By Montserrat Madariaga
¿Cómo fue el proceso de conversión de Roberto Bolaño que lo llevó a ser un escritor? ¿Qué fue lo que vivió junto a los infrarrealistas en ciudad de México? ¿Hay una coherencia entre ese Bolaño veinteañero y el que escribe 2666, poco antes de morir? Este libro responde esas y otras preguntas sobre el origen y el contexto en el que se formó uno de los escritores insoslayables de l. a. literatura hispanoamericana de las últimas décadas. A partir de un viaje a l. a. ciudad mexicana y luego de entrevistarse con muchos compañeros de Bolaño de aquellos años, Montserrat Madariaga reconstruye un período primary en l. a. biografía del escritor, que sentó las bases de su novela más reconocida y, quizás, de toda su obra.
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Extra info for Bolaño infra: 1975-1977: los años que inspiraron Los detectives salvajes
Like his brother Hei nrich Mann , he was a student of the great French novel of disillusionment; the secret of his disguise was objectivity. Masks can be swi tched and the many-sided Mann had more than one. The one best known is that of the Hanseatic , the cool and reserved senator's son from Lubeck. The image of the citizen of the three Impe rial Free Cities is itself a cliche that fits few of the natives. It is one Mann promoted through detailed descriptions in Buddenbrooks, and he coolly presented it on public occasions.
My wish for crosswise pri nting was fulfilled on only some of the books I wrote; but when lengthwise printing prevailed 1 had nothi ng definitive to say against it. It is probably my own resist ance to thick volumes that is responsible . 28 NO TES TO LITERATURE III III Recently the place and date of publication have been omitted on the title page and merely noted shamefacedly in the copyright. Thi s is not the most harmless of the symptoms of the book's decline. Presumably it does not make it markedly more difficult to find books secondhand or in pub lic libraries.
Even the arterio sclerosis to which he succumbed left his spirit unaffected, as though it had no power over him. Ultimately, what caused his work to emphasize complicity with death, a complicity people were all too eager to believe of him personally, was an i ntimation of the guilt of existing at all, of depriving something different, something possible, of its own reality by taking its place; he did not need Schopenhauer to experience that. Al though he tried to outwit death , he still kept company with it, feeling that there is no reconciliation for the living but surrender-not resig nation .