Professional Documents
Culture Documents
ETHICO-POLITICAL DISQUIET
BY
FRANKLIN RODRIGUEZ
DISSERTATION
May 7, 2007
iii
Abstract
This dissertation examines the fiction and literary criticism of Roberto Bolao in
its relation to the history of violence and cruelty in the 20th century. Through an analysis
of his writings on the tensions among art and politics, I demonstrate ways in which
brutality and questions raised by mechanisms of accountability exceed the subject and the
cultural, social and political institutions that systematize society, the legal and religious
institutions, social constructions of identity, the State and the military, thereby allowing
us to rethink how we relate to the dead, the victimizers and the disappeared, and
events of 1968 in Mexico City and the disappearance of women in the Mexico/US border
(Amuleto, 2666), and to how Holocaust representations haunt Bolaos late narratives
concerning death and disappearance in Latin America (2666). My aim is not merely to
examine the significance of these historical events, but rather to address their wider
implications for the relationship between art, ethics and politics. How has literature
confronted its own horror? I also consider the works of writers and critics who contribute
to the concerns outlined above and to the understanding of Bolaos oeuvre: Jorge L.
Borges, Diamela Eltit, Octavio Paz, Raul Zurita, Leonardo Padura Fuentes, Elena
iv
Bolao asserts the capacity of art and literature to participate in the debates
regarding the organization and critique of society; that the relationship between aesthetics
and politics affects social discourses and redistributes them in new forms by transcribing
a body of thought, imagination and experience that serves both as cultural expression and
political critique. The most productive aspect of the clash between aesthetics and politics
emerges in Bolaos oeuvre as an abyss or as a grieta, an obscure zone that exposes our
v
Dedication
vi
Contents
Introduction 1
Conclusion 253
Bibliography 258
vii
Illustrations
viii
Introduction
Roberto Bolao (1953-2003) published nine of his eleven novels from 1993 to 2003 and
rapidly became recognized as one of the leading figures in Latin American letters. Born
in Chile, Bolao lived most of his adult life in Mexico (1968-1977) and Spain (1977-
2003). In Mexico, in collaboration with the poet Mario Santiago, he formed the group or
literary guerilla known as the infrarealistas. The groups aesthetic, as Bolao comments,
was French Surrealism fused with Dadaism Mexican style. The collective published in
iconoclastic magazines and practiced many forms of provocation against the literary
establishment. Most of Bolaos prose was written in Blanes, a costal town near
Barcelona. Bolaos publications also include six books of poetry, three collections of
short stories, and numerous critical essays, discourses, reviews and commentaries.
Bolao died in 2003 leaving a collection of short stories, El Gaucho Insufrible, and 2666,
a long five part novel, to be published posthumously. Other texts that were in their
planning stages or in hibernation at the time of his death have been recovered and
published by Ignacio Echevarra. El secreto del mal (2007) is a collection of short stories
and prose pieces left unfinished by the author and La universidad desconocida (2007) is a
1
According to many literary critics and writers Bolao was the leading figure of a
group of Latin American authors who, at the turn of the century, disassociated themselves
with the Boom and left their own mark.1 This dissertation focuses on the largely read but
still unknown body of prose and literary criticism of Bolao. Bolao has become largely
known as a writer of fiction, but before that he was actually an obscure but prolific critic,
The Boom, a literary movement often described as the culmination or climax of the New
Novel in Latin America, refers, in its broader sense, to the major novels and novelists of
the 1950s, 1960s and 1970s. Julio Cortzar, Carlos Fuentes, Garca Mrquez, Vargas
Llosa and Jos Donoso wrote major Boom novels during the 1960s. This group might
include many others, for example (a definitive list is impossible and not even desirable)
Alejo Carpentier, Juan Rulfo, Augusto Roa Bastos, Guillermo Cabrera Infante and
Lezama Lima. The factors contributing to the unity and coherence of the Boom are easily
identified when we look at the socio-historical and political atmosphere of the period.
The Cuban Revolution, the increase in communication among Latin American countries,
the Alliance for the Progress, the development of the cities, the growth of vast
readerships in Latin America and abroad or the greater attention to Latin America from
Europe and the United States, all contributed to the Boom. In terms of aesthetics, Boom
demythification, questioning of the writing process (the writers task), steady focus
1
For specific examples see Palabra de Amrica and La fugitiva contemporaneidad.
2
(obsession) on the literary process and language, interior monologues, chronological
discontinuities, plural points of view and speakers, and the demand of an active reader
due to the complexity of the text and the characters, among others. Although some of
these characteristics are present in previous periods in the regional novel or at the
beginning of the Latin American New Novel, it is during the Boom that they reach new
The term Post-Boom refers to the series of Latin American novels written during
the 1970s and 1980s usually understood as Non-Boom novels by those who still
support the Post-Boom as a concept and movement. The works and writers grouped
under this term tend to be associated with certain general characteristics and tendencies:
reacting against elitism and extreme experimentalism, the emergence of a solid group of
women writers, emphasis on popular and youth culture (pop elements), return to a more
overt social and political commitment, movement towards the marginal (experience of
women, homosexuals, the experience of the exile, love, emphasis on plot, movement
towards historical and documentary novel, and a move towards genres associated with
popular culture.2 Gustavo Pelln identifies four currents: the documentary novel (novela
testimonio), the historical novel, the detective novel/story in its hardboiled variant, and a
writers (Pelln 282). When we look at the two moments as a whole (the Boom and the
2
See Gustavo Pellns The Spanish American Novel: recent developments, 1975 to 1990, Gerald
Martins Alvaro Mutis and the Ends of History and Donald Shaws The Post-Boom in Spanish
American Fiction. Their essays provide a detailed discussion of these characteristics and tendencies in
relation to specific Post-Boom writers.
3
Post-Boom) we find both a development and reworking of the Boom and a reaction to its
The pluralistic reading of the Post-Boom includes: transitional figures that do not
fit clearly within the main description of the Post-Boom but which mark the moment of
transition (Manuel Puig and Severo Sarduy), the writers of the Boom that went pop in
the 1970s (Garca Mrquez, Vargas Llosa, Fuentes, Jos Donoso), and the so called Post-
Boom writers. It is this pluralistic reading of the Post-Boom that I consider most
interesting and useful. In an interview from 1991 Ricardo Piglia positions his poetics and
Yo creo que esas son las dos grandes poticas del Boom. Nosotros no tenemos
nada que ver con eso, nosotros estamos en otro mambo. En que Mambo?
Estamos en el mambo de la cultura de masas: cultura de masas y alta cultura, ese
es el problemaTendemos a pensar la oposicin alta cultura-cultura de masas
que marco a la vanguardia con la clave: nosotros somos la alta cultura y eso es la
cultura menor, no es tal. Nosotros manteniendo la misma tensin y la dificultad,
tendemos al cruce, no? y a usar formas de la cultura de masas con contenido de
la cultura altaEs la misma problemtica que enfrenta Thomas Pynchon en los
Estados Unidos. O sea, es la situacin de la novela actual la que se enfrenta a ese
asunto (133).
The tendency to maintain or create the tension between styles, genres, and to create a
The cruce that Piglia underlines is especially relevant in relation to Roberto Bolao and
the literary movements or events associated with the turn of the twentieth century:
McOndo, a term coined by the Chilean writer Alberto Fuguet (b. 1964), expresses a
critique of magical realism. Fuguet and Sergio Gomez edited the McOndo (1996)
4
anthology of short stories that gives the name to the idea of McOndo. As they affirm in
El nombre (marca registrada?) McOndo es, claro, un chiste, una stira, una
talla. Nuestro McOndo es tan latinoamericano y mgico (extico) como el
Macondo Real (que, a todo esto, no es real sino virtual). Nuestro pas McOndo
es ms grande, sobrepoblado y lleno de contaminacin, con autopistas, metro,
TV-cable y barriadas. En McOndo hay McDonalds computadores Mac y
condominios, amen de hoteles cinco estrellas construidos con dinero lavado y
malls gigantescos (17).
The editors of McOndo decided to include texts that were written by males born after
1959. This fact leaves Bolao (b. 1953) happily out of the clan. The literary father of the
mismo saco. Ms que nada McOndo est luchando contra el estereotipo yanqui/europeo
que tienen de nosotros. Creo que Manuel Puig es el padre de McOndo (19). The mention
of Puig (b. 1932), an author highly identified with the post-boom and popular culture, is
perhaps the best indication of a tendency among McOndistas to emphasize the visual arts.
David Toscana (b. 1961), a Mexican writer born in Monterrey, underlines the
ms tiempo del da no leyendo que leyendo. Pasamos ms tiempo viendo cine [].
Edmundo Paz Soldn, seems to follow the same line: Somos una generacin muy
urbana, que lee mucho pero que tambin ve mucho cine y televisin. Admiramos a
Garca Mrquez, pero es una admiracin a la distancia, no nos interesa seguirlo (25).
Rodrigo Fresn (b. 1963) is the most interesting writer of those included in the McOndo
anthology and the most critical of the idea: Si uno tiene que responder fielmente a ciertos
5
hay una identidad latinoamericana en lo literario (22). Fresan also aknowleges Puigs
legacy as the most influential for those writing at the turn of the century.3
In 1996, when Bolao begins to capture the attention of readers and critics with
La literatura nazi en Amrica and when the McOndistas publish their own manifesto, a
group based on Mexico and known as the Crack publishes in Lateral their own Manifesto
del Crack.4 Some of the key authors are Jorge Volpi, Ignacio Padilla, Angel Palau,
among others, connected to the editorial policies of Nueva Imagen (Pohl 55). Using Italo
Calvinos Six Memos for the New Millennium as a key reference, the five chapters
independently written by different members of the group, tend to adopt the aesthetic
innovation and the cosmopolitan attitude represented by several Latin American authors
of the 50s, 60s and 70s. In terms of form and content they adopt various factors
underlined by Italo Calvino: amenity, action against exaggerated experiments, fluidity but
also complexity, precision, multiplicity and consistency. In other words, they favor the
union between structural complexity and reading pleasure. The third section of the
manifesto, written by Ignacio Padilla, adds la comedia, la risa, la caricatura and visiones
apocalpticas and the search for a refined language based in the classical tradition and
not in orality (Septenario). The second section criticizes the lack of vanguard aesthetics
in the literary scene (Genealogia). In the fourth part Ricardo Chavez calls for
polyphony and the creation of universos propios, also present in Calvino, while
3
Mi fantasmael fantasma de mi generacinseria el de Manuel Puig. [] Pero Puig es, me parece, un
fantasma valido. El ms valido de los espectros, lateral al boom y, creo, especialmente novedoso y til para
los jvenes []. Puig como prctico manual de instrucciones donde se nos explica claramente como
escribir una gran novela poltica sin sacrificar el factor pop.
4
I am quoting the on-line publication of the manifesto in Lateral 70 (2000). I. La feria del Crack (una
gua), Pedro Angel Palou; II. Genealoga del Crack, Eloy Urroz; III. Septenario de bolsillo, Ignacio
Padilla; IV. Los riesgos de la forma. La escritura de las novelas del Crack, Ricardo Chvez; V. Dnde
qued el fin del mundo?, Jorge Volpi.
6
expressing a critique of lineal narration and realist aesthetics (Los riesgos). Implicitly
these factors reject the vuelta a la narratividad of the post-boom and the testimonial and
The genealogy described by Eloy Urroz (Genealoga) points to the national and
transnational canon of novelas profundas (e.g. Rulfo, Fuentes, del Paso, Cortazar,
Garca Mrquez), a position also emphasized by Jorge Volpi, one of the most outspoken
members of the group (Dnde). The affinity between Crack and Boom can be better
understood through a reading of Volpis En busca de Klingsor (1999) and the multiple
compliments exchanged by Volpi and Carlos Fuentes, who officially legitimated the
writers of the Crack. This affinity and comparison has to be qualified in terms of the
Crack affiliation with the best of the Nueva Novela and the Boom, as well as its
denunciation of la literatura light, the defense of the great books against the good sells.
Looking at the components of McOndo and the Crack simultaneously one notices
common rejections of magical realist aesthetics, especially in their recycled versions, and
a lack of strong political ideologies. Their differences, however, seem even more
important. The Crack emphasizes a return to the best of the totalizing precepts of the 50s
and 60s. The McOndistas highlight their openness to mass and popular culture and have
an inclination to write about their own youth as related to the North American influence,
their daily life experiences, and as a protest against the local political and cultural elites.
The Cracks internationalism is not clearly linked to the Anglo-Saxon influence or the
very personal stories narrated by McOndistas, but inhabits the goal of a universal and
cosmopolitan literature and a noticeable aesthetic elitism. However, fix demarcations and
statements about these groups are probably out of order. The playful and serious tone of
7
these manifestos is still awaiting the development of texts that confirm their postulates or
reveal them as part jokes part literary snobbism, or maybe as the next key and perceptible
One of the best sources of information on the writers and their work since the
1990s is Palabra de Amrica, a collection of essays originally presented during the 2003
presence of Cracks and McOndistas (e.g. Rodrigo Fresn, Jorge Volpi, Paz Soldn,
Ignacio Padilla, among others) was supplemented by Roberto Bolao in a congress that
must have felt as the latters own farewell. In fact, all the assistants recognized him as the
key figure. Bolao is not much of a McOndista or Crack (maybe a little Crack), aside
from the fact that most of his texts were published after 1996. Bolaos position in
relation to these currents is closer to that of Cesar Aira (Argentina 1949), Fernando
Vallejo (Colombia 1942), Juan Villoro (Mexico 1956), Rodrigo Rey Rosa (Guatemala
1958), and Alan Pauls (Argentina 1959), slightly older writers who have remained at the
margins of these groups but have profoundly marked the literature of the continent in the
last two decades. These authors, perhaps with one of the Crack movement (Volpi or
Padilla) and one from the McOndistas (Fresn) will likely come to inhabit some day,
under a given name or notion, a position similar in significance to that of the Boom
writers. 5
5
This is what I consider my personal library of Latin American letters of the turn of the century. Please add
Javier Maras Franco (b. 1951), a Spanish novelist and translator, and novelist and film critic Enrique Vila-
Matas (b. 1948) to the list. These authors are closer to Bolao than any of the Latin American writers
mentioned during this introduction.
8
Roberto Bolao
Critical work on Bolaos oeuvre is still in the early or formational stages and the degree
of debate is still somewhat superficial, in the same way in which the groups discussed
above (Crack and McOndo) are in formation or disintegration stages, still roaming their
own spaces. This dissertation aims to help fill that void and to create a discussion of the
avalanche of studies and arguments before the end of the current decade. Throughout the
dissertation I provide a reading of the few key critical readings published up to the
presentmostly essays and descriptive pieces and a few critical collections which tend to
terror and memory, I demonstrate ways in which the experience of witnessing horror and
the questions raised by mechanisms of accountability exceed the subject and the cultural,
social and political institutions that systematize society, the legal and religious
institutions, social constructions of identity, the state and the military, thereby allowing
us to rethink how we relate to the dead, the victimizers and the disappeared, and
events of 1968 in Mexico City and the femicides in Cuidad Juarez (Amuleto, 2666), to
6
After Bolaos death, an international symposium: Jornadas Homenaje a Roberto Bolao (1953-2003)
was celebrated in Barcelona and later published as a collection of essays. The symposium consisted of eight
analytical lectures organized by themes that concentrated on the novels published by Bolao before 2666
(2003), the relationship between his poetry and his prose, and several autobiographical aspects of his
oeuvre, that although often border on the sentimental, also deliver insightful perspectives from which to
approach his works.
9
how Holocaust representations haunt Bolaos late narratives concerning death and
disappearance in Latin America (2666). My aim is not merely to examine the significance
of historical and catastrophic events, but rather to address their wider implications for the
relationship between literature, ethics and politics. How has literature confronted its own
horror? How have certain events affected the way literature thinks about and understands
the nature and significance of cruelty, memory, confession, the human and history? I
also consider the works of writers and critics who contribute to the concerns outlined
above and to the understanding of Bolaos oeuvre: Jorge L. Borges, Diamela Eltit,
Octavio Paz, Ricardo Piglia, Elena Poniatowska, Paco I. Taibo II, and Ernest Junger,
among others. This thesis is the first far-reaching study to propose a comprehensive
poetics as a way to examine Bolaos fiction and literary criticism in its inter-American
reading of La literatura nazi en Amrica (1996) and its extension, Estrella distante
Bolaos novel to Borges Universal History of Infamy and other predecessors. Following
the introduction, I discuss several of the 13 biographical chapters of La literatura nazi but
focus on the last chapter, Carlos Ramrez Hoffman, El infame, and the reworking of
this chapter in Estrella distante. My overall argument is that La literatura nazi and
Estrella establish at least four major aspects of Bolaos narrative: (1) a fragmentary
quality that is a major characteristic of his poetics as it affects ethical, political and
aesthetical readings and compositions of his novels; (2) a preoccupation with the
10
uncanny [unheimliche]; (3) the problem of lo abyecto [the abject, abjection] and; (4)
the role of writing or art in translating experience. These major characteristics carry on to
the next three chapters but in different contextualizations and levels of importance.
the Chilean dictatorship and the difficulties of dealing with traumatic experiences. In
chapter is that Bolaos poetics in these texts is situated in the frontiers between the
uncanny and the abject. The abject and the uncanny are relevant because Estrella distante
mainly reworks the last biography of La literatura nazi via a hyperpoetics of the double
in conjunction with and this is the essential moment of abjection and uncanniness in
the novela narrator/character of apparent leftist inclinations that identifies himself with
the others (Wieder-Hofmann, Bibiano, Romero). The narrator, as a reader and interpreter
of Wieder/Hoffmann artistic works/crimes extends his own memories into the present,
limits and risks of this reconstruction to the point that he becomes doubtful of his own
self and doubtful of the importance, at the political, aesthetical and moral levels, of
Wieders politics and ideology of disappearance. The narrator provides other examples of
these limits and crisis besides his own case that help prepare the reader for a key moment
of ambiguous catharsis, where the narrator projects an anxiety over the collapse of
Bolao calls La literatura nazi en Amrica and its spin off, Estrella distante, a novela
11
Chapter two, Nocturnal Illuminations: Reading the Excuse in Nocturno de Chile,
establishes and discusses the relationships, interactions and relevance of the following:
self and the figure of the double (Father Urrutia/wizened youth). This chapter reads
and confessional accounts that claim and seek truth, conversion, catharsis and
context of the so-called transition from dictatorship to democracy and from Boom to
cultural studies. The novel narrates a critical duel between Father Urrutia and the wizened
youth during a long feverish night of self questioning. By testing the limits and
the story entangles itself into an ethical, political and aesthetical examination of the self
and its relation to the community. Nocturno focuses on the possibilities and mechanisms
My purpose is twofold: first, to discuss the way in which Bolaos text intervenes
in the debates over national politics and ethics, which includes debates ranging from the
dictatorship and postdictatorship to questions about justice and literary politics; second,
to examine the confessional utterance as it appears in the text and in a broader historical
and theoretical context. I argue that the self, which the novelistic I or Father Urrutia was
supposed to express in form of confession, did not exist as a priori to the act of
confession. The self, faced with the compulsion and demand to confess, is created
12
the excuse is always simultaneous or a priori to the confession. If confession has been
forced and naturalized and Western man has become a confessing animal to the point that
we often no longer notice it, as Foucault or Kjin have argued, then the excuse as a priori
or simultaneous to the confession has also been institutionalized and naturalized in this
process.
ethics and politics in the context of Chilean culture. The confession as excuse and as
technology of the self allows for mutilations and fractures that cant be so much
problematic faced by these attempts are revealed in Nocturno, but also in confessional
and testimonials accounts that claim truth and non-fictionality as the ground for their
utterance, and which I discuss at the end of the chapter (Luz Arce, Marcia Merino). After
establishing the confession as excuse and their disctinction as undecidable, the chapter
testimonio, which Nocturno de Chile raises towards the end: Dnde est la literatura?;
Estrella distante or Los detectives salvajes leads to Amuleto, to Bolaos next novel 2666
and to a series of questions dealing with the problematic of abjection, the extension of
Bolaos Amuleto and Octavio Paz Posdata. The date of publication of Amuleto (1999)
contributes to its marginal position among Roberto Bolaos works. This short novel is
an offspring of one of the fragments that make up the central part of Los detectives
13
salvajes (1998). In the context of this dissertation, Amuleto fits properly with the previous
chapters focus on traumatic and violent events situated partially in the context of post-
1950s Latin America. One has to remember that although Estrella distante and Nocturno
de Chile deal with the Chilean dictatorship they also focus on the transnational aspects
literatura nazi en Amrica, will be catapulted to the forefront in 2666. In Amuleto the
Uruguayan immigrant surviving in Mexico City, narrates her experience as part of a the
Auxilios narration is focused and departs from the ten days she spent in el lavabo de
mujeres de la cuarta planta de la Facultad de Filosofia y Letras, while the Mexican army
Amuleto revisits the role of reading and writing in relation to violence and the act
resistance but also as the possibility of examining the material and imaginative traces
of history. Auxilios actions, in this sense, are in conversation with Reiters poetics in
2666 and are set in opposition to Wieders (Estrella distante) and Father Urrutias
of Auxilios strategies of narration in order to examine the events of 1968 in Mexico City
and the relation between writing, reading and politics. What significance do literary texts,
discourses on literature and writing have in the production, formation and resistance to
14
political identities and traumatic events in Amuleto? In addition, Auxilios condition as
homeless, exile and nomad (Charrua and Uruguayan), who disappears in the bathroom of
the UNAM during the violation of university autonomy, serves as point of departure
for my analysis of the otherness and the transhistorical and transnational politics in the
text. It is in this context that I discuss Octavio Paz Posdata (1970), an essay on Mexico,
Tlatelolco 68 and the events that led to it, as it constructively intersects and compares to
Amuleto. In Posdata, the Mexican Nobel Laureate interprets the events of 1968 in
relation to Mxicos past and present through its history, myths, politics and culture. He
pays special attention to the meaning of the Olympics, the Aztec past and present and
complexities. Posdata is a critique of the government, but also, and even more
idols within ourselves and the intersections between history and fiction.
reads this classic in its entirety. 2666 is divided into five parts, five stand-alone novels
that recount the travels of several characters across Europe and Latin AmericaLos
of the assassination and mass disappearance of women in Cuidad Jurez, among other
stories of calamity which they live or learn about on their own. In broad terms, their
discovery can be seen as a dialogic relationship between their own particular past stories
and socio-political context -which pose questions of disillusionment and hope- at the
macro-structural level, and questions of shame, guilt, memory and survival, among
15
Contrary to several descriptive readings of 2666 and Bolaos oeuvre that tend to
overemphasize Bolaos interest and focus on total evil, el mal absoluto or his
historical consciousness, I show that Bolaos project seeks to excavate the history of
calamity of the twentieth century through an articulation of the conflict and connections
between aesthetic production and political intervention, a conflict that frames his
narratives and his vision of the world, a conflict that oscillates between disillusionment
and hope. I suggest that Bolaos impulse in writing these novels is to look for narratives
suitable to display the ethical and political dimensions of the speculative meditations his
characters and narrators perform. Confronted with the bankruptcy and vanished
explanatory power and appeal of enduring dichotomies of left against right, good versus
evil, ethical versus political, rational versus irrational, aesthetical/cultural versus ethico-
opening up a new space for a cultural and political discourse, one which reaches its
highest contribution in 2666. This leads Bolaos writing, its narrators and its readers to
indicative of the failures of aesthetic innovation and political intervention in the past:
Recent descriptive articles in the New Yorker or the biographical essay by the
English translator of Los detectives salvajes, Natasha Wimmer, try to construct a literary
persona where Bolaos personal history, vices and struggles are molded and even
vagabond, revolutionary, addict, thief, sexual machine, an image that sells more books
and attracts a wider public, as was the case with the talented Boom writers or their
16
miserable imitators. These strategies or exotization apply to Latin American and
European publishing houses and editors as well. My aim is to attempt an excessive and
perhaps endless reading of Bolaos textual machines and ethico-political concerns, and
17
Chapter 1
Roots, in fact, represent the perfect counterpart to the visible parts of a plant.
