The aim of this paper is to advocate for the development of “intersectional” methodologies (Hill Collins et Bilge 2016/2020) for a transnational feminist critic sensitive with the aspirations of the so-called “minimal transnationalities” (Lionnet and Shih 2005). These patterns have definitely outpaced a still strong adscription to patriarchy’s geotextual blocks. From their origins, feminisms have employed translation to deliberately subvert textual genres textuales (Godard 1987: 6; Simon 1996: 46), and to ultimately fight a literary ostracism shared with other postcolonial groups. All marginalised collectives have found their dialog and mutual comprehension constantly hampered by global textual flows, usually biased by political and cultural hegemonies (Reimóndez 2017). Fighting mainstream exclusion implies the subversion of pervasive discourses as well as the promotion of popular genres, in which marginal position women can also be aligned. This is also the case with crime novels, which I shall consider to be a cross-border genre, a trans-genre. It is in this context that I shall further explore Cristina Rivera Garza’s work La muerte me da (2008). In this polyphonic narration, a constant dialogue is proposed between multiple female voices and the author, transposed herself to fiction as one of the main characters, through excerpts of Alejandra Pizarnik’s diaries. Thus, a revival of the Anglo-Saxon classic genre is achieved under a feminine, diverse, and polyphonic order.