Framing Roberto Bolano

This is one of the first books to trace the development of Roberto Bolaño's work from the beginning to the end of his career. It will appeal to graduates and researchers working on Bolaño and Latin American Literature generally, particularly the novel, and twentieth- and twenty-first-century literature.

The Savage Detectives elicits mixed feelings. An instant classic in the Spanish-speaking world upon its 1998 publication, a critical and commercial smash on its 2007 translation into English, Roberto Bolaño’s novel has also been called an exercise in 1970s nostalgia, an escapist fantasy of a romanticized Latin America, and a publicity event propped up by the myth of the bad-boy artist. David Kurnick argues that the controversies surrounding Bolaño’s life and work have obscured his achievements—and that The Savage Detectives is still underappreciated for the subtlety and vitality of its portrait of collective life. Kurnick explores The Savage Detectives as an epic of social structure and its decomposition, a novel that restlessly moves between the big configurations—of states, continents, and generations—and the everyday stuff—parties, jobs, moods, sex, conversation—of which they’re made. For Kurnick, Bolaño’s book is a necromantic invocation of life in history, one that demands surrender as much as analysis. Kurnick alternates literary-critical arguments with explorations of the novel’s microclimates and neighborhoods—the little atmospheric zones where some of Bolaño’s most interesting rethinking of sexuality, politics, and literature takes place. He also claims that The Savage Detectives holds particular interest for U.S. readers: not because it panders to them but because it heralds the exhilarating prospect of a world in which American culture has lost its presumptive centrality.

A deluxe edition of Bolano’s complete poetry Perhaps surprisingly to some of his fiction fans, Roberto Bolano touted poetry as the superior art form, able to approach an infinity in which “you become infinitely small without disappearing.” When asked, “What makes you believe you’re a better poet than a novelist?” Bolano replied, “The poetry makes me blush less.” The sum of his life’s work in his preferred medium, The Unknown University is a showcase of Bolano’s gift for freely crossing genres, with poems written in prose, stories in verse, and flashes of writing that can hardly be categorized. “Poetry,” he believed, “is braver than anyone.”

Since the publication of The Savage Detectives in 2007, the work of Roberto Bolaño (1953–2003) has achieved an acclaim rarely enjoyed by literature in translation. Chris Andrews, a leading translator of Bolaño's work into English, explores the singular achievements of the author's oeuvre, engaging with its distinct style and key thematic concerns, incorporating his novels and stories into the larger history of Latin American and global literary fiction. Andrews provides new readings and interpretations of Bolaño's novels, including 2666, The Savage Detectives, and By Night in Chile, while at the same time examining the ideas and narrative strategies that unify his work. He begins with a consideration of the reception of Bolaño's fiction in English translation, examining the reasons behind its popularity. Subsequent chapters explore aspects of Bolaño's fictional universe and the political, ethical, and aesthetic values that shape it. Bolaño emerges as the inventor of a prodigiously effective "fiction-making system," a subtle handler of suspense, a chronicler of aimlessness, a celebrator of courage, an anatomist of evil, and a proponent of youthful openness. Written in a clear and engaging style, Roberto Bolano's Fiction offers an invaluable understanding of one of the most important authors of the last thirty years.

Collection of most of Bolaño's newspaper columns, articles (many about other literary authors), prefaces, and texts of talks or speeches given by Bolaño during the last five years of his life. "Taken together, they make a surprisingly rounded whole . . . a kind of fragmented 'autobiography.'"--Introduction, p.1.

A NATIONAL BOOK CRITICS CIRCLE AWARD WINNER THE POSTHUMOUS MASTERWORK FROM "ONE OF THE GREATEST AND MOST INFLUENTIAL MODERN WRITERS" (JAMES WOOD, THE NEW YORK TIMES BOOK REVIEW) Composed in the last years of Roberto Bolaño's life, 2666 was greeted across Europe and Latin America as his highest achievement, surpassing even his previous work in its strangeness, beauty, and scope. Its throng of unforgettable characters includes academics and convicts, an American sportswriter, an elusive German novelist, and a teenage student and her widowed, mentally unstable father. Their lives intersect in the urban sprawl of SantaTeresa—a fictional Juárez—on the U.S.-Mexico border, where hundreds of young factory workers, in the novel as in life, have disappeared.

In the postdictatorial era, Latin American cultural production and criticism has been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture. Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.

“It’s hard to think of a writer who has multiplied the possibilities more times than Roberto Bolaño . . . [Antwerp is] exceptional and moving.” —Nicole Krauss, The Guardian Oft called the “big bang” of Roberto Bolaño’s universe, Antwerp is his first novel—or the shattered remnants of one. Written when he was just twenty-seven years of age, it was so intensely strange and solitary that he tucked it away for more than twenty years, certain that any publisher would slam the door in his face. It proceeds in hallucinatory sketches: a lonely highway, a desolate campground, a freshly abandoned hotel room; a tryst, an interrogation, a murder; and somewhere just out of reach, a young, feverish writer named Roberto Bolaño drifting in and out of view. A radical, sui generis effort by a burgeoning genius, Antwerp is an essential part of Bolaño’s oeuvre.

“Poetry is braver than anyone,” Roberto Bolan~o believed, and the proof is here in Tres, his most inventive and bracing poetry collection. Roberto Bolan~o’s Tres is a showcase of the author’s willingness to freely cross genres, with poems in prose, stories in verse, and flashes of writing that can hardly be categorized. As the title implies, the collection is composed of three sections. “Prose from Autumn in Gerona,” a cinematic series of prose poems, slowly reveals a subtle and emotional tale of unrequited love by presenting each scene, shattering it, and piecing it all back together, over and over again. The second part, “The Neochileans,” is a sort of On the Road in verse, which narrates the travels of a young Chilean band on tour in the far reaches of their country. Finally, the collection ends with a series of short poems that take us on “A Stroll Through Literature” and remind us of Bolan~o’s masterful ability to walk the line between the comically serious and the seriously comical.

War-games champion Udo Berger is finally on holiday. Travelling to the Costa Brava with his long-ignored girlfriend, Ingeborg, there they meet another vacationing German couple, Charly and Hanna, and a band of shady locals. They have fun, see the sights, relax. Then, late one night, Charly disappears without a trace. Desperate to solve the mystery, Udo refuses to leave, even after Ingeborg returns home. Increasingly frightened, the situation slips beyond his grasp and Udo suddenly realizes that the consequences of this ‘game’ are much more serious than he ever imagined. TRANSLATED BY NATASHA WIMMER ‘Capering, weird, rascally and short... The Third Reich is giddily funny, but it is also prickly and bizarre enough to count among Bolaño’s first-rate efforts’ The Economist ‘A mesmerizing tale: sleek, linear, easily digested, beautifully translated... Classic Bolaño’ Washington Post