While the visible parts are nobly elevated, the ignoble and sticky roots wallow in
the ground, loving rottenness just as leaves love light. There is reason to note,
moreover, that the incontestable moral value of the term base conforms to this
systematic interpretation of the meaning of roots: what is evil is necessarily
represented, among movements, by a movement from high to low. The fact is
impossible to explain if one does not assign moral meaning to the natural
phenomena, from which this value is taken, precisely because of the striking
character of the appearance, the sign of the decisive movements of nature.
Jorge L. Borges Historia universal de la infamia (1935) offers a thematic and formalistic
Amrica (1996) and Roberto Bolaos literary adventure. Historia universal is Borges
persons entire life to two or three scenes and as having no psychological intentions
(Collected 3). In a later prologue from 1954, Borges describes them as baroque in nature
18
They are the irresponsible sport of a shy sort of man who could not bring
himself to write short stories, and so amused himself by changing and distorting
(sometimes without aesthetic justification) the stories of other men. (4)
Gallows and pirates fill its pages, and the word iniquity strikes awe in its title,
but under all the storm and lightning, there is nothing. It is all just appearance, a
surface of imageswhich is why readers may, perhaps, enjoy it. (5)
Bolaos novel thematically focuses on the appearance of infamous characters from the
characters, on the other hand, are infamous murderers among which the reader can find
pirates, mercenaries, teachers, monks and cowboys. Infamy and appearance as the central
themes of Borges fragmentary and brief exercises of narrative prose remain, according
without real essence or purpose beyond mere entertainment and writing practice. Borges
emphasis on the humorous, the brevity, ambiguity and amusement aspects of his
La literatura nazi. The ideology shared by all of Bolaos characters, however, takes his
ambiguity and nothingness that his prologues emphasize. Borges often described the
The real beginning of my career as a story writer starts with the series of
sketches entitled Historia universal de la infamia (A Universal History of
Infamy) []. The irony of this is that Streetcorner Man really was a story but
that these sketches and several of the fictional pieces which followed them, and
which very slowly led me to legitimate stories, were in the nature of hoaxes and
pseudo-essays. I did not want to repeat what Marcel Schwob had done in his
Imaginary Lives. He had invented biographies of real men about whom little or
nothing is recorded. [] I never thought of book publication. The pieces were
meant for popular consumption in Crtica and were pointedly picturesque. I
suppose now the secret value of those sketchesapart from the sheer pleasure
19
the writing gave melay in the fact that the were narrative exercises. Since the
general plots or circumstances were all given me, I had only to embroider sets of
vivid variations. (42-43)
La literatura nazi, on the contrary, can be read as a text structured like a poly-
biographical novel of American naziphile writers that between 1930 and 2010 manifested
their ideological leanings in the cultural arenas of the Amricas, and to a short degree in
Europe. Using the fictional figures of miserable, infamous and laughable writers, the
novel recounts how multiple layers or combinations of fascism came to exist in the
Americas. The novel contains thirteen chapters or thirty biographies and an Epilogue for
Monsters. The chapters are labeled under a variety of headers, such as Magicians,
Mercenaries, Infamous and Precursors. Each chapter is also preceded by the name
and surname of the writer and his or her alias, followed by dates and places of birth and
death. These headers can be read as the inscriptions in gravestones, followed by a biblio/
biographical recollection. Although the reader can recognize connections between the
Borges, who at the time was a well known poet, considered part of Historia universal as a
preparatory exercise of a a man who could not bring himself to write short stories, of a
man who would soon write some of the best short stories ever written. His devaluation is,
to say the least, questionable, maybe presumptuous. The emphasis on nothingness and
20
vacuity can be ironical or double. Contrary to Borges dubious self-devaluations,
Bolaos narratives of infamy are the first great manifestation and foundational base of a
literary projectoften preoccupied with infamy as the next chapters will also attestthat
would meet its end in less than a decade, and that also started in the genre of poetry. Both
texts, el Borgeano and el Bolaesco, share the same thematic concern or focus on
iniquitous and infamous characters, but Bolao adds a minor novelistic touch by placing
his characters within a well established frame composed of a period of 80 years, the
Americas, an ideology, and several filial or professional links between the characters
Celina Manzoni, one of the key and earliest critics of Bolaos opus, locates
(18) in opposition to the myth of the family house [gran casa familiar] (18) that
dominates some Chilean novelists addressing the (post) dictatorship. As she notices in
La lucha sorda entre olvido y memoria que escenifican algunas novelas recientes
de autores chilenos en las que es como si el repetido oficio persuasivo de la
dictadura hubiera realizado un desgaste de las palabras que luego busca
perpetuarse en una retrica que formula la democracia de los acuerdos y con
ella la poltica de la transaccin y el olvido. [] La patria como un mito
condensado en la imagen de la gran casa familiar que, herida pero an
reconocible como propia, recoge a los hijos dispersos. (18)
21
Manzoni recognizes this myth in writers such as Isabel Allende and Carlos Cerda.1 It is
not surprising that the former novelists are also in Bolaos black list. Manzoni argues
that La literatura nazi attempts to resist oblivion and narrates the terror by distancing
itself from the myth of the Chilean family or the Chilean home and choosing to narrate
from the wreckage and from unsheltered domains. Her comparison of Bolao and Borges
in opposition to the writers and narratives mentioned above sets the recuperation of
Morell, one of the key stories in Historia Universal, serves as a vivid example of
recuperation of infamy.
Historia universal are, at the most, a modest and cautious attempt of a young poet and
insecure prose writer to downplay the importance and prepare for the reception of his
emerging narrative project. The infamous stories in this collection, although certainly
derivative and readable when compared with his posterior production, overcome the
infamy not for evils sake but for the illuminating, even though terrible, aspects of the
conjunction between good and evil [lo horrible con lo bondadoso] as Manzoni puts it
(18). In these infamous stories Borges reconstructs machineries and logics of destruction,
infamy and fascism that have repeatedly manifested themselves throughout the twentieth
century in a variety of forms. Often, as in the redeemer Lazarus Morells story, the
workings of infamy are tragic but reveal many hidden aspects of the social, political and
1
La base de esta hiptesis radica en una lectura, que no puedo desarrollar aqu, de Isabel Allende, La casa
de los espritus, Buenos Aires, Sudamericana, 1985, y de la novela de Carlos Cerda, Una casa vaca,
Santiago de Chile, Alfaguara, 1996 (18).
22
infamous, real and mythological, legendary figureJohn Murrell.2 Far from only being a
light fictionalization written for entertainment and consumption, the story provides an
insightful view into the works of infamy or Morells powers of horror.3 Morell, a poor
white man from abject mud flats [abyectos lodazales], is a bandit who preaches from
town to town around the Mississippi River in order to steal horses. He also, and most
significantly, travels around the river banks offering a questionable and terrible form of
Este mtodo [Morells method] es nico, no solamente por las circunstancias sui
generis que lo determinaron, sino por la abyeccin que requiere, por su fatal
manejo de la esperanza y por el desarrollo gradual, semejante a la atroz
evolucin de una pesadilla. [] Su facinerosa misin era la siguiente:
Recorran con algn momentneo lujo de anillos, para inspirar respeto
las vastas plantaciones del Sur. Elegan un negro desdichado y le proponan la
libertad. Le decan que huyera de su patrn, para ser vendido por ellos una
segunda vez, en alguna finca distante. Le daran entonces un porcentaje del
precio de su venta y lo ayudaran a otra evasin. Lo conduciran despus a un
Estado libre. Dinero y libertad [].
Lo vendan en otra plantacin. Hua otra vez a los caaverales o las
barrancas. Entonces los terribles bienhechores (de quienes empezaba ya a
desconfiar) aducan gastos oscuros y declaraban que tenan que venderlo una
ltima vez. A su regreso le daran el porcentaje de las dos ventas y la libertad.
El prfugo esperaba la libertad. Entonces los mulatos nebulosos de Lazarus
Morell se transmitan un orden que poda no pasar de una sena y lo libraban de
la vista, del odo, del tacto, del da, de la infamia, del tiempo, de los
bienhechores, de la misericordia, del aire, de los perros, del universo, de la
esperanza, del sudor y de el mismo. Un balazo, una pualada baja o un golpe, y
las tortugas y los barbos del Mississippi reciban la ltima informacin.
(Historia universal 23-26)
Morells figure sets the recuperation of infamy in opposition to the recuperation of home
and family. His method or modus operandi, his perversion, is his ability to manipulate the
2
A near-legendary bandit operating along the Mississippi river in the mid-1800s.
3
The phrase is taken from Julia Kristevas Powers of Horror: An Essay on Abjection. For Kristeva what is
abject is excluded, casted away, or rejected, but never banished altogether. The abject [lo abjecto]
constantly challenges ones tenuous borders of selfhood. I will revisit and expand on Kristevas
conceptualization of abjection during the discussion of Estrella distante and especially in relation to the
figures of Carlos Wieder and the narrator.
23
law to either side of the moral spectrum. He offers life in the name of death and profits
from the offer; he profits from preaching to God in order to steal horses; he interprets the
law in order to legalize his horror.4 Morell shows the abyss, the arbitrary nature of Law,
Religion and Morality, its oppressive side. Borges writing recuperates this conception of
infamy, the subject as form of abjection, towards death, towards the collapse of the
distinction between subject/object. Borges writing shows, through the figure of Morell,
present in the naive recuperation of home and family. Writing on infamy thus implies an
ability to imagine the abject, a plea to maintain unbalanced the categories that organize
morality in order to keep unhealed the marks of infamy, against its legalization, against
an always present threat of abjection. Morells figure is ironically named Lazarus in order
to allude to resurrection, new life and vitality, but he is quite the opposite, as his
treatment of African slaves shows. At the end, his ultimate goal was to acquire a total
that is manifested as being in infamy, and that manages to impose his will by masking it
introductory section of the chapter, will gain greater relevance during the analysis of
infamous figures in La Literatura nazi and Estrella distante that, as Morell, promise a
4
Falta considerar el aspecto jurdico de estos hechos. El negro no era puesto a la venta por los sicarios de
Morrell hasta que el dueo primitivo no hubiera denunciado su fuga y ofrecido una recompensa a quien lo
encontrara. Cualquiera entonces lo poda retener, de suerte que su venta ulterior era un abuso de confianza,
no un robo. Recurrir a la justicia civil era un gasto intil, porque los daos no eran nunca pagados.
(Historia universal 25)
24
Polar Twins: La literatura nazi en Amrica and Estrella distante.
At the form level, Borges and Bolaos texts share the constant use of abrupt transitions
and reductions of a persons life mentioned in Borges prologues. This can be understood
as a fragmentary quality that both authors will respectively grow to master in their short
stories and novels. Bolao manages to use this quality even in his first renowned novel,
Los detectives salvajes (1998), a text of more than six hundred pages in which more than
half are short fragments or stories of characters somehow interrelated to a central plot but
not clearly defined as such. The middle part, Los detectives salvajes, is divided in
twenty six chapters in which characters reappear to somehow shed light or darkness on
the narrative structure of the novel, framed by a short and also fragmentary diary written
by Garca Madero. In this sense, Los detectives salvajes is not too far from the formal
mechanism used in La literatura nazi or the first novel written by Bolao, Amberes
Bolao, in the prologue to Estrella distante (1996), indirectly points out that the stories of
La literatura nazi are mirror and explosion of themselves. This image is congruous with
Borges Historia universal or El libro de los seres imaginarios (1978), and that as a
result, it allows for a non-consecutive and fragmentary reading of the text that after all is
5
Amberes and Los detectives salvajes are not peripheral in relation to the thematic focus of this dissertation
(Bolaos ethico-political sensibility) but I have chosen to limit their appearance in this work to a
designated hitter role and to expand on it afterwards. The fragmentary quality shared by both novels
compares to Julio Cortazars narrative exercises in 62/Modelo para armar. Cortazar, as Bolao admits,
influenced him greatly, as did Borges.
25
La literatura nazi is key for the foundation of Bolaos literary project. I focus on
Carlos Ramrez Hoffman, el infame and the reworking and extension of this chapter of
La literatura nazi in Estrella distante. Bolao took this chapter and reworked it into a
short novel, an operation the he will continue to adopt frequently throughout his writing
days.6 While La literatura nazi is a story divided into independent but interrelated
distante repeats and extends the story of Carlos Ramrez Hoffman as mirror and
Bolao provides a much more detailed account about the poetic culture in Chile during
the second half of the twentieth century, adding several characters to the pre-text or the
story told in Carlos Ramrez Hofmann, el infame. This extension preserves the essence
of La literatura nazi since Bolaos narrator also tells about numerous writers and their
exile, a Russian-Jewish migr saloniste, leaders of literary workshops, twin sisters and
other poetsbut this time the examples come out of many areas of the political and
ethical spectrum instead of being just about fascist writers. While La literatura nazi is a
book mostly about Latin Amrica, even though it includes north-American writers,
Estrella distante is a book that, by focusing on Chilean Carlos Wieder and a group of
Chilean poets, becomes a novel about Chile and about individual Chileans in a very
specific context.
In Estrella distante Carlos Wieder, also known as Alberto Ruiz Tagle in the novel
6
For example, Amuleto is a rewriting of one fragment from Los detectives salvajes and Nocturno de Chile
rescues a minor character from Estrella distante.
26
artist/celebrity, torturer/killer during Augusto Pinochets regime and afterwards. The
novel follows Wiederss career as an artist, torturer and killer from the
and an organized investigation to which the narrator is an integral part, we follow the
punished for the atrocities committed during the dictatorship with support from the
military apparatus. Part of the investigation is based on the Archives of the National
Library which contain Wieders air poetry, his photographic collection (of tortured
and journals in which his poetry is identified, and an interview. Towards the end, Abel
Romero, a famous policeman from Salvador Allendes era and now private detective, is
hired to trace Wieders footsteps, but also needs help from the poet, the narrator of the
novel, since his literary knowledge is limited or canonical. Neither the reader nor the
narrator knows who hired Abel Romero or how he gets involved in the investigation. At
the end, Wieder is found by Romero and the narrator but, in line with antidetection
strategies, what actually happens during the final scenes and the last encounter is
In the first twelve chapters of La literature nazi, which are told in third person, the
narrators identity is left somewhat vague or ambiguous. The last chapter, followed by a
list of monstrous writers, turns to the first person narrative, in the story of Carlos
7
Antidetective and Neopolicial fiction are relevant variants of the detective genre. Both modalities are
important in relation to Bolaos oeuvre. The second section of this chapter provides an extensive
discussion of both.
27
Ramrez Hoffman, el infame. Towards the end of the chapter the narrator is called by his
name, Bolao, by the private detective in charge of finding Ramrez Hoffman. Assuming
that the narrator of the last story is a character called Bolao, Bolaos alter ego, or the
fictionalized author of the text himself, leads to view the third person narration of the
Although it is not made explicit, it is reasonable to suppose that the narrator of the last
chapter is also the narrator of the rest of the novel and the narrator of Estrella distante.
The narrator in La literartura nazi is a character called Bolao that hides behind the third
person until the I or narrator Bolao emerges in the final story of the novel. In the
prologue to Estrella distante and in the novel itself the question of the narrator and others
is somewhat answered, although at the same time an even more complex set of questions
is raised:
Arturo B(elano), who to make things more complicated is also Bolaos alter ego in Los
Arturo Belano, becomes visible in the prologue having a conversation with the narrator as
another doubling or alter ego of the figure of the narrator, another author-narrator that
turns this already ambiguous presence of the narrator into a ghostly manifestation of the
figure of the narrator. Roberto Bolao, the author, has always stressed that his narrators
are fictional, although they overlap considerably with his own biography, history and
literary preferences. As we see in the present example, Bolaos narrators are named
28
within a frame of reference that leads back to the figure of the author, but only to mislead
and attest the fictionality of the narrator surrounded by familiar events found in Bolaos
biography.8
discussion with Arturo B in which the former reveals his dissatisfaction with the story he
told to the narrator and that became Carlos Ramrez Hofmann, el infame. This
dissatisfaction leads to the writing of Estrella distante but not without raising another set
of important questions beyond the problematic of the narrator, a problematic that can be
outlined as follows: (1) An unnamed third person narrator in the first twelve chapters of
La literatura nazi that turns into a first person narration by a character named Bolao in
the last chapter. We know, by reading the text and the prologue of Estrella distante, that
Bolao is the narrator of the previous chapters; (2) An unnamed narrator in Estrella
distante that, since this novel is an extension of the last chapter of La literatura nazi, can
be identified as narrator Bolao, but is not properly named as such in Estrella distante,
although the direct references to the pre-text are made. The prologue of the post-text,
however, also situates the narrator in a conversation with Arturo Banother alter ego of
the authorleading one to accept Bolaos play with the figure of the double and the
narrator as a chameleonic figure with traces of the author. This complex mechanism of
doubling and multiplication will be taken beyond its present form in the text of Estrella
8
Bolaos characters often live in the same cities as the Chilean writer. They also experience the same
events, illnesses and more often than not, share the same literary preferences, among many other
similarities and differences.
29
As the prologue continues, the narrator describes the repetition of the story
misma, (11) a description that addresses the problematic of the narrator. As a mirror, the
doubling of the figure of the narrator is justified and explained as a game of mirrors that
allows for distortions and differences while retaining, at the same time, a common
what happens when the text is repeated, not word by word, but as an extension of the
former story, adding many details and characteristics to the narration, and also an
explosion of the figure of the narrator and the characters within the story, that leads to
one of the manifestations of the problematic that in an overall sense I call reduplication:
an explosion that distorts, doubles and mutates, fragments and expands, the former story
At the same time that the mirror and explosion image discussed above is presented in
terms of its multiplying effect on the post-text [Estrella distante], the narrator clarifies
that the last chapter, Carlos Ramrez Hoffman, el infame, serves as anticlimax or
contrapunto to its pre-text or the preceding twelve chapters of the novel [La literatura
nazi] and not as mirror and explosion of the preceding stories. The shift to the first person
in the story of Carlos Ramrez Hoffman, a detailed narration of the several events in
relation to Carlos Ramrez, the revelation of narrator Bolao as the storyteller and the
development of the biographic character of the preceding chapters into a longer story, are
some of the main manifestations of this anticlimax. At the same time the description
30
suggests that the preceding twelve chapters were espejo y explosin de s mismos, or as
described in my introduction of the novel, very congruous and consistent stories in terms
of form, thematic and argumentative levels. The first twelve chapters of La literatura
nazi en Amrica, as mentioned before, can be read independentlyas the last chapter on
Carlos Ramrez Hoffmanbut many of the characters reappear or are alluded to in other
chapters. Some of the chapters are only held together by filial ties (e.g. Los Mendidulce;
Los fabulosos hermanos Schiaffino), while others are only thematically coherent beyond
norteamericanos; Dos alemanes en el fin del mundo; Magos mercenarios and miserables;
La hermandad Aria). Most of them deal exclusively with male writers except for the first
one (Los Mendidulce) and one entitled Letradas y Viajeras. All the chapters can be read
as part of a literary dictionary that presents the failures, achievements and brief
workin the context of what Bolao calls literatura nazi. The novel also invents nazi
publishing houses and journalsaround three hundredand often humorously joins real
writers such as Lezama Lima and Adolph Hitler with its fictional characters.
In the prologue, the narrator also refers to those twelve chapters as a literary
grotesque for which the last chapter serves as anticlimax. What is the literary grotesque to
which the narrator is referring to and why does the last chapter serve as an anticlimax or
contrapunto to it? The prior chapters to Carlos Ramrez Hoffman, el infame are
grotesque in the traditional sense of merging the comic with the tragic and reflecting a
sense of frustration with the moral world. Comic distortion and exaggeration of the
exemplary characters presented are dominant features of those chapters although the
31
comic element tends towards horror and repulsiveness.9 The writers in these chapters,
which were presented before in relation to Borges humorous and entertaining Historia
universal, are also attached to an element of frustration and tragedy by the emphasis on
their fascist ideology. La literatura nazi is grotesque in terms of the way it renders and
interrogates the ugliness of racist and fascist ideologies, an element that these biographies
In the last chapter, Carlos Ramrez Hoffman, el infame, the sense of the
grotesque leans more towards horror, the tragic side, the side of fear and frustration that
no comic or humorous resort can overcome. That is another reason why Bolao calls it an
anticlimax or contrapunto: by adding an anticlimax, laughter can be tamed and turns into
tragedy and fear at the end of the novel. The anticlimax or contrapunto that Bolao
mentions in the prologue emphasizes shifts at the level of plot and techniques to the
tragic side of the grotesque, the side which results from the distrust in a moral world that
is essential for tragedy, and a shift from a previous distrust in a rational order, which is
Bolao described these texts (La literatura nazi, Estrella distante) as novels
Morells story. The emphasis on the side of the grotesque that is incompatible with
9
As Harmon and Holman note: Where nineteenth-century critics like Walter Bagehot saw the grotesque
as a deplorable variation from the normal, Thomas Mann sees it as the most unique style for the modern
world and the only guise in which the sublime may appear now. Jorge Luis Borges echoed Manns
sentiment. Flannery OConnor seems to mean the same thing when she calls the grotesque character man
forced to meet the extremes of his own nature (240).
10
Off the Record. Arcoiris TV. Chile. Interview.
32
laughter on the story of Carlos Ramrez Hoffman, el infame is such that repulsive
elements, horrifying features and seriousness overshadow the ludicrous and playfulness
aspects of the grotesque, turning this chapter into an anticlimax to the literary grotesque
presented in the preceding chapters. It prepares the terrain for the recuperation of infamy,
abjection and uncanninness in the post-text, Estrella distante, that emphasizes uncertainty
and horror or the serious-grotesque, that which differs from the normal or unified sense
of livable zones and art and therefore establishes a discussion sobre la prctica de la
Borges Pierre Menard, autor del Quijote is also a relevant precedent at a formalistic
and thematic level. The text is one of Borges stories which deal with false encyclopedias
and dictionaries, with invented authors and the apocryphal. Bolao is no doubt in debt
with these techniques or thematics exploited by Borges. The story of Pierre Menard is a
discussion of Menards main work and a concise description of the environment and
conceptualization in which the author produced his oeuvre. The emphasis, as in all of
that text. Both texts by Bolao and Borges are written in the form of a simultaneous
review and literary critical piece about fictional writers. Borges narrator tells the story of
33
a French writers work and his key dedication to repeating in a foreign tongue a book
[Don Quijote] that already existed. The fictional re-author of Don Quijote, among other
activities, also rewrites the magnum opus of his friend Paul Valery, Cimetiere marin, in
cultos, among other works (Collected 89). Eventually, he proposes his radical project of
writing Don Quijote exactly as it was written by Cervantes, three hundred thirty years
earlier, and which occupies most of the narration. Borges refers to this undertaking as
the other body of work: the subterranean, the interminable heroic productionthe
oeuvre nonpareil, the oeuvre that must remainfor such are our human limitations!
Menard writes his reading of Don Quijote, which even though is a word by word
copy of Don Quijote, is radically distinct in its meaning, a richer Don Quijote, as the
cultural tradition; in Menards case, three centuries later. The narrator in Estrella Distante
Menard destroys the idea of texts of fixed identities and the traditional notion of the
author as maximum authority via Pierre Menardss gesture, in Bolaos Estrella distante
these ideas frame the two (re)duplications found in the prologuethe first was to
11
As Gonzlez Echevarra notes: Cervantes created himself as an author surrounded by several doubles as
the second most important character in the Quijote. The author of the Quijote is that manifold character that
34
consultation with Arturo B and the phantasm of Pierre Menard. The concern with the
unmatched oeuvre as opposed to the visible CV. Bolaos narrator, after hearing about
Arturo Bs dissatisfaction with the previous story, tries a few months later not only to
extend a previously narrated story but also to validate it, to validate the recuperation of
infamy, to validate his repetition of an infamous story and the moral practices affecting
its narration. According to the narrator of Pierre Menards story, or his phantasm in
Bolaos words, this is impossible because the truth (or the validation of Bolaos post-
text) is the daughter of history, or history is the mother of truth. Duplications are
The figure of the reader in a different historical context, or simply a different reader,
emerges here as key for a reading of the subterranean oeuvre that Ramrez
Hoffman/Carlos Wieder left at the disposal of his judges and persecutors. The readers
in the novel and of the novelas rewriters, narrators or ethical figures, emerge also as
the central characters of Estrella distante. The reader, as in Pierre Menard, is partially an
includes (at least) the narrator, Cid Hamete Benengeli and the translator. In him (in them) Cervantes gave
us a prolix and profound dramatization of the modern mind in search of knowledge of self and of the inner
workings of the literary imagination. In that quest the mind found itself and the complex operations by
which it invents itself as it creates literature. It is a fragile construction -an unbearable lightness of being-
fraught with self-doubt and surrounded by mirages of its own making. To speak, to write, this emerging
self must create yet another, like the friend who comes to its aid in the 1605 prologue, who will give him a
temporary and precarious sense of being. (Cervantes)
35
explosin of the last chapter of La literatura nazi en Amrica gains its most significant
context, which will of course change, but for now will haunt us with its reduplications,
rewritings and rereadings. The reader is confronted with the first two reduplications in the
prologue. Other reduplications will follow, but the reader is now the one in charge of the
dreams and nightmares written at least with four hands or dictated by Arturo B to the
rewrite since reading and writing are aesthetically and ideologically productive. It can,
however, be reduplicated.
