The Mumpsimus

Ron Silliman on Bolaño's poetry: The pose of Bolaño-the-poet may well be more important – and certainly more powerful – than the fact of the poems themselves, but what might be most useful here is to note the whole notion of Bolaño posing. The unifying – indeed distinguishing – element of these poems, written in a post-Beat free verse that might be closest in English to Lawrence Ferlinghetti or Ray Bremser , is the consistency of the pose: the intellectual as tough guy but one who is, at all moments, hard as nails & deeply sentimental. Think of upper limit Jean-Paul Belmondo in the films of Godard, lower limit Charles Bukowski (not as Mickey Rourke so much as Johnny Depp or, had he lived, Heath Ledger). Imagine Kerouac mixed with Camus.

I find it mildly embarrassing to be so enamored of Bolaño these days. I picked up By Night in Chile and Distant Star back when they were the only Bolaño books available in English -- back in the dusty old days of, what, 2005? -- and they both perplexed me and impressed me; then when Last Evenings on Earth came out, I picked it up and was blown away -- something really felt like it exploded in my head, and I went back and reread parts of By Night in Chile and Distant Star and they felt so much richer than they had before. I had, in some ways, been teaching myself how to read Bolaño. There was great praise of Bolaño from the moment the first translations appeared, but the praise and admiration for Bolaño back then felt restrained and quiet compared to what would happen when The Savage Detectives came out -- suddenly it seemed like Bolaño had been made the saint of all literature. I was excited, yes, but also a bit fearful, and I resisted Savage Detectives for a while, partly, ...

The truth is, I don’t believe all that much in writing. Starting with my own. Being a writer is pleasant -- no, pleasant isn’t the word -- it’s an activity that has its share of amusing moments, but I know of other things that are even more amusing, amusing in the same way that literature is for me. Holding up banks, for example. Or directing movies. Or being a gigolo. Or being a child again and playing on a more or less apocalyptic soccer team. Unfortunately, the child grows up, the bank robber is killed, the director runs out of money, the gigolo gets sick and then there’s no other choice but to write. -- Roberto Bolaño

Just after writing my little love letter to Roberto Bolaño , I noticed that Mr. Waggish has read and thought about The Savage Detectives (and confesses he is less love-struck than I, which is, it seems to me, a healthy thing). I'd meant to link to Waggish's previous consideration of By Night in Chile , but in my haste forgot to, and so now I correct that here. (It was a particularly negligent oversight, because I think it was that post that first got me interested in seeking out Bolaño's work.)

I started reading Roberto Bolaño's work last year, beginning with his short story collection Last Evenings on Earth , and it was love at first sight. Actually, no. I think I had to read a couple of stories before I was entranced -- I remember reading the first story and wondering what all the fuss over Bolaño was about, but by the end of the second I was developing a crush, and by the end of the third I was head-over-heels. From there, it was on to Distant Star and By Night in Chile -- the last a bittersweet experience, because some bastard had written in the Dartmouth Library copy, defacing it with underlining and marginal notes, inserting their own dull presence between me and the words of mi novio. (I have since gotten a fresh copy of my own, but still, the pain lingers.) (I've not yet read Amulet , but soon, soon... ) (I've been reading the translations, though I've glanced at the Spanish-language originals. My Spanish is, unfortunately, at best functional ...

Roberto Bolaño, from Distant Star : Bibiano's investigations in the United States were not, however, limited to the world of board games. I heard from a friend (though I don't know if the story is true) that Bibiano contacted a member of the Philip K. Dick Society in Glen Ellen, California, who was, for want of a better expression, a collector of literary curiosities. Apparently Bibiano entered into correspondence with this individual, who specialized in "secret messages in literature, painting, theatre, and cinema," and told him the story of Carlos Wieder. ... He had a wide range of friends: detectives, activists fighting for the rights of minority groups, feminists marooned in west coast motels, directors and producers who would never get a film off the ground and led lives as reckless and solitary as his own. The members of the Philip K. Dick Society, enthusiastic but discreet people as a rule, regarded him as a madman, but harmless and basically a good guy, a...