:::::: Abstract ::::::
The continuance of the revolutionary strife of Mexico’s dirty war into the present day, both as a legacy and in the form of its survivors, resonates strongly in the work of the novelist Élmer Mendoza. Mendoza’s early novel Janis Joplin’s Lover uses its protagonist to portray a 1970s Mexico torn between a revolutionary path of collective social amelioration and the corrupt, mercenary self-interest embodied by Mexican narco-traffickers, with the country pushed toward the latter through the repression of student activists by the Mexican state. Mendoza’s five subsequent novels that center on the exploits of detective Lefty Mendieta focus on the fallout from this period of repression, using the figure of Lefty’s brother Enrique, a former leftist guerrilla, to represent a lost (but not totally lost) egalitarian and socially just alternative to the neoliberal political economy that has ravaged the living conditions of most Mexicans for almost four decades.