The central argument of this chapter, framed by the discussions and presentations
in the preceding sections, is that Bolaos poetics in these texts is situated in the frontiers
between the uncanny and the abject. The abject and the uncanny are relevant because
Estrella distante mainly reworks the last biography of La literatura nazi via a
hyperpoetics of the double in conjunction with and this is the essential moment of
inclinations that identifies himself with the others (Wieder-Hofmann, Bibiano, Romero),
so that he becomes uncertain as to which his self is. The narrator, as a reader and
interpreter of Wieder/Hoffmann artistic works/crimes, extends his own memories into the
facing the limits and risks of this reconstruction to the point that he becomes doubtful of
his own self and doubtful of the importance, at the political, aesthetical and moral levels,
of Wieders politics and ideology of disappearance. The narrator provides other examples
of these limits and crisis besides his own case that help prepare the reader for a key
36
moment of ambiguous catharsis where the narrator projects an anxiety over the collapse
and as having a liberatory or truth effect (18), incites us to think these narratives in
relation to Freuds uncanny as the juxtaposition of the familiar and unfamiliar and to the
ambiguous catharsis and in terms of what we feel compelled to cast away from ourselves.
The concepts of the uncanny and abjection are certainly in opposition to reconciliatory
addition, both concepts and their respective textual variations and representations
dominate Bolaos narrations of infamy. But what kind of liberatory effect or truth and to
what extent, if at all, is this relevant in Bolaos narratives? What mechanisms operate
one more time that Bolao calls La literatura nazi en Amrica and its spin off Estrella
distante a novela sobre la prctica de la moral and also pays homage to Borges
throughout the novel and in the last chapter of La literature nazi by entitling it C.
One of the main characteristics of Estrella distante is its intense play with forms of
duplication. The narrative of the novel is in itself a duplication and extension of Carlos
Ramrez Hoffman, el infame as I introduced it, and as the prologue to the novel shows.
37
Every major aspect of the plot that appeared in the last chapter of La literatura nazi is
also present, although not verbatim, in Estrella distante. Duplication here is not a process
renaming and extending the pre-text or reduplication. Bolao changes names, adds
places, provides details, adds events and characters, to a story that at the level of thematic
and plot remains guided by the pre-text but gains in complexity. As the narrator puts it in
the prologue to Estrella distante: en La literatura nazi en Amrica se narraba tal vez
mention the discussions with Arturo B and the phantasm of Pierre Menard as part of the
rewriting process (11). In the prologue to Estrella distante the narrator justifies this move
by inventing his double (Arturo B) and creating a discussion with him(self) that alludes to
Arturo Bs dissatisfaction with the pre-text and to discussions with the phantasm of Pierre
Menard.
In Borges Pierre Menard, autor del Quijote the duplication of the text is
verbatim, although the text of Don Quijote de la Mancha is now richer and distinct in its
Bolaos reduplication from that of Pierre Menards, and to think about the possibilities
of this reference in the prologue to the post-text. Bolaos post-text or Estrella distante is
also richer and adds layers of meaning, but in this case through a process that includes
splitting and proliferating, mirrors and explosions, and not the exact duplication of words.
In Pierre Menard, autor del Quijote, the text and the post-text are presented as if they
were identical twins/texts but with different minds or different cultural and historical
contexts: the duplication of the textual body by Pierre Menard marks the beginning of
38
further transformations. The operation in Estrella distante is one of reduplication or that
of creating polar twins/texts. In Estrella distante, the process of doubling does not rely
solely on a contextual and historical adaptation of particular readings, but instead, the
first doubling provides also an extension of the pre-text, or to put it differently, the first
developments in Estrella distante will exemplify. The instant the text is read it is
(re)duplicated by the reader and the context from which the reading takes place. This is
the event that sets the supplementary logic of reduplication in a continuous process or
Beatriz Sarlos reading of Borges Pierre Menard, in one of the few recent and
rewarding book-length readings on Borges, has this problematic in mind, which she
outlines as follows:
Sarlo underlines the impossibility of exact repetition or duplication because the aesthetic
and ideologically productive activity of reading interferes with the possibility of creating
identical texts at all levels. Reduplication names this impossible repetition and
duplication and extends its reach to the realm of duplication with difference, a difference
that recognizes the possibilities of adding to the verbatim duplication and therefore
produces, at the most, polar twins/texts. Sarlo also uses an image in the above quotation
39
that confirms Bolaos description of his pos-text as mirror and explosion of the pre-text,
or reduplication. She uses the mirror image to state that the transcription of a text is never
the same as the original: there is no way in which a text can be identical to its double,
the mirror image, an explosion of the mirror itself [espejo y explosin de si mismo],
further establishing the impossibility of repeating a text and the inevitability of its
one described above, and for which Ill provide more textual examples later onEstrella
distante destroys the idea of a text with a fixed identity and the idea of the author, but
The first step in this direction turns the figure of the author/narratorunnamed in
Estrella distante but named as Bolao in the pre-textinto a manifold figure presented in
the first part of the chapter. In three words, Bolao is multiple. Multiple are also his
sources and the conditions of his writing process, which is described as a group
discussion in the prologue. The narrators voice is a polyphonic, a redoubled and uncanny
narrator, a mirror but also an explosion, a recourse that Bolao will exploit to the extreme
in Los detectives salvajes. The narrator of Estrella distante, also the main character along
with Wieder, is at odds with himself, never clearly defined, but proliferated, uncanny.
relate to the recuperation of infamy. The reduplications include places, things, characters,
and as hinted above, will concentrate on the figure of the narrator and Carlos Wieder.
40
The Uncanny House
Even though this reading continues to engage important aspects concerning the
now in analyzing the post-text. In Estrella distante the multiple manifestations of the
notion of the double and the uncanny [unheilmiche] constitute the novels core. It is as if
the doubling games presented in the transition from pre-text to prologue and to post-text,
The literature on the uncanny is overwhelming, to say the least, but Sigmund
Freuds Das Unheimlich (1919) remains the key text to start any study on the subject.
My observations on the uncanny, as those above, derive mostly from readings of Freuds
essay and from Nicholas Royles The Uncanny (2003). I concentrate on the uncanny
effects dealing with literature, doubles, dread and horror, always busy disturbers of the
distinctions between imagination and reality, between subject and object, to which Freud
dedicates plenty of effort. Bolaos critics have noticed the repetitive presence of doubles
and uncanny elements in his texts, but none of them thoroughly discusses their relevance
for Bolaos poetics and politics. The notion of the uncanny can be approached with
different levels of cohesiveness and success if from the beginning of our inquiry into its
territory we accept the complex, strange and unpreventable ghostly situations that it
presents. The intermingle of the familiar and unfamiliar is one of the key understandings
and constants in any approach to the uncanny experience, keeping any attempt at
reaching a definition basically unbalanced (familiar and unfamiliar). As Royle puts it:
41
a familiar context. It can also consist in a sense of homeliness uprooted the
revelation of something unhomely at the heart of hearth and home. (1)
The close ties of the uncanny to the notion of the double and reduplication reveal their
importance for the present analysis. Reduplications and duplications also rely heavily on
perceptions of familiarity and unfamiliarity. The indescribable aspect of the uncanny, its
which affects and infects representations, motifs, themes and situations, which always
mean something other than what they are (1132). Any effort to define it will have to be
in itself a double, and add up at least two linguistic constructions that appear to create
ambiguity for each other: (1) the uncanny isthis (2) the uncanny has to do with this
and that. The first one tries to make the notion familiar and stable by defining it, while
the second opens the door of the unfamiliar, the door of uncertainties and speculation.
Most critical attempts to work with this notion avoid limited definitions and resort to
sublime but also frightening, as is the uncanny figure of the double. The uncanny is
duplication. The uncanny is a way to think in less dogmatic ways, a way to look at that
which is foreign within and outside us. The uncanny has to do with the sense of
who one is and what is being experienced. It has to do with a sense of homeliness while
being displaced and vice versa. The uncanny may form out of curios coincidences or
strange repetitions. It disturbs the distinction between imagination and reality. According
42
to Freud, in fiction or literature, the effects of the uncanny can be extended or intensified:
But the writer can intensify and multiply this [uncanny] effect far beyond what is
feasible in normal experience; in his stories he can make things happen that one would
never, or only rarely, experience in real life (157). One thing is clear: the uncanny has to
in real life but my focus is on the feelings of dread and horror that Freud describes as
central for our understanding of the uncanny experience and that I posit as central for a
reading of Estrella distante. The examples represented in Estrella distante will help to
understand the relevance of the uncanny for the thematics presented before: recuperation
At the beginning of the first chapter of Estrella distante, the narrator retells a
story that he first came to know through a letter from Bibiano, in which his friend and
also poet describes to him his visits to Ruiz-Tagle/Wieders home with the Garmendia
twin sisters, and also the one time when he went by himself but didnt go pass the door.
The letter, one among many that are referred to in the narration, was sent to the narrator
while he was living in Barcelona and still kept correspondence with Bibiano, who stayed
in Chile and worked in a shoe repair store. The narration of the novel is in this sense
chaotic. The narrator remembers and thinks about something that happened a long time
ago, but tells it to the reader through a letter that was sent to him way after the actual
event took place. At times the narrations of the a priori knowledge of any given event and
the a posteriori epistolary correspondence about the same event get intermingled in a way
that are difficult to separate, or might be purposely presented in this way to create
43
The key aspects of the letter under discussion, as the narrator emphasized, are the
the first chapter. The home is described as a place that lacks something: En la casa de
Ruiz-Tagle lo que faltaba era algo innombrable [] (pero presente, tangible) como si el
anfitrin hubiera amputado trozos de su vivienda (17). According to the letter this
feeling was more perceptible when he visited the apartment by himself: O como si sta
[la casa] fuese un mecano que se adaptaba a las particularidades y expectativas de cada
visitante (17). If we follow Rosemary Jackson when she notices that the uncanny is a
term both to describe and to create unease the scene in question seems to fit the
description (64). The house is described as missing something unnamable but at the same
time the presence of the unnamable thing is felt, giving the impression of an amputated
house with a part that is not present but is felt as present. This creates an uneasy situation
for Bibiano and for the reader: Bibiano feels that the house is uncanny by being aware of
something that is absent, while the reader is asked to imagine an amputated house. The
scene goes beyond this by also describing how Bibiano, at the door of Ruiz-Tagles
apartment, hears a voice and imagines that it is the voice of one of the twin sisters
listening behind the door of the amputated house. The narration links amputations with
something missing that is unnamable and with a house that seems to adapt to the
presence of the visitors but also as a clean house described by Bibiano as desnuda y
sangrante (18). The house is described as being able to be reduplicated, it can adapt to
the visitors, it looks clean but also sangrante y desnuda, something is missing in it but
is also present. The home is described as one would describe a haunted house with an
uncanny owner that seems to have special powers to frighten and create uneasy in his
44
visitors, to threaten them with evil intent. Freud takes these factors into account in his
a haunted house reflect the links between death, evil, uncertainty and the supernatural
in the uncanny experience, although in this example the gruesome seems to take over or
dominate. One has to remember that Ruiz Tagle/Wieder is a murderer, so most likely the
immobile and unnamable presence (18) of someone inside the house points to the
appropriately described as a haunted house. The scene presents and also hides the
cadavers of the possible victims. In the context of my reading, this takeover of the
uncanny by the gruesome and evil, by dread and horror that Freud underlines, will be in
agreement with the movement towards experiences of abjection that will dominate the
The scene of the uncanny home describes how uneasy Bibiano feels in a
haunted house before the presence, but only with the presentiment or anxiety, of evil,
horror and death. The scene also makes the reader feel uncomfortable, linking the
unnamable and immobile voice inside the house with the description of the place, making
one reach a level of uncertainty close to Bibianos feelings at that particular moment:
[Bibiano] En ese momento, probablemente, lo nico que saba era que deseaba
45
marcharse, decirle adios a Ruiz Tagle y no volver nunca ms a aquella casa desnuda y
sangrante (18). The uncanny in this example involves mostly two forms: one is the
reduplication of presence and non-presence (e.g. the twin sisters, other victims) and place
(e.g. the haunted house) while the other is the establishment of feelings of uncertainty and
uneasy, which in the scene described above focuses on uncertainty about Bibianos
reality in relation to what he is experiencing, imagining, during his visits and in relation
to how he narrates his anxiety to the narratorin a letterand how the narrator tells it to
us, uncanny readers. The house symbolizes disorder and chaos, which in the novel are
identified with Wieder but also with nature and animal behavior. The establishment of an
uncanny atmosphere in the novel sets the tone, sets the uncanny home, and remains at the
Ruiz-Tagle/Carlos Wieder first appears in the life of the narrator when he infiltrates in the
poetry workshops to which the narrator and other friends assist around 1971-72 and
immediately becomes an enigma for him and Bibiano ORyan. A key question raised by
Estrella distante is related to his name. As in the case of the narrator, who is reduplicated
by the author, Wieder will also be the subject of doublings throughout the novel. In the
prologue, Bolaos reduplication concerns the name or the name as reduplication and an
uncertain double. From being a third person, an unnamed narrator in La literatura nazi en
Amrica, he becomes Bolao at the end of the novel and then becomes again unnamed
narrator in Estrella distante, although it is fair to assume that it is still Bolao since the
novel is presented as a retelling of the pre-text. The uncertainty surrounding the name is
46
extended when Bolao invents a conversation with his alter ego Arturo B. This
playfulness with the name and his double is almost absurd and humorous, and alludes to
well-known literary games and strategies in Edgar A. Poes William Wilson and Borges
and I.12
The same game with names and doubles affects our understanding of Carlos
Wieder. The first key moment comes at the end of the third chapter during the narration
of a previous experience remembered by the narrator who now lives in Blanes, when
Marta La gorda Posadas, Bibiano O Ryan and the narrator are talking about Ruiz-
Tagle without knowing yet that he is also Carlos Wieder, although the narrator has
already provided this information to the reader from the very first page. During this
conversation Posadas tells the other poets, all of them still in Chile, about her terrifying
experiences with Ruiz Tagle. She tells the story of a conversation when he confesses to
her that Las Garmendia estn muertas, dijo. No lo creo, dije. [] Me quers asustar,
huevn? Todas las poetisas estn muertas, dijo. Esa es la verdad, gordita, y tu haras bien
en creerme (49). At this point, in the third chapter, the narrator and Bibiano are already
who are separate enigmas for them. After Posadas account of the terror she felt in the
the different meanings, roots and understandings of Wiederthey dont know yet that
Wieder is also Ruiz Tagle and only consider Wieder as a famous vanguardist poet and
figure of Wieder is still not directly linked to the figure of the poet-pilot, Wieder:
12
The logic of Borges and Poes stories is that the double is already in the name. As Borges puts it: I am
not sure which of us it is thats writing this page. (Collected 324)
47
Wieder, segn Bibiano nos cont, quera decir <<otra vez>>, <<de nuevo>>,
<<nuevamente>>, <<por segunda vez>>, <<de vuelta>>, en algunos contextos
<<una y otra vez>>, <<la prxima vez>> en frases que apuntan al futuro. Y
segn le habia dicho su amigo Anselmo Sanjun, ex-estudiante de filologa
alemana en la Universidad de Concepcin, solo a partir del siglo XVII el
adverbio Wieder y la preposicin de acusativo Wider se distinguan
ortogrficamente para diferenciar mejor su significado. Wider, en antiguo
alemn Widar o Widari, significa <<contra>>, <<frente a>>, a veces <<para
con>>Y lanzaba ejemplos al aire: Widerchrist, <<anticristo>>; Widerhaken,
<<gancho>>, <<garfio>>; Widerraten, <<disuasin>>; Widerlegung,
<<apologa>>, <<refutacin>>; Widerlage, <<espoln>>; Widerklage,
<<contraacusacin>>,<<contradenuncia>>;Widernaturlichkeit,<<monstrosidad
>> y <<aberracin>>. Palabras todas que le parecan altamente reveladoras. (50-
51)
contradiction, and yet the same, a repetition. The name is familiar and unfamiliar. Who
hasnt thought about her/his proper name as alien, foreign, as belonging to others, and at
the same time, as proper? Im Wieder, today, again and another time. Im not Wieder, the
contrary, and a double. The multiple acceptations of Wieders name point to the problem
of doubles, repetitions and familiarity (e.g. otra vez; de nuevo, por segunda vez) but also
to the opposite, unfamiliar or the contrary (e.g. contra, refutacin, apologa) of the same.
aberration and monstrosity (50-51). The uncanniness of the name, Wieder as uncanny,
also as a living person with evil intent, as the double and the contrary, the double and the
closure and the apparent facts that have been provided so early in a narrative that
emphasizes search and investigations. The reader knows that Wieder is the assassin from
the beginning. It is no casualty that going back to the pre-text of Estrella distante,
allusion to E.T.A Hoffman in the original name of Carlos Wieder (Carlos Ramrez
48
Hoffman), an author that Freud recognizes as the unrivalled master of the uncanny in The
Uncanny.13 Freud also provides a definition of the uncanny that indirectly, to say the
least, describes Carlos Wieder/Carlos Ramrez Hoffmann as subject, the subject behind
the uncanny name: We can also call a living person uncanny, that is to say when we
credit him with evil intent. But this alone is not enough: it must be added that this intent
to harm us is realized with the help of special powers (149). Bolao uses this reference to
the double or the repetition in the name for the pre-texts main character but gets rid of it
in the post-text, and establishing a reference to the double and the contrary through his
new name as mirror and explosion, as evil monstrosity with special powersWieder.
While the pre-text established the double, it remained in the realm of duplication or in the
realm of Hoffmann. The reference to the double now in the name of Wieder retains that
doubleness but adding a reference to the contrary or the difference which makes for a
Marta Posadas and the identification by the poets of Ruiz Tagle with Wieder as the event
that brings about Bibianos filological madness when he enumerates and explains the
Manzonis remark misses the fact that when Ruiz Tagle confesses to Marta Posadas, the
trio of poetseven though we as readers already knoware still unaware of the fact that
Ruiz Tagle is Wieder, so they can only identify Ruiz Tagle as a murderer but not as
13
E.T.A Hoffmann is the unrivalled master of the uncanny in literature. (141)
49
Wieder, and therefore the philological madness quoted above is not directly related to
an identification of Ruiz Tagle as Wieder, which comes towards the end of the chapter. In
fact, Manzonis reading eliminates the uncanny effect by eliminating the possibility of
coincidence and uncanny prediction of something at that point unfamiliar. The poets only
start to speculate about Ruiz Tagle and Wieder as the same person after Bibiano has
displayed his knowledge about the name in question. The philological madness is derived
form Bibianos and the narrators obsession with everything that has to do with poetry
and with Bolaos games with the uncanny throughout the text. At the time, Wieders air
poetry leaded the vanguard poetry movement in Chile and was very popular. The young
poets were trying to understand his poetic acts. The filological madness is not derived
from identification, but maybe from the authors attempt to create an uncanny
atmosphere uncannily by presenting a future that is familiar to the reader but unfamiliar
to the characters in the novel. It creates suspense and uncertainty for the characters and it
presence of that which is buried in the story but threatening to return or reemerge via his
name. By the end of the third chapter the poets know for sure that Wieder is Ruiz Tagle,
but not before Bibianos enumeration of Wieders possible meanings. The author/Bolao
has also set an alarm for the reader by revealing the metamorphic quality of Wieders
character, which will remain in flux and not only as the dichotomal Ruiz Tagle/Wieder.
The first three chapters are in fact a hunting game in which the narrator, Bibiano
and Posadas, try to understand Ruiz Tagles participation in their poetry workshops and
try to decipher his secretive personality in a hunting game that the complexities of
50
the twin sisters like him, and because he doesnt really fit in with the rest of the poets.
The reader knows all the time, through the narrators revelations about the storys future
developments, that Ruiz-Tagle and Carlos Wieder are the same person, that he infiltrated
the poetry workshops as part of Augusto Pinochets terror, that he killed many poets,
specially women, and that the acciones de arte or the air poetry described during the
first three chapters are also his actions. At the very end of the three chapters, however,
readers and characters are on the same page, they all know clearly that Ruiz Tagle is
Carlos Wieder, but not before Bibianos dissertation about the possible meanings of
Wieder. Bibiano seems to collect everything he can about Wieder and follows his
footsteps, while the narrator, at this time, meditates mostly about leaving Chile. The
events, as usual, are narrated in retrospect, from the narrators new home in Spain/Blanes.
The novel establishes many important aspects of the story up to this point, only to return
to the questions about doubles, to the constant remarks about conjectures and
uncertainties that we have heard form the narrator. The chosen narrative style, at times
very difficult to follow without having to reread many sections, reflects the complexities
of the events being narrated and the very uncanniness of the reading experience.14
After the first three chapterswhich are mostly concerned with the narrator,
Bibiano, Wieder, the Garmendia twins and Marta PosadasEstrella distante turns to the
figure of two poets and directors of poetry workshops to which the younger poets named
above assist regularly. Chapter four is a story about Juan Stein, a poet influenced by
Nicanor Parra and Ernesto Cardenal, and chapter five tells the story of Steins friend and
14
The narration of Estrella distante is characterized by statements that create uncertainty: A partir de aqu
mi relato se nutrir bsicamente de conjeturas (27). Despus Bibiano se levanto, se acerco a la ventana y
no tardo en rehacerse. Todo entra en el campo de las conjeturas, dijo dndome la espalda. Si, dije sin saber
a que se refera (47).
51
rival, poet Diego Soto, influenced by French poets. The focus on these figures defers
Amrica, where two poets and directors of poetry workshops appearMartn Garca and
Juan Cherniakovskiand are discussed only briefly. Garca and Cherniakovski are
turned into Soto and Stein in Estrella distante and their histories are detailed and almost
constitute independent chapters that remind the reader of the style of the chapters of La
literatura nazi. Cherniakovski serves as the pre-text for the character of Stein, but also
reappears, reduplicated, in Estrella distante as a relative of Stein and as the well known
general of the second war, but not as a member director of any poetry workshop.
According to the narrator both poets, Stein and Soto, disappear shortly after
Pinochets coup in 1973 and reappear in different places. The chapters on these poets
take the form of another game with doubles and contraries: they both direct poetry
workshops, they are both leftists, they both disappear and both have doubles. Stein is tall
and blond while Soto is short and dark-skinned, Stein focuses on Latin American poetry
while Soto focuses on French poetry, Stein belongs the revolutionary left while Soto
belongs to the pessimistic left, and finally, Stein becomes a revolutionary and dies
heroically after disappearing while Soto goes to France and lives the life of the
bourgeoisie, dying tragically and absurdly while defending a vagabond from neo-Nazi
attackers. Each poet is also compared by narrator/Bolao to another double which is also
its opposite, espejo y explosin, or reduplication. Steins double, as Bibiano found out
while he was looking for him and as he later told the narrator in a letter, is a professor
called Juan Stein that never got out of Chile and never fought in the guerrillas
52
latinoamericanas like Stein did. The double of Stein is presented also as the opposite or
the double of Juan Stein: Es la historia de Petra y de alguna manera es a Soto lo que la
historia del doble de Juan Stein es a nuestro Juan Stein (81). If the double of Stein was
also his opposite and to some extent also his double, and if Petras story is for Soto the
same as the story of the double of Stein was for Stein, then Petra (also Lorenzo/a) is an
oppositional figure but also a reduplication. Why these complex, often bordering in
ambiguously confusing, games with what I have termed reduplication? Bolao doesnt
attempt to provide any easy solutions or dialectical progress with these oppositional
considering his double that never left Chile, is a double in himself. He is heroic and a
man of action and history but at the end he is seen as a legend or myth of the Latin
Americans wars, a simulacrum of what he was. Soto seems to find his destiny beyond his
bourgeois life, but what he really finds is and absurdly heroic death, moral and amoral at
the same time. Petra (Lorenzo) is also a heroic character, a gay and armless, a man who
overcomes a lot of obstacles only to become annoying and banal. One cannot avoid
thinking again of the passage where Wieders name is philologically defined by Bibiano.
