Journalist Roberto Bolaño: How is he “out in the open”, the book in which his friends praise the authors without explaining why

Roberto Bolano was filmed in Paris.
Roberto Bolano was filmed in Paris.

In a YouTube video, with poor picture and sound quality, Alan Pauls He talks about interviewing writers. He says he is bored with authors who provide behind the scenes From their writing, explaining how they did it, what their effects were, etc. On the contrary, he is so concerned with writers that “when they answer an interview they continue to write,” and later says: “Great writers almost deliberately present themselves as an influence of their work.”. give as an example aira Duchamp. There might be some cool names to add to the list Camila Sosa Veladawhich – which In interviews and interventions, mimic the Mexican tonealso Paula Olwexarak. This is not the old adage Oscar Wilde (“Give me a mask and I’ll tell you the truth‘), and no famous opinion Ricardo Biglia from what All literary criticism is a form of autobiography. On the contrary: If they meet me thanks to my books, if they give me space in the press thanks to them, then I should build an author according to them.

until 1998And the Robert Bolano Live a life of deprivation. leaving his homeland behind, Chili pepperand his youth were left in Mexico defender. now live in blanceIt is a coastal city Spains I have sold handicrafts at fairs. For some time he was a guard in a camp, a job that allowed him to work in the summer and spend the winter writing and reading.. According to the legend that he himself created, he forcibly took part in literary competitions, some of them very small, and The awards helped him survive for years.

Everything changed from moment to moment with the publication Thewild detectivesThe TV series that made him famous and that changed many lives. since then, His name carries enough weight to write weekly columns In a newspaper in Girona, and later in Chile. A year after his death, in 2004, it was first published between brackets (anagrams), and Compilation of his columns, articles and conferences. And now, with the rights transferred, Alfaguara publishes in the openwhich is a similar book although there are some early youth texts not yet published.

[”A la intemperie” puede conseguirse en formato digital eb Bajalibros clickeando acá]

Writers who post reviews are dangerous. For one thing, unlike professional critics, his words have oxygen and life force, and at best they turn out to be the only reason anyone should read a cultural supplement. But there is also a risk. David Foster Wallace He said writers hate working on anything that’s not theirs. In this new scheme, the writer, opposing the work, sends a text multiplied by the week to earn a few peso and devote himself to what really matters to him. It’s summer camp. At first glance, it can be concluded that the reason for the reviews written by Bolaño was economic: after all, it is easier to write columns than to win competitionsAnd the lightness with which some pieces are resolved confirms this.

text order in the open It is chronological, although a less serious classification could be: a) Jewels. Here it will be included The Ironic Commandments of Storytelling, The Tale in a Bakery in Blanes, Essay “The Passage From Which There Is No Apparent Exit” – a witty text about visiting Chile after more than twenty years –, as well as the legendary conferences “Derivas de la heavy” and “Literature and Disease”. Jim was also entering, a very strange script that was later published as a story. there is more. This group occupies about 40% of the book.

B) Items to charge a few pesos (Camping).

c) compliment to friends.

“Brutal Detectives” was a work of dedication to Bolano.

The twenty-year-old reader kneels and prays in front of a picture of Bolano. A twenty-year-old reader learns to smoke to be a poet, and is able to stand in line at a bank for the sole reason of taking out his bag 2666, the Chilean author’s masterpiece, feels like a hero amidst a lot of bureaucracy. After doing non-existent papers, the young man spends the rest of the afternoon at Portino’s very bar, Varela Varelita, where he asks Coffee with milk after another to feel like García Madero, the protagonist wild detectives. This twenty year old reader can read texts in the open You feel in front of the greatest critic in Latin America. Perhaps that is how it should be.

But the reader approaching thirty discovers that if he climbs a long staircase he runs out of breath and that the seats are foul whether there are books or not. This reader, reading in the openmust realize, at all costs, that it is beyond the basic narratives –Distant star, 2666, Chile nightCapitals in Latin American literature. Not all Bolaño works are maintained with the same solidity, which includes the critical Bolaño. in the thousandAnd the Borges He wrote that Beatrice Viterbo died “without bowing for a moment to emotion or fear”; The worst of Bolaño is one who descends himself into emotion and fear, which turns him into a caricature of himself: Stories that plant trees and don’t end anywhere, over-the-top grandiose talk. In the critical case of Bolaño, these same defects lead to an abundance of arbitrariness.

