriving in a world of dangerous men." As one person tells the novel's narrator:
"She was very smart and very fast. Her rise in that very dangerous world was a surprise to everyone. She took big risks and was lucky. . . . From the woman riding with her boyfriend in that speedboat to the woman I knew, it's a big jump, I'll tell you. You've seen the press reports, I presume. The photos in ¡Hola! and all that. She got refinement, manners, a bit of culture. And she became powerful. A legend, they say. The Queen of the South. The reporters called her that. . . . To us, she was always just La Mexicana."
The speaker is a captain in the Guardia Civil, one of many law-enforcement officers trying to crack Teresa's elaborate "business dealings," through which flow "more than seventy percent of the drug traffic in the Mediterranean." Over and over again they fail, not least because "one-third of Transer Naga's income went to 'public relations' on both sides of the Strait; politicians, government personnel, state security agents," all of whom are careful to see that the inner workings of her operation are impenetrable to outsiders generally, the law most particularly.
She is driven in part by vengeance, in part by "a sense of symmetry," a desire to keep "accounts balanced and closets in order." She believes that she has put Mexico and the terrible events there far behind her, but of course it all catches up to her eventually, and she has to make some hard, painful choices. As one of her Russian friends tells her: "There is one necessary skill. Yes. In this business. Looking at a man and instantly knowing two things. First, how much he's going to sell himself for. And second, when you're going to have to kill him." Suffice it to say that when the time comes for her to use Skill #2, she doesn't blink.
The Queen of the South is complicated, lively and, in its depiction of the drug trade and those who run it, convincing. Pérez-Reverte doesn't wince from tough, nasty business. He's an ace at chase scenes -- the one in which Teresa and Santiago crash at 50 knots into an unforgiving rock is especially vivid -- and the shootout at the novel's climax could be right out of Sam Peckinpah, blood and guts spattered all over the place. Pérez-Reverte knows his stuff, and brings all of it to life.
Unfortunately, though, The Queen of the South labors under a debilitating structural problem. It is told not by an omniscient narrator but by an unnamed first-person journalist who is digging into Teresa's background, talking with some who knew her, but has only one brief encounter with Teresa herself. Yet this narrator is not in the least reluctant to tell us her most intimate thoughts and experiences: "She would almost have been able to love him, Teresa thought sometimes"; "They had made love almost all afternoon, like there was no tomorrow"; "There are two kinds of women, she started to say to herself, but she couldn't complete the thought, because she stopped thinking."
To which the only response from the reader can be: How does he know that? In fiction no less than in nonfiction, the narrator must be credible. The narrator of The Queen of the South is not. Every time he represents Teresa's thoughts, emotions and erotic experiences -- and he does so innumerable times -- one is left to wonder how he knows that. The result, in the end, is a book the reader simply cannot believe, much though the reader may want to.
Copyright 2004, The Washington Post Co. All Rights Reserved.
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Product details
- ASIN : B001QREWIC
- Publisher : Plume; Reprint edition (May 31, 2005)
- Publication date : May 31, 2005
- Language : English
- File size : 1407 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 644 pages
- Best Sellers Rank: #340,411 in Kindle Store (See Top 100 in Kindle Store)
- #338 in Action & Adventure Literary Fiction
- #1,576 in Mystery, Thriller & Suspense Literary Fiction
- #1,965 in Mystery Action Fiction (Kindle Store)
- Customer Reviews:
About the authors
Arturo Pérez-Reverte (Cartagena, España, noviembre de 1951) se dedica en exclusiva a la literatura, tras vivir 21 años (1973-1994) como reportero de prensa, radio y televisión, cubriendo informativamente los conflictos internacionales en ese periodo. Trabajó doce años como reportero en el diario Pueblo, y nueve en los servicios informativos de Televisión Española (TVE), como especialista en conflictos armados.
Como reportero, Arturo Pérez-Reverte ha cubierto, entre otros conflictos, la guerra de Chipre, diversas fases de la guerra del Líbano, la guerra de Eritrea, la campaña de 1975 en el Sahara, la guerra del Sahara, la guerra de las Malvinas, la guerra de El Salvador, la guerra de Nicaragua, la guerra del Chad, la crisis de Libia, las guerrillas del Sudán, la guerra de Mozambique, la guerra de Angola, el golpe de estado de Túnez, etc. Los últimos conflictos que ha vivido son: la revolución de Rumania (1989-90), la guerra de Mozambique (1990), la crisis y guerra del Golfo (1990-91), la guerra de Croacia (1991) y la guerra de Bosnia (1992-93-94).
Desde 1991 y, de forma continua, escribe una página de opinión en XLSemanal, suplemento del grupo Vocento que se distribuye simultáneamente en 25 diarios españoles, y que se ha convertido en una de las secciones más leídas de la prensa española, superando los 4.500.000 de lectores.
El húsar (1986), El maestro de esgrima (1988), La tabla de Flandes (1990), El club Dumas(1993), La sombra del águila (1993), Territorio comanche (1994), Un asunto de honor (Cachito) (1995), Obra Breve (1995), La piel del tambor (1995), Patente de corso (1998), La carta esférica (2000), Con ánimo de ofender (2001), La Reina del Sur (2002), Cabo Trafalgar (2004), No me cogeréis vivo (2005), El pintor de batallas (2006), Un día de cólera (2007), Ojos azules (2009), Cuando éramos honrados mercenarios (2009), El Asedio (2010), El tango de la Guardia Vieja (2012), El francotirador paciente (2013) y Perros e hijos de perra (2014) son títulos que siguen presentes en los estantes de éxitos de las librerías, y consolidan una espectacular carrera literaria más allá de nuestras fronteras, donde ha recibido importantes galardones literarios y se ha traducido a más de 40 idiomas. Arturo Pérez-Reverte tiene uno de los catálogos vivos más destacados de la literatura actual.
A finales de 1996 aparece la colección Las aventuras del capitán Alatriste, que desde su lanzamiento se convierte en una de las series literarias de mayor éxito. Por ahora consta de los siguientes títulos, que han alcanzado cifras de ventas sin parangón en la edición española: El capitán Alatriste (1996), Limpieza de sangre (1997), El sol de Breda (1998), El oro del rey (2000), El caballero del jubón amarillo (2003), Corsarios de Levante (2006) y El puente de los Asesinos (2011). Hacía mucho tiempo que en el panorama novelístico no aparecía un personaje, como Diego Alatriste, que los lectores hicieran suyo y cuya continuidad reclaman. Un personaje como Sherlock Holmes, Marlowe, o como Hércules Poirot.
Alatriste encarna a un capitán español de los tercios de Flandes -de hecho no es capitán, pero qué más da-. Una figura humana, con sus grandes virtudes y sus grandes defectos, perfectamente trazada, minuciosamente situada en su tiempo -siglo XVII- y su geografía, rodeada de amigos que han hecho historia, partícipe de las más principales hazañas de su época. Un personaje para siempre.
Arturo Pérez-Reverte ingresó en la Real Academia Española el 12 de junio de 2003, leyendo un discurso titulado El habla de un bravo del siglo XVII.
La Editorial Alvi Books le dedicó, como tributo y reconocimiento, este espacio en Amazon en 2016.
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This was well written, although I found this book hard to read fluently. I think it's because the author writes in a different style than most books I've read recently and there's always a transition for me.
Generally speaking, it was worth reading.
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Captivating and well written.