Wieders name means otra vez y de vuelta, which points to a repetition and duplication
but also refers to the contrary as in contrariamente and refutacin. The same
53
duplication with difference, operates in relation to the two leftist poets and the main
character/poet in the novel, Wieder. This pattern reveals a strategy used by Bolao in
order to tie up similar discourses and characters with its opposites, therefore establishing
the difficulty of narrating the stories in question, stories about disappearance, murder,
torture and complicity. The influence of Borges labyrinths in these passages and in the
novel is indisputable.
narrating these events by studying the figure of the narrator in terms of the other and the
double (41). But in fact, almost everything in the novel should be thought in these terms
(the uncanny home, the narration, the poets, the crimes, the investigation, the acts of
poetry, the narrator, the end) and to an extent that Manzonis analysis doesnt cover.
The critics remark of a turn back in history where death is not definitive may be over-
reading, but the basic argument that emphasizes doubles, displacements and the
distante of the need of criticism and rewritings of traditional discourses dealing with
trauma and catastrophes. The argument points to the necessity of going beyond
54
testimonio, realism and vanguardism, going for a new language of reflection, a language
that abandons mimesis and recuperates infamy: abandonar la ilusoria y antigua eficacia
colocada en las verdades dichas con estridencia, para adoptar en su lugar lenguajes de
reflexin, no solo esttica sino tambin tica y poltica (42). A similar emphasis on
elementos y pervertirlos, cambiarlos, jugar con ellos, todo dentro del lenguaje del mal
(36-37). Gonzlez also emphasizes the task, not of narrating and denouncing historical
tragedies, but of adopting a language that superficially borders history (43). Bolaos
writing is in this sense a search for a language, a writing of the catastrophe. Both critics
literal transcription of history and focus on the possible doubles, repetitions and
55
Espinosa reads Estrella distante from the Chilean history perspective and distances her
criticism from the former critics emphasis on language. Her analysis acknowledges the
importance of the mix between imaginative and realist aspects or a fictional and historical
emphasize and find a more direct socio-political Bolao, a subject that writes from his
Latin American condition (Quimera 23), a historical Bolao: Bolao asume los cdigos
dictadura militar (28). Critics like P. Braham, and writers such as Paco Ignacio Taibo II
and Leonardo Padura Fuentes, promote the notion of the neopoliciaco in Latin America.
This concept that Espinosa and others15 claim as part of Bolaos writing codes, refers to
the self-conscious appropriation of structures and elements from the detective genre and
to how these appropriations can lead to the creation of original, political and historical
detective stories rather than literary parodies. The neopoliciaco focuses on political and
social criticism of the State and society, organized in part around the events of 1968 in
Mxico, the Cuban struggles, particularly after 1989, and the dictatorships in Latin
America during the 1970s and 1980s. In the neopoliciaco the traditional central role of
the detective or the criminal event is combined with an exhaustive examination of the
situations. The figure of the detective as restorer of order and executor of the law is
institutions involved in the crime. Amelia Simpsons panoramic study of detective fiction
15
See also Ezequiel De Rossos Una lectura conjetural. Roberto Bolao y el relato policial, and Magda
Seplvedas La narrativa policial como un gnero de la modernidad: La pista de Bolao.
56
supports this understanding of the genre in Latin America without making reference to
Paco Ignacio Taibo II, considered the father of the neopolicial, defines it in similar terms,
the author of a serial featuring Hctor Belascoarn Shayne, a leftist intellectual who turns
detective after spending several years working for General Electric. Belascoarn
Shaynes philosophical and social concerns emphasize the corruption of the political
system in Mexico, the living conditions of the lower classes, and the difficulty of
adapting the hardboiled variant of detective fiction to the Latin American context. In his
fiction, social denunciation, verbal reality and philosophical reflection serve to underline
the distance between theoretical and empirical knowledge. Taibos fictions of detection
writer, lo neopolicial is a better fit for the corrupt and chaotic socio-political atmosphere
of Mexico City (41-43). Taibo IIs response and attitude towards the question of parody
in detective fiction is similar to Brahams in that both posit the neopolicial as a new genre
Interviewers have tried to link Taibos work with previous texts and writers,
particularly with traditional practitioners of the genre like Marlowe, Hammett and Himes,
and to Mexican writers like Antonio Helu, but his response has always rejected all links
to parody and to any significant influence of those texts. In the Mexican context, he
57
marks a clear distinction: Nada, nada absolutamente. Eran, o excesivamente naifs o
parodia (43). In terms of a broader and traditional understanding of the genre, Taibo
novela cuyo eje central es la atmsfera (43). Even if these negations are valid to some
extension, Taibo IIs Belascoarn Shayne shares too many connections to previous
Philip Marlowe and Chester Himes African American detectives Grave Digger and
Coffin Ed. Like Marlowe and Himes detectives, Belascoarn is genuinely interested in
the welfare of people and the eradication of their suffering, without an economic
motivation. They are all willing to risk injuries in order to rescue or help their clients. In
addition, the importance of atmosphere that Taibo II points out in relation to the
neopolicial is, if not central, one of they key components and main attributes of
Chandlerss and Himes novels. Himess detectives are extremely close to Belascoarn
Shynes violent environment and his enduring of physical punishments that always
threatens the well being of most hardboiled detectives. Belascoarn is shot, stabbed and
drugged, while Himess detectives get acid thrown in their face (Coffin Ed), shot (Grave
digger) and beaten. The connection to previous practitioners of the genre is downplayed
by Taibo IIs analysis of the neopolicial, in favor of viewing the practice of the
testimonial discourse.
58
Bolaos narrative, contra Espinosas focus on the neopolicial, reveals a number
antidetective novels, The New York Trilogy, are well-known examples of writers
searching for writers and slippery identities. Auster follows the tradition of anti-detective
narratives written by authors such as Thomas Pynchon or Jorge Luis Borges. In the third
part of the trilogy, The Locked Room (1988), the narrator/character embarks into an
becomes a successful writer thanks to the role of the narrator/character as his literary
executor. His search ends with an acceptance of Fanshawes history and identity as a
locked room, and his own as double and uncertain, both metaphors for the impossibility
of truth and certainties that proliferate in antidetection. All three parts of the trilogy start
as a detection exercise, but each of them gradually unravels, leaving only traces of the
crime and the detective. The antidetective genre indicts the detectives lack of ability in
solving the crime and also casts uncertainties on the very nature of the criminal activity
and the categories of right or wrong; it deals with practices of moral, as Bolao puts it, or
as it appears in the games with doubles, identity and uncertainties in Estrella distante. At
Often considered as antipolicial are Borges The Garden of Forking Paths; Robbe-
59
Grillets The Erasers; Thomas Pynchons The Crying of Lot 49; Unsworths Morality
Play; and Albert Camus The Stranger. As conceived by William V. Spanos in The
Detective and the Boundary, (1972) antidetective fiction refers to a broad gamma of
postmodern antitexts in which there is an investigation, a search or a quest that resists its
own finality or the modernist self and his quest for a way of ordering:
While Spanos essay established the notion of antidetection and its links to ontological
concerns, Stefano Tanis The Doomed Detective (1984) is the most comprehensive study
of the postmodern transgressions to the detective formula and detective fiction. His
and metaphysical variations of the antidetective theme. The prefix anti, as well as the
lack of conclusiveness, closure and ontological uncertainties with a literary model that
traditionally relies on the restoration of order and rational explanations of reality. The
anti emphasizes the distortion of the detective formula without rejecting or negating it,
ones (the puzzle of being and the ambiguity of identity). The latter are the most relevant
in relation to Estrella distantes connections with the genre of detection. It is not about
60
whodunit or the neopolicial and its emphasis on denouncing the criminal or the
institution.
strategies and its narrative effects in Bolaos fiction. Estrella distante abuses the
threatening uncanniness that Spanos points out, the uncanny home, reduplications and
complicates the question of identity to the point of exhaustion, it cast doubts about the
origins of criminal activity and moral practices, as I have shown and will continue to
show in my analysis of the final chapters. Manzonis claim of Bolaos narrative for the
neopolicial and historical project is relevant in order to read Bolaos oeuvre, but in fact,
in this context, I will argue that Bolaos cannot be identified solely with any of these
The concern with complex historical and socio-political events is key in Bolaos
writings on horror and accountability but more so are his concerns with the slippery
riddles of being and identity usually identified with antidetective fiction. One has to
detection project with the help of Bibiano, who could be thought as another manifestation
of the figure of his double, and in collaboration with a Chilean ex-policeman and now
private detective, Abel Romero. Both characters play roles as the narrators double. What
is this if not a reduplication of detectives and detection strategies? Can we make any
distinction between the reduplicated detection figures (e.g. Bibiano, Abel Romero,
Narrator, Arturo B) in the novel? My analysis moves towards those events in Estrella
61
distante, but not before setting them up discussing a few acciones de arte performed by
Wieder.
The tendencies emphasized by the critics discussed above illustrate the difficulty
of coming to terms with a narrative that constantly plays with historical and fictional
which texts exploit and outplay the language or the codes in which they seem to rely on,
and to underline the importance of memory and resistance. As revealed by her quotation
of Huyssen, Espinosas concern with history, memory and horror in Bolaos works
conversation with these alternatives or does it clearly subscribes to any of them? Can an
analysis of the question of abjection, as presented before, help understand the complex
narrative arrangements used by Bolao? A key way to approach these questions needs to
take into consideration why Bolao called this novel a novel about la prctica de la
moral, a category that may provide some room for the versions that Bolaos critics
emphasize. Wieders photographic exhibition and the search and encounter between
Wieder and the narrator are two significant events in Estrella distante that will help us
In this section, I investigate the concept of abjection in relation to Carlos Wieders figure
as threat and transgression. I offer two key examples: Wieders photographic exposition
and his final encounter with the narrator. Both are related to Freuds uncanny, since the
events deal with feelings of dread and horror, but now my emphasis is on Kristevas
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concept of abjection as it relates to the juxtaposition of the figure of Wieder and the
narrator and to the latter acciones de arte. The discussion of the abject will be certainly
language of evil, none of them focus on the specific formulations of the text in which
Wieders actions, doubles and reduplications, merge his figure with the objects and
subjects in his surroundings. Instead of reading the language of evil or the historical
realism, both of which play into the hands of what Manzoni defines as the recuperation
is a useful notion to provide a reading of Estrella distante, although her approach to this
recuperation of infamy loses its force when she links it to a libratory effect, to truth
and to a certain reversing of history in which death is not definitive. I read Wieder as a
figure of othering and reduplication in himself and for the world around himself, as an
incarnation of the abject, a figure of abjection and creator of abjection by othering. The
abject is in this sense the collapse of the distinction between subject and object. As
The abject has only one quality of the objectthat of being opposed to I. If the
object, however, through its opposition, settles me within the fragile texture of
desire for meaning, which, as a matter of fact, makes me ceaselessly and
infinitely homologous to it, what is abject, on the contrary, the jettisoned object,
is radically excluded and draws me toward the place were meaning collapses.
(1-2)
The abject then represents the collapse of meaning and a reaction to the same collapse,
the experience of abjection. The abject disturbs identities because it is what does not
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respect borders, positions, rules (Kristeva 4). It includes crimes such as dictatorships,
fragile and breakable. At the same time Wieder, our key example of the experience of
abjection in what follows, is associated and at work with representations of death and
corpses, at work with abject materiality. The traumatic experience of facing your own
death exposes the materiality of the subject, the corpse. Death infecting life exemplifies
Kristevas concept of abjection and its relation to the uncanny experience because it
literalizes and makes present the collapse of the distinction between object and subject.
The corpse, seen without God and outside of science, is the utmost of abjection. It is
death infecting life. Abject. It is something rejected from which one does not part, from
which one does not protect oneself as from an object. Imaginary uncanniness and real
The abject is also tied to the question of literature, art, writing or the aesthetic
experience. Kristeva suggests that the best modern narrative explores the place of the
abject also as an experience where the boundaries between object and subject collapse,
where the reader is also confronted with the space before the establishment of the binary
the name of the father or the lawwhere meaning and community persist.
This final description of literature as experience of abjection will occupy the discussion
of Wieders actions and figure as they relate to art, but also in the context of its proper
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socio-historical and ideological conditions. Bolaos Estrella distante, and I will argue
the same for most of his work discussed in this dissertation, is part of the best modern
Lautreamont, Kafka, Artaud. In Wieders figure and Estrella distante, doubles, animal
exhaust the aesthetic experience of abjection and question the moral history of events
After the chapters on Stein, Soto and their doubles, Estrella distante returns to Wieders
character in chapter six. Previously in the novel, Wieders acciones de arte or air
poetry where described by the figure of the narrator as something ambiguous and
confusing. In spite of the confusion, the narrator was able to make some observations:
quien lo leyera cabalmente ya poda darlas por muertas (42). The exhibitions of air
poetry remain mostly an enigma that the narrator observes from prison while the poet
pilot writes lines in Latin from the book of Genesis (40). At this previous juncture, the
career of the narrator took a detour into the world of prison while Wieders career
literally took off with dictatorial support. This oppositional moment in their careers will
become extremely important when their existences cross paths again towards the end of
the novel.
arte at the beginning of the dictatorship and the exhibitions I am about to analyze, which
acclaimed in avant-garde circles. I find one particular event or accion de arte extremely
65
relevant: an air poetry session during the day which was combined with a photographic
exhibition or poesa visual at night. The versos of his air poetry in the day of his double
muerte es resurreccin; (89-91) versos that the public did not understand but took as the
witnessing of unique art of the future, (92) versos that the narrator questioned and
doubted but that other people confirmed: Todo lo anterior tal vez ocurri as. Tal vez no.
pero tal vez todo ocurri de otra manera. Las alucinaciones, en 1974, no eran
infrecuentes (92). Death as the thematic of the air poetry points out, a priori, the topic of
the photographic exhibition and underlines death and its constant company, dead bodies
or corpses, as preparation for the following radical moments of abjection that close the
novel. It should be mentioned that both acciones de arte establish an ambiguous but
artists that opposed the dictatorship (e.g. CADA (1979): Ral Zurita, Juan Castillo,
Diamela Eltit, Lotty Rosenfeld, Fernando Balcells). Bolaos meditations on the Chilean
dictatorship and the complexities of dealing with its practices, aftermath and transition
towards democracy, questions and transforms the gestures of solidarity and denunciation
and the effects of the acciones de arte practiced by CADA (Colectivo de Acciones de
Arte). Both Bolaos narrator or alter ego and Wieder, serve as critiques of Chilean neo-
Ramrez Hoffman [Wieder] hace uso de las mismas estrategias que aquellos:
prepara happenings que nunca llevara a cabo o que, an peor, llevar a cabo
pero en secreto; hace poesa visual, experimental; organiza actos poticos
que involucran el espacio urbano como lugar y material de escenificacin y
66
cuyos testigos casuals, de acuerdo con las ideas de CADA, seran los paseantes y
habitantes de la cuidad. (75)
The gesture is one of provocation and an attempt to surround the categories of good and
evil, left and right, progressive and conservative, with ambiguity and uncertainties. The
air poetry of that day, which topic is the definition of death, as understood by Wieder,
sets up and complements the posterior photographic exhibition that the narrator tells,
according to himself, exactly as it occurred. The air poetry exhibition is also part of a
follow a chronology similar to the Biblea playful allusion to the messianic overtones of
salvation, suffering, apocalypses and as we will see later, a period when his gospel or
The narrators account of these exhibitions derives for Muoz Canos description
of his participation in them. In his book Con la soga al cuello, Cano accepted his
responsibility and his participation in these events. He describes Wieder that night as
having a look from another planet, and as if his eyes were separated from his body, as a
man completely under control. Previously the narrator/character describes the air force
pilot as having two pairs of eyes, como si detrs de sus ojos hubieran otro par de ojos,
(86) that revealed a coldness and distance from others, an uncanny image at the level of
The people at the exhibition were to enter one by one to the room. The first
person to see the photos or the visual poetry, Tatiana Von Beck, couldnt stay in the room
longer than a minute and came out disturbed and pale, looking as if she wanted to say
something but was not able to find the words: pareca como si le fuera a decir algo [a
67
Wieder] pero no encontrara palabras, (95) and subsequently vomited. Tatiana is the first
clear example of the works of abjection in the novel. She experienced abjection in one of
his most frequent forms as unspeakable horror combined with vomiting. But what caused
her reaction, the expulsion of her own body? Following Tatianas reaction a Captain and
Wieders professor from the academy entered the room and remained there until
everyone, tired of waiting, decided to enter the room. The captain was sitting and seemed
calm as he was reading a note from the wall, a probable explanation of the exhibition.
Others reactions were closer to Tatianas: un cadete se puso a llorar y maldecir, los
while others left immediately. Others remained feeling as if they were among brothers.
The exhibition, as it was presented, caused reactions that match the most complicit type
pieces. They were described as looking like dismembered mannequins, which according
to Cano were still alive but dying in many of the pictures, which was what most likely
caused Tatianas experience of abjection. The former experience is one of the key
situations were abjection takes place, because the distinction between object and subject,
and life and death, are destroyed. The breakdown of the distinction between object and
subject exemplified by the corpses, some of which still look alive and wounded while the
pictures were being taken, points to the breakdown of the crucial factor in establishing
identity for any subject. The latter also prompted others in the exhibition to cry or curse
[maldecir]. The flows from within, the abjection of vomit, tears and cursing words of
68
Tatiana and others were elicited by seeing the corpses, primary examples of what causes
abjection for Kristeva (3). The reaction of horror and vomiting is inseparable from the
corpse as threatening materiality: The corpse []; it upsets even more violently the one
who confronts it as fragile and fallacious chance (3). The corpse is a remainder of our
finitude and materiality. Tatiana, as well as other participants, cant bear the breakdown
of the distinction between object and subject, between death and life, and experiences
abjection as the loss of habitual distinctions or self-identity. But others, in line with
Wieders character, seem to be unaffected, like the captain that remains in the room, or
Wieders father, who seems mildly bothered by the condition of the event and not by the
event itself.
(cronolgica, spiritual) a plan which included hell, epiphany and elegy (97). The hell
was the actual dismembering of the bodies and the bloody mess and disarray that the
revelation were exhibited in the topic of that morning air poetry, which reads as a
or its own code is the revelation of the meaning of death, which was probably shown in
the photos of death-alive bodies accompanied by an elegy or melancholic tone as the final
passion. Death as the necessary evil, resurrection and revelation as proof of the unity of
69
all in one or epiphany, and finally passion as the melancholic tone or as the pain and
The chapter ends with the captain and military personal urging the assistants to
forget what happened there and with a series of comments about the figure of the
surrealist journalists portraying them as cowards, and implying that none of what had
happened that night was going to be revealed. It is worth noting that the acciones de arte,
apart from following the argument outlined above, were also set up in a chronological
order that feels like a vertical descent into infamy or evil, into hell, going from high to
low. The air poetry exhibition was the highest point and occurred first, as opposed to an
ascent to heaven. The narrator emphasized the clouds in the sky that day and Wieders
dominant. Ironically, the name of the town where these events are held is Providencia.
The exhibition of photographs is the lowest point, the place of appearance and
disappearance for the dismembered bodies, the place of reduplication as mirror and
explosion, but also the place of burning hell were the dismembered bodies become one,
abjected selves and body parts. The corpses represent a recuperation of infamy in the
unity of Wieders gospel of death. As far as the consequences of Wieders acts, we will
not get a clear picture of the impact of that days acciones de arte until later in the book.
It is implied that his artistic project, which Bolao describes as the representation of total
evil, was even greater or more transcendental, more relevant than the operations of the
70
dictatorship. Wieder was apparently asked to change his name and disappear, which he
had already done earlier in the novel, but he nevertheless continued his avant-garde
projects in the same fashion, although Chile was forgetting him (120).
What follows the day of the photographic and air poetry exhibition is another
segment of espejos y explosiones, chapter seven, in which the narrator speculates about
Wieders whereabouts and his projects after that horrific night in Providencia. After that
night, Wieder literally disappears and what is narrated, described several times as legends
or myths, derives form different sources: once again Bibiano ORyan informs the
narrator, but the narrator also tells about his personal readings in relation to the figure of
the pilot poet. None of the information, according to the narrator, is completely reliable,
but it all seems to be consonant with the Wieders trajectory. Part of the investigation
performed by Bibiano and reported to the narrator is based on the Archives of the
National Library that seemed fed by Wieders father and which contained Wieders air
poetry, his photographic collection (of tortured victims), a chronology, a theater piece
signed as Osvaldo Pacheco, a bunch of magazines and journals in which his poetry is
identified and an interview. There are also references to poetry groups, table/war games
supposedly designed by Wieder, and a book written by Bibiano about the fascist literary
movements in Latin America during 1972 y 1989. In his book, Bibiano, as Bolao in La
los limites (117). In the bookciting Borges as the narrator did in the prologue
Bibiano describes Wieders art but hesitantly and scared of his own writing: Yo afirmo
que se trata del primer infierno realmente atroz de la literatura (117). The narrator
explains that Bibiano tries to grasp the figure of Wieder but the pilot always manages to
71
escape his reach, Wieder siempre se pierde (118). Wieders disappearance is physical
Three military mates of Wieder come out in his defense during the period after
En las guerras internas los prisioneros son un estorbo. Esta era la mxima que
Carlos Wieder y algunos otros siguieron y quin, en medio del terremoto de la
historia, poda culparlo de haberse excedido en el cumplimiento del deber? A
veces aada pensativo, un tiro de gracia es ms un consuelo que un ltimo
castigo: Carlitos Wieder vea el mundo como desde un volcn, seor, los vea a
todos ustedes y se vea a s mismo como desde muy lejos, y todos, disculpe la
franqueza, le parecamos unos bichos miserables; el era as; en su libro de
historia de la Naturaleza no tenia una postura pasiva, ms bien al contrario, se
mova y nos huasqueaba, aunque esos golpes nosotros, pobres ignorantes,
solemos achacrselos a la mala suerte o al destino (118)
Wieders philosophy of death, from high to low as the traditional conception of heaven vs
hell turned around, has been presented in these exhibitions and in the various accusations
and defenses of his work in the former two chapters. The figure of Wieder is established
atroz de la literatura. His position in the zone of social life defines him and his work as
an experience of abjection for others, as horror itself. The figure of Wieder represents the
emphasizing a certain attraction and repulsion that recreates unlivable zones of abjection
for others. Wieders photos, poetry and narrations emphasize a form of narration as moral
vacuum where opposites and peripheral alternatives come together and become
ambiguity, the double and the contrary within himself, which are conditions of his name
72
abjection for others but it also clearly marks a fetishization of otherness, of subjects as
objects or corpses for his photographic exhibition that includes the uncanny
dismembering and reduplication of twin sisters while they were still alive or half dead.
responsibility, and friendship marks the place of abjection as an unlivable zone for those
with fixed notions and codes of what social lifes unlivable and livable zones really are.
It is important to underline once more that Bolaos unnamed and ambiguous narrator is
reduplicated several times using various and complex narrative strategies which have
been explained in this chapter. The challenge for the reader of Estrella distante is to find
possible understandings for this narrative mechanism. The unnamed narrator may be
Arturo Belano (Bolaos alter ego in several novels), Arturo B (who tells Wieders story
to the narrator in the prologue), or a fictional Bolao, among other possibilities. The
image of Arturo B is, after all, the closest to the figure of the storyteller of Estrella
this story, and who makes him a narrator among the many that populate the novel. The
narration is also filtered and reduplicated through the narratives of Bibiano, Cano, and
Romero, within Arturo Bs account. All are among the narrators doubles. In the context
of the novels reduplications and games with doubles one has to accept the ambiguity but
also the unity of the figure of the narrator and Arturo B. One has to accept the mirror and
explosion that defines these figures and the novel, the repetition and contradiction that is
contained in Wieders name, as key for the argument of the novel, as key for the
73
aesthetics of reduplication. One last event will show this mechanism at work but this time
as an ambiguous catharsis.