One example out of hundreds: “Prose [Rodrigo] pink king It is methodical and wise. He does not sometimes despise the whip — or rather, the far-flung crack of the whip we never see — nor the camouflage. He is not a master of resistance but a shadow, a line that quickly crosses the space of normality.” What does it mean to be a streak of speed? What does it mean that this line crosses the space of normality? What is the space of normality? And since we are: What is the contempt of the whip?

Roberto Bolaño died in Barcelona in 2003.
Roberto Bolaño died in Barcelona in 2003.

Another problem: For Polano, all his friends are the best writer of his generation. Where Peter Limble (“One of the best writers in Chile and the best poet of my generation”) until Javier Fences (“Come home to become one of our best language writers”), in passing Alan Pauls (“You are one of the best living writers in Latin America and very few of us enjoy it”) and Cesar Aira (“One of the three or four best writers in the Spanish language today”), without explaining why. Does this make in the open, more than full cash work, critical remnants? not necessarily. The fact that Polaño is a religion reveals that we do indeed have a problem of faith.

In a very famous article, Fabian Casas Little by little it explains that he has stopped reading Kurtazar. “The years passed and hopscotch He began to seem to me naive, arrogant and intolerable.” One day, Casas saw an interview with Cortázar on TV, and watched his gestures, his brilliance, and something change: “I believe everything he says,” and adds: “Yes, yes, I mean, while I drink Fifth whiskey, true Cortázar. I want him back that we have writers like him again: meticulous, committed, beautiful, always young.” It ends with the famous phrase: “Aira screwed us up, he’s a CIA agent.” The challenge, as happens to children who stop believing in Santa Claus or Ivan Karamazov when faith in God is lost, is to believe again.

Although the best thing is the opposite: allow yourself not to believe. How could it be? Allowing yourself not to believe that Bolano was a great critic, skipping pages, losing the veneration of veneration and acknowledging that Bolano wrote well when he wanted toEspecially when writing novels. We liberate ourselves, even from Polaño himself and I think their reviews aren’t entirely serious: it’s part of their job. Or better: they effect his work. The author of the reviews is, in fact, Arturo Belano, Bolaño’s alter ego and protagonist of his most memorable novel.

“2666”, a posthumous book by Roberto Bolaño

Freed from the yoke of adoration, Freed from having to write with real-world logic – because it’s not Plano – everything is logical. We can skip the initially unpublished texts, which are nothing more than a curiosity from the newspaper library. We can read, as Bolaño himself advised, three by three or four by four. Until we found on page 96 an article about Bolano’s return to Chile. It’s called “The Passage With No Obvious Way Out” and is a mixture of historiography and an essay on Chilean literature and the legacy of the dictatorship. We read passages like this: “They rent or buy a house on the outskirts of Santiago. In the basement of that house, the American is devoted to the interrogation and torture of political prisoners. […]. She dedicates herself to writing and attends literature workshops.”

We know the following, because we have read and can even read entire parts of Chile night. We know that the woman invites the writers into her house, and that one of them asks to go to the bathroom, but gets lost on the way. We know he opens the door “at the end of the corridor, chile-style”. And though we know how it ends, we can’t stop reading: “The room is dark but you can still form a bound package and suffer, or perhaps numb. Shut the door and go back to the party.”

Now we believe every word.

♦ He was born in Santiago de Chile in 1953 and died in Barcelona in 2003.

♦ He was a Chilean writer and poet considered a cult figure.

Among his most prominent works wild detectiveswinner of the Herralde Prize in 1998 and the Rómulo Gallegos Prize in 1999, and a posthumous novel 2666.

Read on:

Literary Workshop and Torture: A Disturbing Chapter from the Pinochet Dictatorship Behind “Nocturno de Chile” by Bolano
Let’s read Roberto Bolaño: Unpublished texts of the great Chilean author released

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