The last three chapters continue with Wieders story as told by the narrator but
now Abel Romero, a famous policeman from Allendes era and now private detective is
hired to trace Wieders footsteps in Europe, or more specifically Spain. Romero needs
help from the poet, the narrator and co-protagonist of the novel, since his literary
knowledge is limited or canonical. Neither the reader nor the narrator knows who hired
Abel Romero or how he got involved in the investigation, although it is hinted at the
possibility that now Bibiano counts with the economic means to hire Romero. The
narrator and Romero agree to a sum of money in order for the poet to help find the poet
pilot, although the narrator calls him criminal and protests when Romero calls him poet.
asked the narrator to read in order to find a piece by Wieder, but of course under a
pseudonym. Most of the writers in the journals were part of Nazi, racist and anti-Semitic
groups. During the second day of his readings the narrator dreams with Wieder:
The dream is taken as some sort of revelation and reenergizes the narrator, who at the
beginning, when Romero approached him, was ambiguous about his interest in the case.
The next assignment is a little different: the narrator is asked to watch three videos, an
activity that the narrator says he doesnt perform, stating that he doesnt watch TV and
74
only reads and writes, but accepts anyways. The films are pornographic and the narrator
watches the three of them twice looking for Wieder but cannot identify him. The next day
Romero tells him that Wieder is in all of them but only as photographer and that he got a
feeling that Wieder was behind all this because the films were criminal-hard-core, snuff
movies, or porn with assassinations included. Romero explains that all the participants in
this group of filmmakers and actors appeared dead but one of them, a photographer
named R.P. English who did not appeared and could not be found by the police. Romero
thinks that this was Wieder but needs to prove it, and his first lead takes him to see Joana
Silvetri, and old porn actress that failed to identify Wieder as English. Key to this point in
the novel is that, after Romero finishes his story about his search for Wieder in the world
of porn, the narrator confesses now to have a renewed obsession and repulsion with
Wieders figure and seems to have identified him in the journals given to him as an
assignment. The narrator starts the next to last chapter as follows: Esta es mi ltima
la mierda de la literatura. En adelante escribir mis poemas con humildad y trabajar para
His newfound obsession with Wieder and the declaration of literary principles
cited above strikes as consonant with his view of Wieder as criminal and not as poet, but
also emphasizes the novels characteristic emphasis on the links or complicity between
literature, arts, horror and memory. It sets up the figure of the narrator as Wieders
opposite one more time, a relevant transition from the position of closeness in which his
dream has located his actions as a man of letters in relation to Wieders. From his
readings of journals the narrator comes up with two key names that he thinks might be
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Wieder. He describes at length the sect of barbarus writers formed by a porter named
Raoul Delorme in Paris during 1968 which desecrated classic books in order to improve
their writing. The other was Jules Defoe, whose texts were found by the narrator in the
same journals besides some of the texts by barbarous writers. According to the narrators
suspicions they both are masks for Carlos Wieder. One more time the figure of Wieder is
multiplied or reduplicated. A few months later and with this information, Romero
manages to localize Delorme, still a night porter in Paris, realizing that he was not
Wieder, nor Defoe. As it turns out, Delorme and Defoe are related because Defoe lives in
an apartment in Lloret del Mar, near Blanes (where Bolao lived during his last years),
that belongs to one of the members of the Barbarous Writers sect founded by Delorme.
Romero takes the narrator to Lloret to identify or find out if Defoe is Wieder. In a bar the
narrator sits with the complete works of Bruno Schulz,16 waiting for Wieder, who
The feelings of identification and misidentification with Wieder are ambiguous and
horrendous and the final relief is as ambiguous as his indecision between laughing or
crying. But an even more ambiguous moment occurs when Romero and the narrator talk
about Wieders future the same day in a park close to Wieders apartment: Es mejor que
16
Polish language novelist and painter shot dead by a German officer during the invasion of the Soviet
Union. He was shot right after finishing one of his works.
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no lo mate, dije. Una cosa as nos puede arruinar, a usted y a m, y adems es innecesario,
ese tipo ya no le va a hacer dao a nadie (154-155). Romero questions that affirmation
and goes to take care of Wieder. At the end the narrator and Romero say goodbye and
This last chapter demonstrates the key uncanny and abject moment of the narrator in
Estrella distante, a subject/narrator of leftist inclinations that identifies himself with the
other (Wieder/Hofmann), so that he becomes uncertain as to which his self is. This leads
directly to the problematic of abjection. The image presented by Arturo B or the narrator,
or Bolaos fictional self, is permeated with fear and uncertainty. It confirms Kristeva's
claim that abjection is above all ambiguity (9). She defines the abject as an undefined
and ambiguous catharsis, as a twisting made of thoughts and effects situated between the
uncanny and the sublime. Abjection, in this sense, unmakes identities, erases and
misadjusts the limits and distinctions between objects and subjects. The abject turns
moral codes and standard beliefs into doubts or contradictions, as it happened to the
narrator. The abject also works in the novel as a mode of narration that emphasizes
horror, emptiness and doubtfulness of the subject faced with abjection, understood as that
which recreates social unlivability, as a repressed exclusion that always threatens to come
back, as a loss of identity that serves as contrapunto to the moral norm. The narrator, as a
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criminal/artistic trajectory but ends up facing the limits and risks of this reconstruction to
the point that he becomes doubtful of his own self-identity. For the narrator Wieder
remains a mystery and a contradiction, as his name implies. Before the impossibility of
justice, the narrator/author shifts this responsibility to one of his doubles, Romero.
Romero, as man of action, ex-policeman and now private detective, showcases the
determination that the narrator lacks and casts away the mystery that the narrator cannot
assimilate. Romero, well remunerated for his services and seemingly sure of Wieders
The insistence in Estrella distante on the unity, doubleness and reduplications between
victims and aggressors, desaparecidos y presentes, Wieder and the narrator, Soto and
Stein, goodness and evil, beauty and ugliness, destruction and construction, etc, asserts a
unity that threatens the existing cultural ideologies by suggesting that self and other
(good and evil, proper and improper, domestic and foreign) are constructed from the
same material. This is part of the reason why Bolao called La literatura nazi and
Estrella distante novels about the practice of moral, and therefore about the practice of
morals in different figures such as Wieder, the narrator, Stein, Romero and so on. The
power of horror so prevalent in Estrella distante is in the unity between opposite poles
that the figure of Wieder and the narrator expose to others. Beyond fictional testimonio or
denunciation, beyond the multiplicity of languages for evil, beyond good and evil,
beyond proper and improper, beyond domestic and foreign; it is this dangerous double
and originary unity of the former in constant reduplication of selves that constitutes the
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key critique or de-structuring of the transition and consensus society with its traditional
demarcations.17 The return of the other or original outcasting, the return of the long
forgotten self, the uncanny return of that which should be repressed, is at the heart of
investigate the complexities of moral practices. All the characters in Estrella distante, in
the course of pursuing their interests, are seduced by different circumstances which
appear to be true but turn out to have been based on an uncanny deception.
Bolaos novel doesnt attempt to provide a final answer to this problematic but
emphasizes the need for it to be present in any discussion. This is what his critical essay
on the abject, Una proposicin modesta, tries to show when he comments that: Todo
hace pensar que entraremos en el nuevo milenio bajo la admonicin de la palabra abyecto
[]. Una abyeccin dura y pesada y que por momentos parece irremediable (Entre 82-
85). His analysis focuses on the political debate in Chile and resonates with the questions
raised in Estrella distante. Bolao comments that the 11 de septiembre en Chile has
en lo esencial todo seguira igual. [] Otro tipo de represin tal vez (83). Bolao is not
merely speculating about possible horrors, but he is emphasizing the actual intolerance
and poverty of the political debate in Chile, an irreversible, unfixable situation that has
both the left and the right repeatedly asking for forgiveness and confessions from their
political adversaries. And here Bolao indirectly reveals a rare insight into his writing
when his comments are put in the context of Estrella distanteand other novelsand in
17
La transicin, the consensus, blanqueo and other significant concepts in relation to postdictatorial Chile
are addressed in chapter two.
79
relation to Chilean history, Latin American history and occidental history. Bolao
explains that in the political debate the right usually associated with the crimes
committed by the dictatorship believes to have the right to ask the left for a mea culpa in
relation, for example, to the Stalinist concentration camps or for any crimes committed in
Bolaos comments shed light on the provocative reduplication of the narrator and
Wieder in Estrella distante and emphasize the necessity of avoiding easy distinctions
between perpetrators and victims, between left and right. Estrella distante makes it clear
that all the characters have some responsibility or dubious involvement with a double and
contrary of themselves (a reduplication, a Wieder of their own) and with the events in
question. The two key characters, victim and perpetrator at the beginning, become their
opposites at the end. The narrators identification with Wieders figure is not only at the
level of uncanny feelings of doubling or traveling in the same ship, but at the level of
acciones de arte and prcticas de la moral. If the novel emphasized Wieders acciones
de arte at the beginning, at the end the accin de arte is performed by the narrator as
reader and poet, the key mechanism or action for the assassination of Wieder.
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Abjection is central here because it helps us to think about the aesthetics and the
politics of horror in Bolaos novel.18 The aesthetics of horror, just like the experiences
of abjection, reveal a repressed side that was originally part of a unity, a certain
familiarity, or as Bolao puts it, a sameness between los de izquierda y los de derecha, y
los del centro (Entre 85). Bolao does make distinctions between these groups in his
essay and in Estrella distante, as we have seen, but the key problematic is to study their
complicity and accountability, the originary and founding outcasting and reproduction of
degrees, but in all, in the one itself. Bolao is not embracing abjection but positing its
Estrella distante by the narrator as a solidarity discourse but not as abjection of abjection
representation of abjection were discourses preserve what existed at the archaic level of
pre-objectal relationship (9), as Kristeva puts it, within the extreme violence as a
condition of a body becoming separated form another body but also doubled,
reduplicated and united with another foreign body. The negation of a post-literary
form of witnessing and practices of moral, allows the reader to question dogmatic
In a short story included in Las llamadas telefnicas (1997), Bolao tells the story
of Henri Simon Leprince. Leprince is a writer who in the early 1940s in Paris finds
himself between collaborationists and the resistance. He rejects the offer of the
18
In this respect it is significant to mention that Bolao constantly quotes horror films (ej. Polanskys
Resemarys Baby in Estrella distante) and other cinematic genres.
81
collaborationists, an offer viewed as an opportunity to take vengeance on those on the
resistance who ignored him as a writer and condemned him to a life of misery. As a
writer, he decides to join the resistance, but even though he helps them greatly, he
refuge in the house of a young female novelist to whom he confesses all his dreams,
ambitions and frustrations. She responds with what she thinks his problems are and their
possible solutionan advice that will be revisited in 2666 but in a different context
He never follows her absurd advice, never disappears or sees the young novelist again but
continues to help well-known writers of the resistance, and after the war retires as a
teacher in a small town outside of Paris. When other writers see him around Paris, the
narrator tells us, they feel his fragility but also his sovereignty as opposed to their
dependency and treason. In Leprinces case, all the conditions are given to him, as a
writer, to become part of the collaborationists and to become a known writer and
marginalize or even get rid of those who treated him so badly before. However, he
chooses to remain faithful to the resistance and the writers who had marginalized him
even though he doesnt fit with any of the groups. Leprince represents an opposition to
Leprince is also, in this sense, opposed to the narrator, who didnt do anything, did little,
or did not know what to do to avoid the sinking of the ship (Chile) or when confronted
82
with the option of taking revenge. Leprince acts as a genuine and committed militant of
the resistance helping other writers and avoids turning his actions into a religion or cult
like Wieder did in relation to the dictatorship, into the indecisiveness of the narrator, or
figure par excellence, rejects the abjection of abjections as a solution for his case, rejects
recuperation of infamy. Leprince seems to embody the belief in the fact that killing the
opponent or taking revenge will only trigger the appearance of another power of horror or
the perpetuation of the system of revenge. His figure remains as a recordatory for
resistencia), a threat that emanates from the figure of Leprince as experience of abjection,
in the same way that Wieder was part of an experience of abjection, a threat, but from the
opposite side of a possible common origin and unity of good and evil.
and emphasizing a problematic unity amongst them that needs to be negotiated and not
defined vertically in the structures of power. Abjection and the uncanny return of the
same and the opposite, as reduplication, is in Estrella distante, perhaps above all, but
certainly underneath it all, a way to think in less dogmatic ways about the nature of the
world, ourselves, evil, violence, ethics and politics; it provides, however, no account of
how to avoid the practical indifference of a community towards evil and its passive
participation in disaster. Leprince is a start in this respect and we will return to him, or
83
The following chapter on Nocturno de Chile, which rescues a figure briefly
introduced in Estrella distante, continues this line of interrogation and tries to provide
Ibacache (113) in Estrella distantewho shows how similar and contradictory discourses
political and ethical moment of reflection and decision in which the possibility of taking
84
Chapter 2
Cuntos aos hace desde el ltimo toque de queda? Cuntos aos faltaban
para el prximo? A m no me perdonan que recuerde todo lo que hicieron, dice
Lemebel. Pero quieres saber lo que menos me perdonan, Robert? No me
perdonan que yo no los haya perdonado.
Bolao, El pasillo sin salida aparente
Testimonio forms part of a broader cultural turn in Latin Americanist critical discourses
that emerged, in part, as a reaction to the prominence of Boom narratives and literature as
the focal sources for reflections on Latin America. During the 1980s and 1990s the
concerning politics of solidarity, liberation struggles and the conflictive, but also
and 90sneeded to consider not only the impact of the testimonial form, but also the
spectral force and legacy of the Boom narratives that dominated the 1950s, 1960s and
1970s. I evoke the relation between testimonio and Boom literature in order to underline
and establish the unresolved tension between the socio-political and postcolonial
85
emphasis of many testimonios and the metafictional writing that characterized the
during the 1990s and the beginning of the 21st century. In broad terms, the chapter reads
and analyzes the discursive mechanism of the confession as excuse in relation to Roberto
Bolaos novel Nocturno de Chile (2000) (By Night in Chile) (2003), and several key
testimonial and confessional accounts that claim and seek truth, conversion, catharsis and
context of the so-called transition from dictatorship to democracy and from Boom to
cultural studies. The confessional and testimonial move, at the level of self, culture and
politics, seeks conversion and risks at every step, the possibility of inversion, or the
repetition of transition but in reverse, that is, a repetition or revival of the catastrophe or
the suffering. Bolaos relevance here is textual because his writing questions traditional
understanding of confession and testimonio, as we will see, but also symbolic, since he is
one of the few writers in the last couple of decades to be recognized as a figure of the
1
A detailed discussion of this tension and how it relates to confession follows my introduction of Nocturno
de Chile.
2
Particularly helpful for understanding the generation from the writers perspective are the essays written
by the writers present at the Encuentro de Escritores Latinoamericanos in Sevilla (2003) [Palabra de
America]. Ricardo Piglia, Aguilar Camin, Alan Pauls, Jorge Volpi, Fernando Vallejo, Edmundo Paz
Soldan, Santiago Gamboa, Rodrigo Fresan, Ivan Thays, Damiela Eltit and Bolao are drawing alternative
critical interest at the turn of the twentieth century while the Boom remains crucial for our understanding
and for a critique of Latin Americanist reflections and Latin American studies. Recent narratives from the
turn of the century, 90s and 80s, can offer other paradigms to read Latin American literature as well as
alternative meditations leading to other ends.
86
significance of the Boom writers.3 In Nocturno and Bolaos oeuvre there is an attempt to
written by Marcia Alejandra Merino and Luz Arce,5 both written before Nocturno,
participate on the side of the cultural turn that Nocturno in many ways deconstructs.
Nocturno de Chile narrates the life of two Chilean literary critics and
the twentieth century and during a long feverish night of fearing death, confessing and
self-questioning. The novel opens with Father Urrutia in bed meditating about his past
and finishes the same way after a long exploration of his life. The reference in the title to
musical Nocturnos is a reference to the intimate and sentimental but also the obscure
character of these piano pieces. The style and the rhythms of the narrative, which flow
nonstop until the last sentence, also imitate a long musical composition. From the
perspective of Sebastian Urrutia Lacroix, a Catholic priest, poet and literary critic under
the pseudonymous Ibacache, Nocturno recreates fifty years of Chilean literature, history
and politics. In order to become known and respected by the literary community that
presides over literary production and criticism, Father Urrutia plays different roles and
assumes different postures within the institutions of the state and culture. His desire for
recognition as a literary critic and poet takes him to the world of Gonzlez Lamarca, the
leading Chilean literary critic better known as Farewell. Farewell introduces him to the
3
Julio Cortazar, Gabriel Garca Mrquez, Mario Vargas Llosa, Jos Donoso, Lezama Lima.
4
For meditations on transition see Kadirs Questing Fictions and Brett Levinsons The Ends of Literature.
5
Luz Arces Infierno and Maria La flaca Alejandras Mi Verdad.
87
Chilean literary elite and guides him up to the point of his second baptism, when he
moments of Chilean history. The quartet formed by the (pre) revolution, the coup d'tat,
the dictatorship and la transicin are the most relevant for this analysis. Bolao stresses
the intense political rift preceding and following Salvador Allendes short-lived socialist
government in 1973.6
The novel also narrates a critical duel between Father Urrutia and the wizened
youthFather Urrutias alter egoin which Father Urrutia, also a member of the Opus
Dei, struggles with past and posthumous memories. By testing the limits and possibilities
of any potential self-defense and the implications of confessional practices, the story
entangles itself into an ethical, political and aesthetical examination of the self and its
between both discourses and the testimonial form. The excuses of Father Urrutia clash
with a confessional drive and vice versa. The moments when confessions detours, the
(im)possibility of creating a truthful narrative about ones acts, ones identity and ones
community, are the starting point of this analysis. It should be noted that the narrative is a
long monologue that tells seemingly disconnected stories during Father Urrutias
independent stories but also as connected to the center of the narration, Father Urrutia
reflections about his past and present. All the events are narrated in the span of one night.
The formal and thematic connections between the stories are important but subtle and any
6
Farewell and Father Urrutia respectively allude to Hernn Daz Arrieta (Alone) and Jos Miguel Ibez
Langlois (Ignacio Valente). Farewell is also the title of one of the most popular poems ever written by
Pablo Neruda, a favorite of Farewell.
88
attempt to read them as a coherent succession or juxtaposition of events leads the reader
My purpose is twofold: first, to discuss the way in which Bolaos text intervenes
in the debates over national politics and ethics, which includes debates ranging from
issues related to the dictatorship and postdictatorship to questions about justice and
literary politics; second, to examine the confessional utterance as it appears in the text
and in a broader historical and theoretical context. Nocturno shows different discourses
that are articulated without being separated or essentialized, in order to theorize a crucial
political and ethical moment of reflection and decision in which the possibility of
relation to the dynamics of hyperliterary spaces.7 These are spaces where literature
overflows the other text or itself (testimonio, confession, novel) in a gesture that
ethics and politics in the context of Chilean culture. The novel questions the boundaries
of what is justifiable and what is not on various levels of society, and not only in the
realm of letters. Michael Foucault defines technologies of the self as the practices by
which subjects constitute themselves within and through systems of power, and which
often seem to be either natural or imposed from above. A technology of the self addresses
7
Richards, Bordes, diseminacin, postmodernismo: una metfora latinoamericana de fin de siglo, Las
culturas de fin de siglo en Amrica Latina (Buenos Aires: Beatriz Viterbo Editora, 1994). Nelly Richards
develops the concept of the hyperliterary in relation to Damiela Eltits El padre mio where she notes:
La literatura desborda el testimonio a la vez que sealiza el borde-habla trnsfuga, subjetividad
minoritaria, localizacin-como lugar para tejer y unir creativamente distancias en una metfora
latinoamericana de las periferias transculturales: zona de junturas y disjunturas de los signos, de
articulacin y reconversin de las diferencias (246).
89
the question of how an individual acts upon himself in order to transform and improve
himself. The confession as excuse and as technology of the self allows for mutilations
and fractures not so much identify with Foucaults emphasis on technology of the self as
improvement (16).8 The problematic faced by these attempts are revealed in Nocturno,
but also in confessional and testimonials accounts that claim truth and non-fictionality as
dangerous element for the testimonial form. His well-known and debated defense of
The basic distinction establishes testimonio as sociopolitical and committed discourse set
distance and sets an alarm against autobiographical and confessional narrations, against
collapses into a distinction between testimonio and autobiography, which he admits is not
articulates the distinction between testimony and autobiography as fundamental for the
8
Foucault, Technologies of the Self,16. As he notes:
[technologies of the self] permit individuals to effect by their own means or with the help of
others a certain number of operations on their own bodies and souls, thoughts, conduct, and way
of being, so as to transform themselves in order to attain a certain state of happiness, purity,
wisdom, perfection, or immortality.
90
confession and autobiography are the dangerous element mentioned above. The fictional
its hybrid character. He admits the existence of interplay between the real and the
imaginary in testimonio but the rest of his text discredits this statement in favor of a
uncertainties and liberties associated with fictional and literary texts. He concentrates on
Rigoberta Menchs testimony, among others. In the pages ahead I discuss how this
interplay between reality and imagination relates to Menchs text. It is this interplay
between reality and imagination or the hybridism of testimonio and fiction what allows
Elzbieta Sklodowska has pointed out the complexity and difficulty of trying to
define testimonio monologically, and has offered one of the most complete explorations
of the possible fictional and nonfictional detours that testimonial discourses can follow
(76-77).9 What is important to underline is that there is not an essential form called
testimonio, even though in Latin America testimonio has been highly identified with
9
Sklodowska explains: A la vista de la naturaleza hbrida del testimonio queda clara que la enumeracin de
sus parentescos con uno u otro discurso permite extraer algunas conclusiones, pero nunca es totalmente
satisfactoria. El testimonio se parece a muchas formas narrativas-literarias y no-literarias-, mientras que
ninguna de estas formas se parece al testimonio. Aunque existe un consenso en cuanto a lo abigarrado,
hbrido, indefinible del discurso testimonial, el proceso de esta hibridacin puede verse desde ngulos
diferentes: para algunos, como Perus y Achugar, es posible leer el testimonio como novela, para otros
(Beverly, Narvez, Sommer), la matriz del testimonio est en el mbito esencialmente extra-literario
(periodismo, ciencias sociales, historiografa) o marginalmente literario (diario, memorias, biografa,
autobiografa). (Sklodowska, 76-77).
91
solidarity movements, liberation struggles or Beverlys postfictional version. As
Sklodowska argues, testimonio has functioned well beyond these boundaries, even before
its official inscription in Latin American letters as a political and aesthetical practice
through the Cuban cultural institution Casa de las Amricas in the 1970s (212). As
Alberto Moreiras puts it: Testimonio is testimonio because it suspends the literary at the
very same time that it constitutes itself as literary act: as literature, it is a liminal event
testimonio without a claim to represent the reality of marginal communities via non-
Beverly hides confession under the rubric of autobiography and makes a clear-cut
distance testimonio from literature (novel, autobiography, fiction), and a need to negate
or at least to minimize the autobiographical and fictional side of testimonio. This move
attempts to safeguard testimonios political and liberatory claim, which is based in its
urge to make marginalized and collective social realities known by means of a truthful
that the distinction between fiction and autobiography is not an either/or polarity but that
10
Alberto Moreiras The Aura of Testimonio
92
it is undecidable (70) and posits prosopopeia, the fiction of the voice-From-beyond-the-
testimonio and confession, retains the undecidable relation to fiction that de Man
underlines and therefore questions any claims to a non-fictional and purely testimonial
representation of reality.
Maya-Quich community she speaks for, and the central importance of her testimonial
and autobiographical statements as standing for the experience of the community, but less
Man and against the problematic of authorship, which lend themselves to a negation and
reversal of his version of testimonio. The effort to separate what he calls the nonfictional
any traces of fiction that might infect the testimonio. The necessity to force an
I now need to distinguish testimonio from (1) that central form of nonfictional
first-person narrative that is autobiography and cognate forms of personal
narrative, such as memories, diaries, confessions, and reminiscences []
Testimonio represents an affirmation of the individual subject, even of
individual growth and transformation, but in connection with a group or class
11
As de Man puts it: The dominant figure of the epitaphic or autobiographical discourse is, as we saw, the
prosopopeia, the fiction of the voice from-beyond-the-grave; an unlettered stone would leave the sun
suspended in nothingness. As soon as we understand the rhetorical function of prosopopeia as positing
voice or face by means of language, we also understand that what we are deprived of is not life but the
shape and the sense of a world accessible only in the privative way of understanding. (77, 80-81)
93
situation marked by marginalization, oppression, and struggle. If it loses this
connection, it ceases to be testimonio and becomes autobiography, that is, an
account of, and also a means of access to, middle-or upper- class status, a sort of
documentary bildungsroman. (40)
The meaning of her testimonio lies not in its uniqueness but in its ability to stand
for the experience of the community as a whole. Because the authorial function
has been erased or mitigated, the relationship between authorship and forms of
individual and hierarchical power in bourgeois society has also changed []. If
Rigoberta Mench had become a writer instead of remaining as she has a
member of, and an activist for, her ethnic community, her narration would have
been an autobiography. (41)
the light of Beverlys precautions and preoccupations, not simply to discuss Beverlys
distinctions or the well known contribution of David Stoll12 to this debate, but to
interrogate the bond between both forms as a site of worthy critical inquiries. For
Beverly, even when autobiographies are written by people from the left of the political
spectrum these narratives are merely conservative accounts of individual growth in spite
of obstacles, narratives produced for a privileged reader. Beverly claims that the reader of
autobiography enjoys social privilege; he/she usually belongs to middle or upper class,
and autobiographical narrative serves to legitimize and maintain his/her social status. On
the other hand, Beverly argues that testimonio, even testimonios that come from the right
of the political spectrum, always claims the need for social change. The readers world is
always brought into question and testimonio achieves one of its main goals (41). His
reading can be turned into its opposite by interrogating the connection between
testimonio and autobiography, self and collective, not as the possible collapse of the
testimonial form efficacy as a tool for social struggle, but as a productive and necessary
12
Stoll, an anthropologist, critically examines Menchs testimonial text for factual contradictions.
94
one. The autobiographical aspects of testimonio and confession do more than legitimizing
class status, individual narrations of the self or the liberal imaginary of the bourgeoisie;
they also serve to undo the I of the statement as well as the readers notion of a
coherent and individual self. It works both ways. I like to suggest that Menchs
discursive elements that adjust according to the particular circumstances of her narration.
As a result, testimonio and autobiography are never set in a hierarchical structure but
has the problematic between testimonio and autobiography in mind when he states that
both women provide a personal testimony which is also presented as the testimony of the
community. Williams argues that this double gesture undermines the precepts of
authorial autobiography, but unlike Beverly, he does not see this move as solely
beneficial and essential for testimonio, but instead underlines how it places Mench and
Barrios in an ambiguous position, as being part of a culture, but also separated from it
narration, in relation to the collective, is open both to dynamics of fracture when the I
breaks off from the collective, and dynamics of embodiment when the I is the collective.
various examples of these dynamics, which he sees not only as simple binaries, but as a
95
Thus, by assuming unto herself the exigencies of armed struggled and her
leadership of the Comit de Unidad Campesina, it could be said that she
lives in an apparent state of enforced separation from the persevering laws
of the Maya-Quich: she has to take on the language of the colonizer in
order to communicate [], she has effectively come into contact with, and
worked within, the ladinos culture of capitalistic domination; she severs
herself from her ancestral heritage by assuming the need for armed
struggled; and she rejects marriage and childbirth, thereby causing an
affront to the mainstays of indigenous culturethe land and the
autochthonous link of woman to Nature. (90-91)
The fact that Mench needs to create and recreate her communal and autobiographical
self, breaking with the collective indigenous tradition, does not necessarily turn
testimonio into autobiography and diminishes its impact, but instead reveals the
complexities of her discourse and life-project. Her narration is also one of individual
growth in relation to alternative collectives with which the middle and upper class reader
can also identify (learning a new language, rejecting values of the community, mixing
with ladinos/others and so forth). In order to be able to give testimony Mench must
differentiate or change her autobiographical self into one very different from the
traditional Maya-Quich culture she wants to represent. Her act turns autobiography into
a relation with various collectives which includes and excludes her own and others.
Menchs rupture with her collective and traditions is practically and politically
autobiographical self does not erase her testimonial act as Beverly argues. Loosing the
connection between self and collective allows her testimony to exist. That is why it can
read Mench as a traveler and poet, as Brett Levinson has suggested in I, Rigoberta
96
In connection to the question of literature, I see Menchs world in a
slightly different fashion. Menchs intervention, because Menchs
locates herself as a relation to, but not firmly fixed within, certain
collectives, turns on the ceaseless creation and recreation of her in the
name of, her cause: the name for the ever shifting communal self and
communal practices in which she partakes. Poetics here is not the form by
means of which the bourgeoisie constructs itself but the condition of
subaltern politics. (154)
Levinson demostrates how in Menchs case testimonio fissures the connection, the tied
to a collective, which Beverly claims makes testimonio something other than simply
autobiographically, reading the invention of her poetics as going beyond any plural or
collective subjectivity, without totally rejecting its collective claim but identifying the
fissures of this reading, reveals even more about testimonio or makes testimonio reveal
itself even more: This is why Mench becomes, necessarily, a traveler and a poet. As an
individual, Menchs domain is larger than any particular self or collective [] (153).
collective subjectivities that he/she necessarily and unavoidably has to confront in order
to speak about his/her life. The strict requirement of a truthful narrative as in testimonio,
in some versions, or confession demands in others, does nothing more than revealing the
impossibility of such requirement and the openness proper to all dialogue or attempt at
97
individual or collective others diminishes the political and liberatory effect attached to a
the fictional elements in autobiography, against the institution of literature that it sets to
negate and substitute. I have shown an entrance to this interrogation through the question
hablar also show conflictive elements which allow the reader to question the total erasure
intellectuals. The attempt to literally transfer the experience of one subject into the reality
of the community is at times taken so seriously that it turns out as a form of cannibalism
where entire communities are devoured by the presence or exposition of one subject.
subjects, and the problematic that this may originate. How confessional and testimonial
subjects deal with the intersections between both discourses? This question is especially
relevant for Nocturno de Chile, but also for other confessional and testimonial texts taken
from the 1990s cultural and literary production in the context of Chiles (post)dictatorship
98
that I read as also informing the thematic discussed in relation to Nocturno. Among these
texts are Marcia Merinos attempt to write a nonfictional, confessional and testimonial
account in Mi Verdad (My Truth) and Luz Arces Infierno. Damiela Eltits testimonial
project El padre mio is also in conversation with these texts. Before turning my attention
to these texts in the second part of the chapter, I introduce and discuss some of the key
moving into the secular arena and the territory of truth. It has moved into the realm of
every day life and beyond the restrictions and regulations established by religious
so on. One confesses fears, doubts, vices, illness, sins, desires, crimes or whatever is hard
to admit and speak about. A constant in the character of confession seems to remain
intact and consonant with the demands of testimonio in Beverlys postfictional version:
the demand for speech and the demand for truth to be revealed.
Sexuality and Technologies of the Self emphasizes the role of confession in the west as
mechanism used or adopted by the subject in order to take care and improve the self.
Foucault analyzes the history and mechanisms of confessional practices and argues that
western man has become a confessing animal while at the same time considers
99
confession as one of the Wests most highly valued power techniques of producing
Certainly there is no essential form called confession, as is also the case for testimonio,
but Foucaults definition outlines its standard form and conception as a complete
ends by producing positive modifications and transformations to the one that confesses. It
aims at transformation and transition from uncertainty, pain and guilt to pleasure, balance
and joy. One of the main problems with confession arises because the mere beginning of
guilt, punishment, reconciliation and new life. The problem is that it does not limit the
possibility of excusing ones acts but encourages this possibility in both senses of the
word: excuse as asking for forgiveness and excuse as offering justification for ones acts.
The excusatory nature of confession contradicts its understanding as a technique for the
100
While the spokesman of testimonio is usually considered a hero in his community
and is encouraged to speak the truth about and for the community, confessional subjects
often aim at a transformation, a transition, from the site of the sinner, traitor and liar to
the side of the hero. Only after that transformation the confessional subject might be able
to attempt to testify. Traditionally, the confessional subject is asked, feels the need, or is
forced to declare the damage he has done to himself and to the community, while the
testimonial subject offers a narration from a position of moral rectitude that demands at
its core, confessional acts from others. On the other hand, the confessional transformation
traditionally requires speaking not for the community but to the community, or to the
values and norms established by the communityGod and Lawsas a means to excuse
oneself, in both senses of the word, for the faults committed. The subjects of these
statements seem to come from the opposite side of the good vs. evil binary.
to be admitted back into the community and attempts to offer both discourses at the same
time, and therefore speaks in the name of a certain cause and confesses in the name of
and for the community, to the community. Both discourses allow for a continuous
retrospective narration of the subjects life, and therefore fulfill the condition of
necessarily achieve that are not necessary or desirable for the constitution of an
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Williams and Levinson have suggested in their respective meditations on testimonial
practices.
The excuse is a key concept for the questioning of the contact zones or
essay I explain the links between Foucaults technologies of the self as strategies aimed
at self-transformation and the excuse as a priori to the confession which in various ways
as excuse in Bolaos Nocturno de Chile. Does a confession in which the excuse reveals
a conflictive relation between the fault and its origins, between the avowal and the event,
have the possibility of being considered testimonial? The resulting antinomies, the
and excuses, are the grounds for a critical exploration of the stories narrated by Father
Urrutia in Nocturno de Chile. The most obvious, and perhaps the better-known model of
strategy used by J. J. Rousseau in his modern and secular Confessions. As Theodor Reik
The desire to be admired and loved seems to reach beyond ones life.
There must be other motives of an unconscious kind that propelled men to
write autobiographies, for instance self-justification, relief for unconscious
guilt feeling and others. Such motives reveal themselves in Rousseaus
Confessions, in John Henry Newmans Apologia pro Vita Sua and in
modern autobiographies. (237)
the mechanisms of confession and excuse in Rousseau. The essay mainly examines the
accusing someone else of his own acts. The de Manian demonstration of the works of
102
confession as related to the excuse is organized around confession stated in the mode of
on referentiality and verificability. The two confessions, ten years apart, refer to the same
event but in a different way. According to de Man, the confession as avowal is referential
as in the Confessions. In this case, its referential to the ribbon as factual evidence and
corroboration of the truth, while in the confession in the form of excuse (Fourth Reverie),
the evidence can only be verbal or performative, and therefore cannot be verified.
possible verification. Confession as avowal can be verified because the evidence (the
ribbon) for it is not verbal but factual; it is about knowing that the fact took place.
excuse because its purpose is to convince verbally, and not to make something known.
De Man views this textual event as the exposure of discontinuity between two rhetorical
modes. He localizes this textual event within a certain mechanism of repetition (the text-
machine), discontinuity and dissemination, in which the confession and excuse of the
theft of the ribbon are successive and not simultaneous: When this turns out not to have
been the case, when his claim to have lived for the sake of truth (vitam imprendre vero) is
being contested from the outside, the closure of excuse (quil me soit permis de nen
reparler jamais) becomes a delusion and the Fourth Reverie has to be written (286). In
other words, for de Man, the Confessions as part of a performative rhetoric shows its
structural functioning when the confession fails to change to the apologetic mode in the
Confessions, and therefore the need for Rousseau to write the Fourth Reverie.
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Jacques Derridas objection to this division or structural functioning is discussed
in Typewriter Ribbon: Limited Ink (2), where he argues that confession cannot be
declaration. The confession as excuse or as apology does not need to modulate from the
Derrida, the confession as excuse is not only verbal but also referential to the factual
evidence stated in the confession as avowal. The confession in the form of revealed truth
mechanism and expands on some of his own readings of the confessional act paying
significant attention to the rewriting of the confession in the form of excuse. Key to my
104
speaking the language of excuse more often than the language of pardon, forgiveness and
conversion in his confessions. The Derridian demonstration is played out around the
the excuse is not only a fiction but also a machine one adds to the connotation of
machine (repetition) consists of cold, calculated and automatic repetitions of the body,
text or excuse. The text-machine is the work or the oeuvre, as Derrida says, of a
automatic excuses, automatic and mechanical excuses against and awkwardly in favor of
Man, the concept of the textual machine should be thought in conjunction with the
concept of the textual event: In other words, how is one to think together the machine
and the event, a machinelike repetition and that which happens/arrives? (136). The
textual event refers literally in de Mans reading of Rousseau, to the double selection of
the theft of the ribbon in the Confessions and the Fourth Reverie, and the lie that
followed as the event or episode to be confessed, excused and repeated. The stealing of
the ribbon and the selection of the event to be written about in both narratives gives rise
to the textual event. The first time, the mention of the textual event in de Man points out a
13
The implacable repetition of a preordained pattern is at the center of Father Urrutias confessional
strategies.
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structure of repetition, or the repetition of the confession (the theft of the ribbon in the
Confessions and in the Fourth Reverie). The next time the textual event is narrated in the
takes place.
Derridas reading of de Man opens the distinction between the cognitive and
performative confession and underlines the bind between these two forms of confession
as key. Derridas argument, which I also see as relevant for Nocturno de Chile, posits the
discuss the problematic inherited and created by this mechanism, but now shifting the
emphasis to a reading of those mechanisms in the other texts chosen for this study and to
the relation of these with the problematic of testimonio and accountability. I argue that
the self which the novelistic I or Father Urrutia was supposed to express in form of
confession did not exist as a priori to the act of confession. The self, faced with the
compulsion and demand to confess established mainly by a religious and political system,
in which the excuse is always simultaneous or a priori to the confession. If confession has
been forced and naturalized and western man has become a confessing animal to the
point that often we no longer notice it, as Foucault has argued, then, the excuse as a priori
or simultaneous to the confession has also been institutionalized and naturalized in this
confessional/testimonial autobiographies from the later part of the 20th century in Latin
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III. The Nocturnal Machine: Father Urrutias Autobioral Narration
The mostly oral but also written confessional account in Nocturno begins with a
wants to justify his acts in order to defend and excuse himself against the infamies spread
recuerdos aquellos actos que me justifican (11). Father Urrutia also describes himself as
Ahora me muero, pero tengo muchas cosas que decir todava. Estaba en paz
conmigo mismo. Mudo y en paz. Pero de improviso surgieron las cosas. Ese
joven envejecido es el culpable. (11)
The wizened youth is Father Urrutias alter ego. His voice circulates during Father
Urrutias confession and exposes him to memories and a past full of questionable actions.
His first confession, revealing his fall out of peace and admitting the bothersome
presence of the wizened youth, establishes the first moment in which Father Urrutia
expresses his double discourse of the confession as excuse. At times during the novel
Father Urrutia manages to repress his alter ego but as we will see it constantly reappears
as an echo or a murmur that circulates during his confession. The double discourse
articulated by Father Urrutia and the wizened youth, one, the same and the other, will not
only posit a doubling-up of the I but also a series of discursive doublings of the
confessional act in which God appears as the maximum authority and the virtual
confessor:
Lets make that clear. Clear to God above all. The rest I can forego. But not
God. I dont know how I got into this. Sometimes I found myself propped up
on one elbow, rambling on and dreaming and trying to make peace with myself.
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But sometimes I even forget my own name. My name is Sebastian Urrutia
Lacroix.
Que quede claro. Pero sobre todo que le quede claro a Dios. Lo dems es
prescindible. Dios no. No s de qu estoy hablando. A veces me sorprendo a mi
mismo apoyado en un codo. Divago y sueo y procuro estar en paz conmigo
mismo. Pero a veces hasta de mi propio nombre me olvido. Me llamo Sebastin
Urrutia Lacroix. (1/12)
The indications of confessional activity are clear, in this case a catholic priest addressing
his confession directly to God while doubting and creating a hybrid confessional
how I got into this in the former quoteinstead of I dont know what Im talking
aboutis revealing due to what it lefts out. It shifts the emphasis of this statement from
translation that captures the confusion of the subject at an ethical level, but leaves out the
demand for speech and the obligation towards truth-telling found at the heart of
confession and testimonio. No se de que estoy hablando not only establishes this
demand and obligation, but also points to the problematic of misnaming and forgetting
that are proper in analysis of ruins and catastrophes which are central in Nocturno de
Chile or, as Bolao had intended to call his novel, La tormenta de mierda.14
autobioral gesture which refutes his previous claim to a certain inability to remember his
own name and past actions: Me llamo Sebastian Urrutia Lacroix. Soy chileno. Mis
ancestors [] (12). His defense or excuse so far consists of misnaming and displacing
14
The Shit Storm
108
and therefore avoiding the discourse of confession but which is paradoxically followed
by a desire to confess and to respond to the compulsion to confess in the name of the
truth and in the name of God as virtual confessor. Arguing to be morally responsible for
his actions, words and silences, Father Urrutia pleads innocent against the accusation of
the wizened youth, recognizing God as the authority while also questioning his own
recognition, but cannot avoid the compulsion to confess, which implicates a sense of guilt
and shame that activates the machinelike repetition of confessions and excuses.
At times in Nocturno Father Urrutia confesses and comments about aspects of his
life, and then follows the confessions with a story or an account of someones else story
that works as a justification or excuse for his own acts. The reader finds various narrative
someone elses actions as related to Father Urrutias past. The rest of the novel consists
of several stories, directly and indirectly related to Father Urrutia, told by him in order to
review his life since the late 1950s when he was already a young priest, until the period
machinelike mechanism that tends to vacillate between confession and excuses and the
attempts to examine the ruins left by the dictatorship and to recoverfrom oblivion or
This entrance necessarily repeats itself in the novel in the textual narrations of different
15
The notion of dictatorship favored in this study understands dictatorship as a totalitarian state that
destructs and appropriates all forms of social and political representation.
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stories. It is in this vein that Nocturno can also be read as a demand for testimonio and
confession, against oblivion and overexposure, but a demand that accepts the
ability inscribes the excuse as an a priori gesture of asking for forgiveness and providing
excuses, a simultaneous and automatic fertilization of the confessional attempt with the
seeds of its own neutralization or destruction. There is no passage from Father Urrutias
confessions to his excuses or defenses. The excuses are themselves the confessions or the
self-destructive nature of the confession as technology of the self. The technology of the
the excuse as a priori to the confession and defers the possibilities of transformation and
and not to accept guilt and convert past experiences into a new life. Father Urrutias
gesture attempts to erase his name and to posit a certain my name is not by naming other
names. Here, as in any act involving avowal, the distinction between confession and
The first story I want to address relates how Father Urrutia meets Farewell (Gonzlez
Lamarca) and the first visit to his estate (La-bas); it recounts his baptism in the world of
Chilean letters. Farewell is described as having falcon eyes, as god Pan, as Bacchus in his
den, as some demented Spanish conquistador or as someone wearing an iron gauntlet. His
arrival to the estate is described in terms of an arrival to an inferno, and while waiting to
be picked up and taken to Farewells estate he hears birds singing quin, quin, quin
(17). The symbols identify Farewell as a figure of power and domination, as a demon or
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god that inhabits some sort of hellish place, while the birds questioning point to the
central and rhythmical question of this autobioral narration, who is Sabastian Urrutia
Lacroix?
Already in La-bas, Father Urrutia goes for a walk in the garden but gets lost in the
woman that kissed his hand and recounts how little attention he paid to the remarks about
a child who was dying. His main preoccupation at this moment was what to wear for
dinner and the taste of the piece of bread given to him by the farmers. His excuse for
feeling like this was: Dios mo, yo no poda estar en todas partes. Yo no poda (21).
Instead, he had to be back to Farewells place in order to assist the dinner with other
members of Farewells literary and elitist circle. It is here when his double, the wizened
youth, seemingly makes his first appearance in order to question Father Urrutias
behavior, but has little effect at this point in his life. The young Urrutia dismisses him by
saying:
The next day at La-bas, Father Urrutia ventures in the countryside with the same result:
En realidad, todos eran feos. Las campesinas eran feas y sus palabras incoherentes. []
Que Dios me perdone y los perdone. Almas perdidas en el desierto. Les di la espalda y
me march (33). The whole story juxtaposes Chilean literary elite to the farmers and the
wizened youth, in a pattern that repeats itself throughout the novel in different scenes: a
group of people talk superficially about art, literature and theory while ignoring or
forgetting the others and the injustices or pain that they suffer.
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During this visit to La-bas Father Urrutia meets Pablo Neruda and other members
of the literary and cultural elite. They all have their literary party in Farewells estate and
recite poetry while ignoring completely those people in the countryside who Father
Urrutia visited by accident. From Urrutias point of view, meeting Neruda was an
extraordinary event that justified everything, an event that the wizened youth never had
escritor de nuestra repblica en condiciones tan esenciales como las que acabo de
recordar. Qu importa lo que pasara antes y lo que pasara despus (24).16 At this stage
Father Urrutia sounds strong and secure and eliminates remorse easily. After the visit to
Farewells estate, Father Urrutia became a known critic and decided to use a penname for
criticism, H. Ibacache (36-37), and to save his name for his posthumous work on poetry.
The next story narrated by Father Urrutia during his death bed confession was told to him
at another party in Santiago de Chile but it took place in Paris. The narrative in Nocturno
does not offer obvious connections or smooth transitions between these stories but
challenges the reader to find them. The reader should keep in mind that Ibacache/Urrutia
also appears, although briefly, in Estrella distante as someone who likes Wieders poetry
16
Father Urrutias homosexuality is dealt with in several scenes. Here, for the first time, Farewell touches
his waist and his hips during the literary party. Father Urrutia confesses the pleasure derived from the
moment, but also his sense of guilt, which leads to confession, narrating verses of the apocalypses, while
Farewell sodomizes him. This moment is interrupted by Neruda, and as Father Urrutia stated before,
meeting Neruda was more important than anything else that could have happened to him. The scene turns
into a trivial conversation about Sordello and a poem by Dario is recited in which Bolaos dark humor
shines. (24)
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V. Paisaje de la ciudad de Mxico: Melancholy as Extension of Memory17
Father Urrutia narrates a story told by Chilean diplomat and writer Salvador Reyes to his
guests at a party that included Farewell and Father Urrutia. At first glance the story seems
out of place in Father Urrutias examination of his past, but further analysis ties it to
Father Urrutias confessions and excuses. Salvador Reyes tells the story of his visits to a
Guatemalan painter in Paris, how he and Ernst Junger met for the first time at a party, and
later coincided at the attic room of a Guatemalan painter dying of hunger and trapped in
the city during the occupation of Paris in WWII. Salvador Reyes used to bring the painter
leftovers from the Chilean embassy in Paris and Junger is known for socializing with
artists an intellectual during his administrative position and role as army captain in Paris
During the first visit the Guatemalan painter sits in silence by the window
contemplating Paris in a state of deep melancholy. Salvador Reyes sits in silence and also
contemplates until he is able to identify the target of the painters gaze but cannot bear to
see, listen or speak about the things he see in the painters gaze and hesitates to look. He
reacts as follows:
Father Urrutia also faces this situation in relation to the events narrated in the novel as a
whole. Father Urrutia now tries to avoid and somehow justify not speaking or thinking
17
Landscape of Mexico City One Hour Before Dawn.
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about them, and telling the story of someone else, the story of himself, the story of those
who have: miedo de or aquello que no se puede or, las palabras esenciales que no
podemos escuchar y que con casi toda probabilidad no se pueden pronunciar (43). The
painter, functioning similarly to the wizened youth in the novel, remains focused on this
apparently terrifying vista in a melancholic recounting of the past while Reyes avoids it,
cuts it. Salvador Reyes cant bear to see, listen or to speak about the things he sees in the
painters gaze.
The question raised by the scene is not only about responsibility or about
denunciation, these questions, which are commonplace and become repetitive throughout
the novel, are mostly related to the dictatorial abuses in Chile. The key question of the
scene is the reason why Father Urrutia chooses to tell the story of a melancholic painter
in Paris during what apparently is his last night on earth, during his apparently
confessional and autobioral recounting of his life. One answer already introduced is to
answer to read the story as a defensive monologue and confession in which Father
Urrutia tries to justify and excuse the way he has lived by providing unverifiable
precedents for his own behavior. The de Manian modulation of confession into excuse is
here turned into its opposite and the excuse modulates into unverifiable confession. There
is not modulation of the confession into excuse; the excuse is not an a posteriori and
belated utterance but an a priori mechanism that repeats itself giving the impression of
posterior occurrence that can always be programmed a priori. In this case Father Urrutia
does so by giving examples of others who have acted in a similar way than he has, a
priori or a posteriori, like when he ignored the struggling farmers during his visit to
Farewells estate.
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The second answer is related to the scene when Junger and Reyes run into each other
at the painters attic room they have their highly intellectual talk and culturally informed
conversations. The painter remains fixed in the past and keeps looking through the
window in a melancholic state. Junger becomes curious about a painting of Mexico City
and asks the painter if he spent a lot of time in Mexico City. He responds that he was only
there for a week and that the painting was done during his time in Paris, without
remembering much about Mexico City but based on a Mexican mood [sentimiento
mexicano].
El cuadro mostraba la cuidad de Mxico vista desde una colina o tal vez desde
el balcn de un edificio alto. Predominaban los verdes y los grises. Algunos
barrios parecan olas. Otros barrios parecan negativos de fotografa. No se
perciban figures humanas pero si, aqu y all, esqueletos difuminados que
podan ser tanto de personas como de animales. (44)
In his analysis of Paisaje de la ciudad de Mxico una hora antes del amanecer, Junger
talks about the painters sealing wells of the memory [pozos ciegos de la memoria] that
had suddenly reopened, and voila, the painting was based on a vision captured many
years ago by the creative self of the painter. This is the version of the creative impulse
everything that the general says, and interprets the painting for himself as an altar of
human sacrifices and weariness, the acceptance of the painters defeat beyond his
individualism as a painter in a moment when the war had begun. Reyes thinks of this as a
minimal part of the painters truth and links it to a grater reality beyond the painters life.
It gives him goose bumps, but as it happened before, when he was able to identify the
painters gaze, Reyes ignores these sudden revelations and immerses himself again in the
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The description of the painting points to a desolated panorama invocated by the
film negatives, death bodies and a city thats about to crash, like the barrios in the
painting that look like waves. The unburied dead bodies and the negatives invite to
understand the painters melancholy tied to the question of mourning or burial of the
dead. Mourning work, according to Freud, takes place when the loss/dead object is buried
but also remembered, represented, measured and therefore successfully substituted. In the
case of the melancholic painter there is no substitution and the dead thing remain present
substitution. The failure to measure, represent and successfully mourn is not necessarily
negative or terrible. The film negatives as spectral presences in the painting, and the
unburied death bodies seem to reassure and maintain an important reality and the
melancholic state of the painter. Mourning work is rejected and we are left with film
negatives instead of clear narratives of the event, with unburied bodies instead of
mourned bodies, with a city thats about to crash like a wave. Instead of trying to get out
of his melancholy, to cure himself by telling his story or truth as in therapy, the painter
refuses to give up a reality to which Salvador Reyes cannot fully access or attest but was
close to when he saw a glimpse of the painters gaze twice. The painter is aware of the
fact that the possibility of mourning work, as suggested in the painting, implies the loss
of an important reality, and therefore reproduces his melancholia instead of curing it. The
painter and the painting stand for the event not to be forgotten and for mourning work not
to be substitutive or an erasure of the original loss or defeat that Reyes was able to
identify only momentarily in his reading of the painting. The ruins of the catastrophe, the
altar of human sacrifices and the defeat described but quickly forgotten by Salvador must
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be remembered and observed as the painters painting and his melancholic state suggests.
The painters refusal to bury the dead claims melancholia as the restitution of an
excuses himself and is able, at least in this part, to proceed with his narration without
confronting his crisis directly but through others. At this point Father Urrutia fears and
avoids the narration of what he must tell in order to confess and address his crisis by
detouring his narration. Father Urrutia, through Salvador Reyes, excuses himself but most
those events that torment him so much. On the other hand the melancholic painter, as
described by Father Urrutia and Salvador Reyes, confronts the horror directly by refusing
It is important to record the appearance of the wizened youth in the previous story
in which he tells Father Urrutia that in Paris no one remembers Salvador Reyes even
though Ernst Junger talks about him in his memoirs. While Urrutia stresses this fact and
feels captivated by the story about Reyes and Junger, especially the fact that Junger
speaks of Reyes in his memoirs and speaks well of him, the wizened youth tries to
underline the oblivious nature of memory and the frivolity of his enchantment with Reyes
and the general. In the next scene Farewell partially joins the wizened youth in his
criticism of Urrutia and tells him a story that criticizes his understanding and appreciation
of Reyes tale. Father Urrutia and Farewell, who were very hungry at the time, left the
party at Salvador Reyes place and went to a restaurant recommended to Farewell. Not
once did they mention the hungry and melancholic Guatemalan painter, even though it
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was key in the story told by Salvador Reyes at the party, and now parodically run to a
restaurant. As in the first story were the farmers are totally forgotten and ignored, here
the other, or the struggling melancholic painter of the second story, is also forgotten and
ignored once more, not only by Salvador and Junger but also by Father Urrutia and
Farewell.
Two antithetical stories of preservation, forgetting and personal crises follow and add to
the story of the melancholic painter. One is the story told to Father Urrutia by Farewell
about a shoemaker who attempts to build a place to remember the heroes of the Empire
but ends up remembering only himself. The other, told by Father Urrutia, focuses on a
research trip taken in order to study preservation of churches and to cope with his guilt
memories and forgetting is, along with confession as excuse, the other dominant narrative
in Nocturno. The personal crises of Father Urrutia and the shoemaker are emphasized in
these middle stories and are directly related to a narrative of preservation and extension
of memories that suspend the mechanism of the confession as excuse for a moment in
order to attempt the manipulation of memories that render unnecessary the confessional
act. Their respective breakdowns or crisis nullifies these techniques and allows for
confession as excuse to reemerge in the story as the key narrative of the novel.
Farewell told the story of the shoemaker after Father Urrutia, while walking
towards the restaurant and inspired by the recent story about Junger and the melancholic
painter the he had heard from Reyes, told him about an idea he had for a poem in which
Junger, who had written well about Reyes novels in his memoirs, ends up buried, frozen
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and preserved as a hero in the Chilean Andes. Farewell laughs and replies with the story
of the shoemaker at times of the Austro-Hungarian Empire. Farewell tells Father Urrutia
how a rich and skillful shoemaker had the idea of creating a Heroes Hill [Heldenberg]
financed by the state and the shoemaker, where the heroes of the empire would be buried
and remembered in order to save old values from oblivion. It would be a museum with
statues of the heroes and also a cemetery. The decision of who to remember and bury in
Heroes Hill was to be taken by the emperor, historians, lawyers, army officers and other
civil servants of the empire. The shoemaker presented the idea to the Emperor, who
received it well but soon forgot it. The shoemaker ended up doing all the work without
any support from the empire and during very stressful and nightmarish nights. Two wars
went by and a soviet colonel found Heroes Hill, desolated and neglected, and at the top
Before narrating the end of the story Farewell had given Father Urrutia many
clues to understand his story in relation to the previous one told by Savador Reyes:
instructing his disciple on how social and literary customs are based on constructions,
memories, pretentious and empty Mycenaean and elitist traditions, as the wizened youth
had said before. The cult of the heroes or the shoemakers attempt to preserve the
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memory of heroes is an allegory of forgetfulness: the story combines the silence adopted
by the state by ignoring the project, and the shoemakers neurotic obsession with
monuments and tombs, with mechanisms of mourning and remembering that only cover
Father Urrutias naive efforts and dreams to become better known as critic, with a
better reputation than Reyes, or even better than Junger, and his poetic efforts to leave a
posthumous body of poetry, are warned by Farewells story and the constant remarks of
the wizened youth. Of course Father Urrutia does not get it. The end of this story is a
battle between Father Urrutia, Farewell and the wizened youth in which Father Urrutias
repressed sexuality leads to a breakdown. In the middle of an intense exchange about the
future and present of Chile, of Chilean literature and their lives, Farewell says to Urrutia:
ahora mismo. Y yo: para m sera un honor. Y Farewell: o procedera a arrastrarlo al bao
certain extend functions as therapistby calling him cock sucker and offering to screw
him. At this moment the priest gets away with a long list of popes and their lives, as he
did in the seminary, until he takes Farewell to his house and leaves (67). Father Urrutia
Santiago in which he thinks about the moral questions involving his past and present.
Farewell opened the door for Father Urrutias success as a literary critic, but also for his
repressed past, mostly understood in terms of his homosexuality, his belonging to the
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Opus Dei, and certainly related to the moral conflicts he faced in the three stories
recounted so far:
Right after this, the wizened youth, his double, reappears and accentuates Urrutias
revising of his past in order to underline his belonging to the Opus Dei, which he does not
negate but neither questions, nor his repressed homosexuality. Urrutia tries to find silence
and peace but fails, feels terribly bored with his life and starts writing poems full of
insults, blasphemies and worst things. He stops his classes and stops giving mass, his
literary reviews turn incomprehensible. In sum, his sexual repression, Farewell and the
wizened youth questioning leads to a breakdown during which he confesses feeling that
his cassock was like a well in which the sins of Chile sank without a trace (59/60). It is
here when members of the DINA [Odeim/Miedo y Oido/Odio] and seemingly related to
the Opus Deia religious section of the Catholic Church with ultra rightwing
conservative inclinations and known for masochistic practices and the repressive nature
to forget and to realize a study about church preservation which is the core of his mission
in Europe.
Father Urrutia is sent to Europe in order to help him overcome his breakdown, to
forget his problems and to repress his homosexualityto avoid a storm of shit in this
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case literally. His seemingly unimportant task is to research the preservation of churches
that results in falconry as the solution to the problem of pigeon droppings, a problem that
most churches seem to have in Europe. The story recounts Father Urrutias research and
also his recovery, as he starts writing again and working on his literary interests during
the trip.
One of the key aspects of this story is the recovery and development of the motive
of birds and the thematic of forgetting itself, that Bolao has introduced earlier in the
novel. Urrutias identity problem is related to birds representations outlined in the first
story. In his first encounter with Farewell Father Urrutia speaks with the naivet of a
fledgling, while Farewells eyes seem to him to be falcon eyes, the voice of a large bird
of prey and his hand is heavy, as if it were encased in an iron gauntlet or heavier still like
the ones used in falconry. In addition, while Father Urrutia is waiting to be picked up and
taken to Farewells estate, a band of birds seem to be yelling who, who, who, question
that Urrutia decides to ignore. He starts a journey to also become a bird of prey during the
The symbolism of the birds marks the difference between pigeons as symbols of
peace, sportsmanship and the Holy Spirit, while the falcons are violent birds of prey
dedicated to murder pigeons. During his trip Father Urrutia became familiar with the art
of falconry and he himself handled some falcons that were very successful in the killing
of pigeons. He now wears the iron gauntlet that he felt in his shoulder when Farewell
touched him at the beginning of the novel. But on a more fundamental level, the task of
researching methods for the preservation of churches underlines Father Urrutias role as
part of the church and his collaboration with the military regime, which, as we will see in
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the next story, is the institution for which Odeim and Oido work. The church was one of
Before returning to Chile from his research trip in Europe, Father Urrutia was enjoying a
relative peace of mind according to his deathbed confession, but back in Chile he started
dreaming again, struggling progressively with his consciousness, and especially with
Father Antonios deathbed questioning of the use falconry, which translates in the
Fui a Roma. Me arrodill ante el Santo Padre. Llor. Tuve sueos inquietantes.
Vea mujeres que se rasgaban las vestiduras. Vea al padre Antonio, el cura de
Burgos, que antes de morir abra un ojo y me deca: esto esta muy malo,
amiguito. Vea una bandada de halcones, miles de halcones que volaban a gran
altura por encima del ocano Atlntico en direccin a Amrica. (95)
At this point, after Father Urrutias return to Santiago, Bolao crams the narration of the
novel with historical information and rapid cuts from one mise-en-scne to the other
without a clear sense of continuation or order. Just like the falcons of the churches and
his dreams, Father Urrutia also flew to America after the end of his research trip, were he
thought things were changing for the worst, and were the left and the socialist block
headed by Salvador Allende had won the elections. Allende governed for a short period, a
period when Father Urrutia and Farewell suffered dramatically as martyrs and read the
Greeks, until the coup d'tat and the establishment of the dictatorship in 1973, when the
critics regained a favorable view of the country and its situation. At this point the critics
went to Nerudas funeral together, Farewell flirted with some young boys and they
lamented the death of Neruda. However, not a word was uttered about the victims of the
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(e.g. lascivious women, homosexuals, and abandoned children) and needed to be
repressed instead of confessed. Suddenly at this point the narration regains some
coherence once again that matches Father Urrutias new found stability thanks to a new
project. The mysterious members of the DINA intervened again and offered Father
Urrutia to channel his sexual desires and guilt by bringing Pinochets junta up to date on
Marxist theory. At this point the connection between Church and State is clearly
Mr. Odiem (Miedo) and Mr. Oido (Odio) ask Father Urrutia to teach Marxism to
Pinochets Junta, a job that he could not refuse. It had to be kept a secret. La junta wanted
to learn the philosophy of the enemy, but members attended to the classes very
irregularly and often felt asleep. The classes had strong doses of Marta Harneckers texts
on Marxism published during the 1960s and 1970s and key texts from the Marxist
tradition. The classes helped Father Urrutia to deal with his demons, but also left him
undecided about his duty and with key questions about his task:
Lo he hecho bien? Aprendieron algo? Ense algo? Hice lo que tena que
hacer? Hice lo que deba hacer? Es el marxismo un humanismo? Es una
teora demonaca? Si le contara a mis amigos escritores lo que haba hecho
obtendra su aprobacin? Algunos manifestaran un rechazo absoluto por lo que
haba hecho? Algunos comprenderan y olvidaran? Sabe un hombre, siempre,
lo que est bien y lo que est mal? (113).
Father Urrutia, a right wing ultraconservative figure, turns into a more ambiguous figure
that questions his contribution and support of the military regime. While dining with
Farewell he cannot keep the secret any longer and confesses his teaching duties and the
remorse that he felt at the moment, as if looking for some kind of approval, forgiveness,
or to validate what he has done. But Farewell is more concerned with asking about
Pinochets persona and Father Urrutia responds with a story of a conversation they had
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about Allendes, Freis and Allesandris intellectual capacities. This reveals one of the
motives for this classes taking place in the first place which was to show that he was an
intellectual and that those who consider Allende or the other presidents as intellectuals
were wrong because they did not read, study or publish as much as Pinochet did.
Pinochet remarks that he wrote three books and multiple articles about military aspects
and published by military presses. He even read White Dove (Palomita Blanca)18 just to
be up to date. Other conversations between Father Urrutia and Pinochet, as well as the
conversation between Father Urrutia and Farewell about Pinochet, touched upon literary
and theoretical topics, but never, as in all the stories in the novel, addressed the pressing
issues related to injustices, violence and the trauma imbedded in the dictatorial regime.
The question of the nature of his task as instructor of Marxism is diluted into an interest
questioned at all by Farewell. Soon the news spread and Father Urrutia sits awaiting the
reclamation of the general and Mr. Odeim and Mr. Oido, but nothing happens. No one
cares about what he did and instead of bringing him problems it helps his career as a
The so called transition from dictatorship to democracy, from state to market, is depicted
here in the same terms that sociologist Toms Moulian uses in Chile Actual: Anatoma de
18
A bestseller novel by Chilean writer Enrique Lafourcade about adolescents growing up and overcoming
the traditional obstacles faced by young adults.
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un mito where he opposes mechanisms based on silence, blanqueo and consenso as
pasillo sin salida aparente a very similar critique of this problematic can be found but
using a different language and approach. El pasillo mainly recounts one of Bolaos
visit to Diamela Eltit and Jorge Arrate and adds at the end an analysis of Pedro Lemebels
prose and the story of the American torturer Michael Twonly (James Thompson in
Nocturno) and the Chilean writer Mariana Callejas (Maria Canales in Nocturno); stories
also recounted or fictionalized at the end of Nocturno. The combinations of these three
narratives created an uncomfortable incident were sensibilities were hurt and Bolao
added to his reputation as provocateur. Later, I return to this essay in relation to the
problematic of consenso and the last story narrated in Nocturno. Moulians critique
emphasizes silence as the main response to the atrocities committed by the dictatorship
participated in one way or another. The point is that lack of meaningful discussion or
actions, the stability of the country is bought with silence, a silence with various faces:
common citizens were silenced with fear, others by remorse, and the elite in power
adopted silence to take decisions as part of the blanqueo strategy. Blanqueo focuses on
erasing the memory of both, the dictatorship and the power of the leftist movements that
elected the Allendes socialist government in 1973 in favor of the transicin and
consenso.
The main goal of the blanqueo was to turn Chile into a clean, safe, trustworthy
and valid neoliberal model: para ello era necesario la ciruga plstica, la operacin
transexual que convirti al dictador en el patriarca (39). Pinochet was at the center of
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this blanqueo and presented as the figure that needed to be cleaned, pardoned and turned
into a patriarch because to remember him too much as the dictator run against Chiles
present and future. His figure as a patriarch is also retained as the impossibility of another
dictatorship, and as the possibility of change and transition, not to democracy, but to the
market. The collapse of the apparent contradictions in Pinochets figure allowed for the
new Chile. The collapse of Pinochets figure as dictator is similar to the contradictions of
the confessions as excuses in the case of Father Urrutia because maintains the
sacrament.
Farewells interest in Pinochets persona, and not in his relation to the key events
and is turned into a patriarch that resembles very little the Pinochet that needs to be talked
about, the dictator. Functioning also as blanqueo is Father Urrutias response, which
mostly focuses on their talk about the intellectual life of past presidents, literature and
publishing. Even more revealing in this respect is Nocturnos links between Pinochets
persona and Pinochet the reader. When Father Urrutia tells Farewell about his impression
and memories of the general, he mentions that Pinochet told him that Lafourcades
Palomita Blanca had been his last novel. Palomita Blanca suggests not only the blanqueo
but the beginning of the blanqueo during the military rule and its successful
transformation into neoliberal consensus after the dictatorship. The consensus then
discourse of the opposition: Derecha, cento, izquierda, todos la misma familia (120):
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La vida segua como un collar de arroz en donde cada grano lleva un
paisaje y yo sabia que todos se ponan el collar en el cuello pero nadie tenia
la suficiente fortaleza de animo como para sacarse el collar y acercrselo a los
ojos y descifrar grano a grano cada paisaje en parte porque los paisajes solan
deparar sorpresas desagradables como atades, cementerios a vuelo de pjaro,
ciudades deshabitadas, el abismo y el vrtigo. (112)
The perfect excuse, no one cares, why should I care, thinks Urrutia. It was necessary, as
Farewell justifies Urrutias actions, or as Pinochet tells him: Vyase con la conciencia
tranquila, me aseguro, su trabajo ha sido perfecto (112-113). His moral and ethical
questions are erased once more this time with the excuse of a certain political and ethical
relativism and a certain everyone is the same, a certain a priori excuse against which
But the final story or event narrated right after Pinochets story and during this night of
delirium, confessions and excuses will force Father Urrutia to reconsider this position and
to face the questioning of the wizened youth, who had been ignored for a long time. The
image of the solid, consensus, neoliberal Chilean family is put into question again by the
demand of a critical task or a critical poetics. Me parece estar viendo el rostro del joven
sobre la historia (124). The wizened youth is the representation of a poetics of the
questioning of history and the neoliberal consensus, the call for a language that may or
may not fissure the consensus, but that always returns to terrify and to question the
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automaticity of the excusethat disculpates the I a prioricannot have the value of
the confession as technology of the self in its conception as improvement and new life.
The central figure of this final story is Mara Canales, an aspiring Chilean writer married
to American James Thompson. During the military regime she offered her place for
literary and artistic gatherings after the curfew [toque de queda] enforced by the
dictatorship. Her home was a safe location for all night gatherings in which artists,
intellectual and writers, those who needed to share and exchange their anxieties, avoided
any conflictive encounters with the dictatorial regime. James Thompson was a North
American representative of a company that had installed branches in Chile and Argentina
during Pinochets regime. This last story repeats and takes to its limits a well-known and
basic scene in the novel by this time: people discuss arts, literature, theory, painting and
film while ignoring those in difficult situations. In the basement of their house James
Thompson had a torture chamber while working for the Chilean Military Police (DINA).
Father Urrutia assisted to these gatherings and was suspicious about why the police never
intervened any of these meetings or why Canales son Sebastian, which is also Urrutias
first name- was so sad and didnt look like any of his parents. Later during the story, a
theorist of avant-garde theater discovered the torture room by accident but didnt say
anything.
Father Urrutia also repeats a pattern here by telling a story that excuses his own
actions but at the same time is a confession of his participation or failure to act. He
reemphasizes that he did not know anything but he suspected and didnt say anything at
all. Ignoring his suspicions, Father Urrutia goes back to the gatherings hosted by Mara
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Canales until the truth about James Thompsons torture room in the basement comes out.
Father Urrutia asks himself if he should have talked, and why no one testifies these
atrocities but comes out of this questioning with excuses or more questions. Why does
everyone choose to forget? Literatures place and role is questioned to the point of
exhaustion. With these meditations in mind he tries to write a poem and the image of
Sebastian -alluding to the melancholic painter and to himself whos name is also
Sebastian- appears looking trough a window repeating with difference the scene of the
melancholic painter, but Father Sebastian Urrutia misses the point one more time, even
though literature, the poem, a written confession, has suggested a way of reflecting on his
questioning by referring to the melancholic painter and the present situation. A poetics
has suggested itself not as solution but as possibility. The Guatemalan painter and
in itself but does avoid total oblivion, blanqueo and automatic consensus by questioning
mechanism of forgetting and searching for a language to speak about the events. The
horror is not in what Father Urrutia wrote or did not write about Sebastian but in the way
In search for answers, he visits Canales and finds that the question is not simply a
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question of addressing the ruins of the catastrophe, the present and the future. Mara
Canales also wants to forget and only thinks about her literary career, and in a sense
imitates or repeats what Father Urrutia did in the past (13),19 ignoring real problems just
to achieve recognition. She doesnt want to talk about politics or about her husbands
actions, so she charges for interviews in order to talk about politics with journalists when
what she really wants to talk about is literature. She adds that very few Chilean or
Argentine journalists come to interview her, a situation that helps the blanqueo/consensus
and the unity of Chile, and that the majority of these journalists are foreigners.
Everything seems to be buried into oblivion while at the same time adopting an aberrant
way of remembering. The only information that comes out of her is part of a monetary
exchange that imitates the shift from dictatorial terror to the neoliberal market; from
torture and death in the basement of her house to oblivion and imposition of a free market
economy that curiously has not adopted a way of forgetting the ruins and the atrocities of
the dictatorship but a painless way to remember them by overexposing and blurring the
stories and the events. The dictatorship repeats itself as a neoliberal market and blurs the
Father Urrutia last visit ends but not before Canales also accuses him of the same
something that is too much for him to bear. Mara Canales invites him to see the
basement and he refuses. She tells him that the original owners or the property, Jewish
immigrants, are reclaiming their property and will win their case. De mi casa, dijo Mara
19
Many scenes in the novel are meditations on Urrutias behavior in relation to the question of literature.
One of those meditations captures the basic form and content of those scenes:
He [wizened youth] didnt meet Neruda. He hasnt met any of our Republics major writers in a
setting as elemental as the one I have just described. What does it matter what happened before
and after? (Nocturno 13).
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Canales, no quedar memoria alguna [...]. Asi se hace literature en Chile (145-46) and
Urrutia responds that thats the way literature is made everywhere. The possibility of
bearing witness is buried once more, the possibility of memory, the possibility of
remembering. Father Urrutia cannot bear to view the basement and to become a belated
witness. The house of Mara Canales, the basement and the house as ruin will also be
buried, and something new will replace it very fast. Its memory will not be necessarily
buried because in the first place it was already buried, it was a basement and no clear
image of this event remains available, as opposed to the clear image that Father Urrutia
has promised at the beginning of his narration. This is the terrifying nature of Father
Urrutias failed confession and failure to testify. Even if he testifies, it will only be as part
of the overexposure of events and excusatory acts that reveal nothing and only play in the
hands of the sinister transition form dictatorship to market, a transition that resembles
mutilated repetition of the same. The mutilation in this case cuts the military and leaves
visible the market economy established by the military itself. As any amputation, the cut
leaves the feeling of something that was always there and in sense still Is and Is not.
The final lines of the novel emphasize collective forgetting, they contain a final
confession, a final breakdown, desperate accusations and finally acceptance of the ruins.
Towards the end, Father Urrutia has completely replaced and supplemented Farewell. He
is the victim of the same jokes and is also ill. He has seen himself in Mara Canales and
asks if this terrible situation has a solution, while claiming victory over the wizened
Tiene esto solucin? A veces me cruzo con campesinos que hablan en otra
lengua. Los detengo. Les pregunto. Les pregunto cosas del campo. Me dicen que
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son obreros, de Santiago o de las afueras de Santiago, y que nunca han trabajado
en el campo Tiene esto solucin? (149)
There is no solution. Even the farmers, which at the beginning of the novel are
represented as living in terrible conditions, speak the new language of the transition and
the market turn, they speak and live in the language established by the dictatorship. They
forgot their own language and their past or how they got to the present situation, although
the present situation is constructed with the language of the past. Father Urrutia asks
himself where the wizened youth is and why he left, and answers with an image of the
reality as he couldnt see it before but that he presented in the story of the melancholic
painter:
The image of dead bodies and the sea was already present in the melancholic painter
visual rendering of Mexico City, Paisaje de la ciudad de Mxico una hora antes del
amanecer, where cadavers and waves could be distinguished along with film negatives
that resemble the shadow that Father Urrutia is able to see now. The scene also brings
back the image of the hill (Heroes Hill) and the wizened youth taking the place of the
shoemaker who tried to create a place for remembering and mourning but was ignored
and ended up burying himself at the top of the hill. Now the wizened youth climbs the
hill in cryptic victory over total oblivion. The wizened youth is the trace of all the
victims, all the forgotten cadavers, a forgotten memory of the injustices that by this time
seem to have disappeared but always seem to reemerge. The wizened youth is all that
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Father Urrutia couldnt see or didnt want to see, all that was familiar and repressed, but
was present and part of him all along and now returns. Finally, Father Urrutia questions
his own role in all these events accepting that he repressed part of himself, and that now
that repressed other is reemerging. His acceptance of a guilty consciousness and his
responsibility for ignoring and repressing his own involvement in these atrocities,
together with the recognition that he and the wizened youth are oneone that is
terrifying and that failed to come together and turn the confession into a new life or
testimoniooverwhelms him. The final breakdown is inevitable: And then the storm of
testimonial wanting fails, in part, due to oblivion, fear, indifference, terror and a
mutilated way of remembering that does not disappear with the invention of solidarity
and excuses.
Nocturno as a failed call for confession and testimonio is also about the
impossibility of this call. The delirious confession of Father Urrutia narrates also the
oblivion, the lack of testimonio but also the impossibility and problematic of testimonio
and confession as a solution. The narrative demands a confession and a testimonio that
thinks the shit storm, the catastrophe and the horror instead of some factual denunciation
or apology. Testimonio and confession fail because they repeat and adopt the language
and the institutions that made the catastrophe possible in the first place: they cover up the
evidence in their attempt to reveal the truth and end up facing the inevitability of
The allegorization of the literary critic in the figure of the priest in Nocturno
permits a reading of the critics task not as the traditional decipher of truth or
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autobiographical detective, but as risking a mechanical cover up operation. In Father
Urrutias case he is both the one who tries to confess and the one who listens to
confessions, in a double register of the truth that at the same time demands the secrecy of
both registers. His own confession is a register of alternative stories and excuses leading
to the recovering of other stories that nonetheless cannot be revealed as truth due in part
to his priestly responsibilities and to his own actions. His task and the norms of the
reading as revelatory, in the same way that literature, fiction, can serve to cover up the
evidence of reality or to disclose it. Nocturno, as we have seen, is full of cover up stories
in which literature, church and the state are the key machinists. The traditional role of the
critic as uncovering and reconstructing is cancelled by the critic role inversion, as the one
The critical fiction of Father Urrutia as reader and teller of stories related to his
own confession becomes part of the undoing of his own account and the revelation of the
critic as puzzle creator, as enhancer of undecidability and disseminator of false clues. The
ties to the collective are severe by her own autobiographical history while at the same
time literature allow her testimonial account as shown in the first part of this essay. The
importance of her testimonio lies in what it reveals and what it keeps as a secret, or, in the
fact that it performs both actions at the same time creating both a fiction and a testimonio.
Nocturnos fiction operates around Father Urrutias confession but always eluding it,
depository of blame and excuses that cancels out the possibility of testimonio and
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confession by adopting a hyperliterary mode. The literary critic does not write his/her life
writes more. To reconstruct ones life, to create again, to fictionalize the self based on an
immense archive of readings and experiences is always writing more, writing more or
rewriting in a dangerous and sometimes nave mode. What seems to be the process of
writing ones life and ones confession in the tradition of Rousseaus Confessions is
properly the undoing of this tradition, as the confessional excuses narrated by Rousseau
and Father Urrutia show via a mechanism that uncovers the illusion of allegedly
distinctive selves and unique life stories and reveals a dominant hyperbiographical or
hyperliterary machine.
substantial body of texts, many of them considered non-fictional, that Nocturno addresses
directly or indirectly. Marcia Merinos confession, Mi Verdad (My Truth), narrates her
conversion from left to right and back to left, or should we say to the center, during the
years of the Chilean dictatorship. After being tortured she sold out to the DINA (Chiles
Military Intelligence) and helped in the detention of other leftists. Her confession shares
various elements with Bolaos fictional account and Derridas understanding of the
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and confessional autobiographies that were published after the Latin American
dictatorships in the second part of the 20th century. In her reading of Mi verdad Richards
Urrutia in Nocturno, she tells the stories of those complicit in the atrocities committed by
the dictatorship and uses them, partially by accusing them and partially as excuses and
argument for her own (anti) confession, conversion and belated testimonial offering.
Confession once again functions here as a vehicle to become other and not to accept guilt
and convert past experiences into a new life. Her gesture attempts to defer her name and
to posit a certain my name is not by naming other names. The naming names in
opposition to her own is done in order to negate her own and to try to establish what her
name is not and therefore to recuperate what her name is. The publication of a narration
in book format, a narration already public and already testified and confessed by herself,
is the gesture that tries to recover her name, the I, via publication, signatureat the
beginning and end of her textand rearticulation of her narration in the same market that
Alejandra, 1994), Castillo creates a character that is not part of Merinos account. The
role of this character is similar to the one played by the wizened youth in Nocturno de
Chile. The character decides not to believe Merinos account and to laugh at her and her
attempt at conversion. It plays opposite to Castillo, who shares a serious tone and
attentive ear to Merino. As the wizened youth, his position is anti-testimonio and anti-
confession. His role is to question not only the confessional and testimonial account, but
also the climate surrounding the consensus in Chilean society. His intervention
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establishes the undecidability in regards to the verificability of her confession-
terrifying aspect of her story. The only guarantee offered in her account is religious; God,
Diamela Eltit has also offered an important critique of Merinos (and Luz Arces)
Eltit suggests the reading of the collective suicide history of three indigenous sisters in
(Emergencias 61). In 1974 the Quispe sisters hanged themselves from a wall of rock after
killing their animals and slashing their dogs that were the only possession they had while
living a nomadic life in the Andean Mountains were they remained close to their
indigenous traditions. They left nothing behind but a radical gesture in a scene of
desolation and vitality that was captured by photographers and the Chilean tabloids.
many but one of them seems important in relation to Merino and Father Urrutia. Both of
them choose to avoid trauma and adopt a process of ritualization and identification proper
to confession and conversion, a process that creates the illusion of testimonio. Their
identification with God and Christ, with the Law and Literature as institutions, allows
them to retain a place within their communities and cope even if this means adopting the
values that created the crisis in the first place and risking its repetition. The Quispe sisters
on the contrary, create a text or a scene that can certainly be read as denunciation, as
Eltits points out, but most important, their scene narrates the ruins, an apocalyptic
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narration of the defeat that retains its marginality and its vitality. It refuses to be read
because it was not conceived as documentation of social reality or denunciation but as the
disaster itself.
retains his marginality via the gesture just adjudicated to the Quispe Sisters and offers an
alternative to the testimonials narrations adopted and defended for their functionality and
referential narration as the main corpus of Latin American testimonios. One of the better
known examples of this systematic approach based on cause and effect, Menchs
testimonio, was discussed in the first part of the chapter in an attempt to show the
discontinuities at the level of language and representation were never considered part of
this corpus.
truth so common in politics, religion and the social sciences. Instead of providing
linguistic and socio-political consistency that plays into the hands of authority, El Padre
Mio fissures those attempt by adopting a delirious narration that offers a narration of the
ruins and a ruined narration of the disaster that is not possible to unify or tame. It
preserves its flux and the uncertainty that characterizes traumatic experiences and creates
an untamed imaginary that avoids therapeutic canalization into fixed versions of the
center or periphery. In El Padre Mio testimonio adopts a hyperliterary mode where the
errant or vagabund substitutes the privileged notion of the testimoniante and the critic as
possessing the truth and the secret that need to be uncovered and transformed into good
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actions. The substitution takes place by overflowing the borders of representation and
disarticulating the politics of the center. The notion of the hyperliterary marks the
possibilities beyond stabilization and closure, beyond mourning and coping, by opening
the fixed distinction between lo crtico y lo literario. That El Padre Mio refuses to be
read as identitarian and testimonial construction; it refrains from the trap of conversion
Father Urrutia, the docile functionary of the state (researcher, educator, cultural
critic), tries to confess (excuse) and testimoniar via the narrative machine that regulates
its own production of narratives but fails to retain the cohesiveness and coping
mechanisms that Marcia Merino, rightly or wrongly, apparently seems to achieve in her
confessional testimonio. In the end Father Urrutia, very lucid during most of his narrative
sequences, fails to maintain the pose that confession allowed him to adopt via quotation
of other stories and via self-justification. His final brake down and delirium is
hyperliterary journey towards the hidden terrible thing, towards the space of disaster,
towards the recognition of the I in the figure of the mutilated and forgotten other.
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Chapter 3
The publication of Amuleto in 1999 has contributed to its marginal position among
Roberto Bolaos works. This short novel is an adaptation of one of the fragmented units
or short stories that make up the central part of Los detectives salvajes (LDS) (1998) and
was immediately followed by the controversial and often considered Bolaos best short
novel, Nocturno de Chile (2000). Amuleto is buried between two main works which has
misunderstood.1 The importance of Amuleto relies in the fact that it should be read as a
thematic pretext to Bolaos 2666 (2003) which continues the cycle of Mexican related
1
As Mihaly Des comments: [Amuleto] ha tenido una recepcin dispar en cuanto a su valoracin pero
unnime en lo que se refiere a la insistencia de emparentarla con Los detectives salvajes, la novela anterior
[]. En efecto Amuleto esta basada en el captulo cuatro de Los detectives salvajes, tal como otra novela de
Bolao nace de una de las historias de La literatura nazi en Amrica []. En lugar de un libro menor,
como lo han calificado algunos, Amuleto es una obra ms arriesgada y, por tanto, ms minoritaria que Los
detectives salvajes. (Amuleto, 171-173).
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narratives, as significantly contributing to interpretations of Tlatelolco 68, Tlatelolcos
horror and accountability and provides a prelude to 2666s meditations on State violence,
horror, Mexico, genocide, transnational ethics, literature and politics, history and fiction,
death and other topics. This chapter introduces and keeps in mind the relation between
Amuleto and 2666 in order to prepare the way for the fourth chapter, but focuses on
Amuleto follows the previous chapters attention to traumatic and violent events situated
partially in the context of post-1950s Latin America. My reading of Estrella distante and
Nocturno de Chile dealt with the relationship between literature and horror in the broader
context of the Chilean dictatorship and society and the complexities related to questions
of guilt, witnessing, violence and death. I bring transnational, transhistorical, and global
Estrella and Nocturno, to the forefront of the discussion in the last two chapters on
illegal Uruguayan immigrant surviving in Mexico City, narrates her experience as part of
the bohemian world of young poets in the 1960s and 1970sBolaos generation.4
2
Conflicting imaginations refer to Auxilos mode(s) of narration in Amuleto. This notion will be developed
throughout the chapter.
3
These aspects, also already present in Bolaos La literatura nazi en Amrica, will be exhaustively
explored in my reading of 2666.
4
In the 1970s Bolao founded and participated in an avant-garde poetic movement called Infrarealismo,
whose aesthetic and performative salliesaimed to shock the bourgeoisreappear in his first novel
(WLT 80: 6, 48).
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Auxilios narration is attached to a fragmented recounting of the days she spent in los
lavabos de una de las plantas de la facultad, la cuarta, creo, no puedo precisarlo (28)
(Facultad de Filosofia y Letras) while the Mexican army violently took over the
Universidad Nacional Autnoma de Mxico (UNAM) in September 18, 1968. The violent
massacre occurred two weeks later (October 2) at the Plaza de las Tres Culturas, better
known as Tlatelolco68.5 She names these events: mi mirador de 1968 (52). Although
Amuleto is not only concerned with Tlatelolco 68 or the takeover of the UNAM, the
entire novel can be read as a powerful commentary on the events of the summer of 1968
in Mexico. Bolao develops and interweaves two distinct narrative lines: one narrates
Auxilios experiences as part of the literary and artistic bohemia of Mexico City in the
1960s-70s, and the other focuses on Auxilios chaotic and fragmented narration of the
takeover of the UNAM, which she experienced from the bathroom of the Facultad de
Filosofa y Letras, as it relates and guides her memories towards the posterior massacre
each other. Amuleto recounts her thoughts and feelings in a psychotic and repetitive
discourse on poetry and State violence6 combined with stories narrating her peripatetic
experiences as en exile and bohemian poet living in Mexico City. She survived the
takeover of the UNAM in 1968 by hiding in the bathroom, reading Pedro Garfias, and
writing on toilet paper in order to remain calm and maintain her resistance.
5
Auxilos story is based on real events but Bolaos recounting is of course fictional. Tlatelolco 68 refers
to the massacre of hundreds of students at the Plaza de las Tres Culturas by the Mexican government
armed forces. The event and the plaza are commonly known as Tlatelolco or Tlatelolco 68 and la noche
triste.
6
Her discourse shares many similarities with Eltits El padre mio.
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My reading of the novel is twofold: first, Amuleto revisits the role of reading and
writing in relation to violence and the act of witnessing. It addresses the possibilities of
writing and reading in relation to pain, violence and suffering by examining Auxilios
examining the material and imaginative traces of history. Auxilios actions are, in this
(Estrella distante) and Father Urrutias (Nocturno de Chile) previously discussed poetic
order to examine the events of 1968 in Mexico City and the relation between writing,
reading and politics. What significance do literary texts, discourses on literature and
writing have in the production, formation and resistance to political identities and
nomad (Charra and Uruguayan) who disappears in the bathroom of the UNAM during
the otherness and the transhistorical and transnational politics in the text. It is in this
context that I discuss Octavio Paz Posdata (1970), an essay on Mexico, Tlatelolco 68
and the events that led to it, as it constructively intersects and compares to Amuleto. In
Posdata, the Mexican Nobel Laureate (1990) interprets the events of 1968 in relation to
Mexicos past and present through its history, myths, politics and culture. He pays special
attention to the meaning of the Olympics, the Aztec past and present and Tlatelolco 68
critique of the government, but also, and even more profoundly so, a critique of the
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Mexican historical unconscious, an examination of the idols within ourselves and the
Posdata is one of the most suggestive and controversial analysis of the events and
Solitude. Paz himself called it a continuation to The Labyrinth. Octavio Paz writing on
Tlatelolco 68, often criticized but also admired as a writer or persona in Bolaos
emphasize seemingly peripheral stories to the events of Tlatelolco 68 as key for its
transnational approaches to the questions raised by Tlatelolco 68. I propose that Amuleto
and Posdata, contra many readings downplaying their importance or political statements,
contemporary Mexico and global politics. Read in conjunction with Posdata, Amuleto
readings of Paco I. Taibo II memoirs (68) (1991) and Elena Poniatowoskas testimonial
narrative on Tlatelolco 68 (La noche de Tlatelolco) (1971) in the second part, and Carlos
Fuentes short story Chac Mool (1954) in the third part of this chapter. Chac Mool,
even though it was written before 1968, still reflects on similar issues to those discussed
My reading locates Amuleto alongside Paz Posdata and shifts the emphasis from
the workings of the powers of horror, so visible in Nocturno and Estrella, and still visible
postpyramidal approach to the events of 1968. In Posdata, translated into English as The
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Other Mexico (1972), Paz outlines what he considers to be a unique image that ties
Mexicos past to Tlatelolco 68, an image of a pyramid, which he sees as key for a
critique of Mexico. The last section of Posdata, properly entitled Critique of the Pyramid,
will be the focus of my analysis and the center of my attempt to explain how a
merely intent to perform a critique of Mexico by using the image of the pyramid,
something that Paz performs well and creatively in his essay, but to offer a term and
notion that aids to the understanding of Paz pyramidal critique and to develop an
Aztec/pyramidal image. Paz provides several descriptions for the understanding of the
pyramidal argument, but the following quote covers its main concerns:
Paz arrives at this image of the pyramid by conceptualizing a double Mexico: the other
Mexico [el otro Mxico] and modern Mxico. The other Mexico (poor peasants, the
country as it corresponds to the social and economical realities of the countrys privileged
classes following the revolutionary battles at the beginning of the past century. This
duality can also be seen as one, as a unity, as Paz is quick to point out: cuando hablamos
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con l (el otro Mexico), hablamos con nosotros mismos (109). Drawing loosely from
Freud, Marx, Dumezil and Kant, Paz defines el otro Mxico as a gaseous reality formed
by beliefs, fragments of beliefs, images and concepts that history deposits in the
but, according to the author, not limited to or limited by Freudian notions (109-10). The
other Mexico is a heterogeneous reality composed of multiple layers that appear and
disappear through Mexican history. Paz conception of history, man and society at a
national and global level is built around the aforementioned figure of the double or an
otherness [otredad]:
Otredad is the reflection of itself, that is, an otherness that is part of a unity, a past that
reappears because it is part of a hidden and almost imperceptible present, an other that is
also the I of that other. Both at the top of the pyramid, underdeveloped and developed
Mexico, invisible and visible Mexico, performing a ritual of sacrifice and marking
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Paz combinatory conception of history and otherness as an uncanny event is marked by
and the events leading to it marked the apparition of the other Mexico or one of its
aspects: the massacre or sacrifice of hundreds of students by the government made visible
the other Mexico in the image of the pyramid. The Mexico of Tlatelolco 68 reenacts the
past established by the Aztects cults, mainly the sacrifice of war prisoners as a cult to the
sun in order to secure its return or the continuity of time. This understanding of history
posits the inheritants of the Azteca power as adopting an unconscious model of power
and domination based on the pyramid and sacrifices. The modern pyramidal sacrifice
took place in Tlatelolco 68 and signifies the apparition of the other Mexico, the
submerged history and repressed past, in a present ritual of sacrifice. This violent present
marked by the image and history of the pyramid is what Paz attempts to explain and
criticize by going all the way back to the history of pre-Columbian societies and tracing
Paz essay works the tensions between self and other in relation to their enunciation in
terms of time; the past is to the present what the other is to the self. There is no before or
after because the past reappears, because it is the hidden part of the present. From the
point of view of any given historical present, what is repressed is always bound to
another group of repressive acts and their repressive manifestations, or as Paz would call
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it, explosions. Paz has been highly criticized for his mythical-historical-poetical approach
to Mexican history in the present and for positing the Aztec myth of the pyramid and its
majority of Mexicans in the present. But Paz essay does not focus on judging the role of
the students in the events leading to Tlatelolco, or even the governments role in the
massacre, nor is he passing judgment over Aztec traditions and religious beliefs; he has
all who were involved in the events, a global image of the pyramid: La metfora del
mundo como montaa y de la montaa como dadora de vida se materializa con pasmosa
his essay traces in detail from the times of Aztecs through the independence, revolution,
domination of the PRI and Tlatelolco 68in order to establish and target what he sees
as a key problem for Mexican and global societies: the pyramidal point of view. The
the government that lasted many months and required the sacrifice of the defeated. The
PRI government fulfilled its victors role as part of the pyramidal myth, ironically and
buildings: La plaza de las tres culturas, Tlatelolco. Paz essay, certainly sympathetic but
also critical of the cause and destiny of the students movement, is more concerned with
showing the transhistorical and transnational aspects of these events, and is therefore
interested in calling for a critique of the pyramid that notices this repressed, invisible and
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returning Mexico, the Mexico that reappeared as Tlatelolco 68, in order to move beyond
its outcome, to cure it, properly speaking, and as his multiple references to Freud reveal.
Paz critique identifies the problem and the need to criticize it. A short poetical
read Paz meditations on Mexican history alongside Bolaos Amuleto and to suggest a
postpyramidal approach to Tlatelolco 68 that addresses the questions posited below, and
provides an extension and examination of Paz critique via Bolaos text. What are their
affirmations? Can these affirmations be considered relevant for what I call a poetics of
kings, students, presidents, gods at the top of the pyramid and sharing the same point of
view (289) poses particular ethical and political questions concerning the representation
condensed in the image of the pyramid. A postpyramidal critique thus poses the ethical
and historical question of how the identification of the past with the present can refuse to
accept appropriation and incorporation or resist annihilating the space between past and
present, between self and other. It also raises the aesthetic question of how the
postpyramidal analysis is to represent the others life if the past cannot merely be
documented but must also be (re)created in an imaginative act. At stake here is not only
the examination of presents, pasts and their conflicting trajectories, but, as Andreas
Huyssen puts it: a fundamental crisis in our imagination of alternatives futures (2). The
chapter moves towards the examination of the crisis underlined by Huyssen in Presents
Pasts (2003), which I have termed a postpyramidal critique of sacrifice in the context of
Mexico.
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II. Images of Mexico: The Adaptation of History and Imagination
The Mexican students protests of 1968 branched out from an apparently unimportant
incident, a fight between male students in July of that year. The fight led to wider police-
subsequent demonstrations and protests the students pressed for several demands while
the government was anxious to avoid social unrest during Mexico Citys hosting of the
authorities gradually worsened, with the takeover of University City at the center of these
escalating events, until the clashes culminated in a bloody confrontation in the Plaza de
las Tres Culturas or Tlatelolco in October 2, 1968. Estimates of the number killed and
events of that summer in Mexico City. Its argumentative core, as related to my reading,
focuses on a question that Auxilio asks Pedro Garfias and the poets in the first chapter of
the novel and that it is asked, directly or indirectly, to all the characters in the text. In the
beginning of the novel Auxilio recounts her exporadic jobs as a cleaning lady for two
exiled Spanish poets living in Mexico City (Pedro Garfias and Len Felipe):
7
Some sources report the number of deaths in the thousands but most report between 200-300. The
government version claims 4 incidental deaths and 20 wounded. For the best accounts of the events see
Carlos Monsivis Parte de Guerra.
151
Saben los poetas lo que se agazapa en la boca sin fondo se sus floreros? Y si
lo saben por qu no los destrozan, por que no asumen ellos mismos esta
responsabilidad? (17)
The call for help contained in Auxilios name, the indirect allusion to the massacre of
68, to the invasion of the UNAM and to questions of horror and accountability in the
former quote are introduced early in the novel. Amuletos first chapter announces: Esta
ser una historia de terror. Ser una historia policaca, un relato de serie negra y de terror.
Immediately after that Auxilio Lacouture introduces herself as the mother of Mexican
poetry, as Uruguayan, and later as someone who knows Arturito Belano (11). The history
terror inside of us, knowing the terror within, in the mouth of the vase [florero] an
object that during the narration is interchanged with others as the space of terror: books
(15), mysterious objects (18), tiles. The terror inside the vase alludes, of course, to
Tlateloco 68 and the occupation of the UNAM, but also to several events that permeate
Amuletos pages and are juxtaposed to other key events of the 20th century: the Spanish
Civil War, Latin American and Spanish dictatorships, the First War and the Mexican
Revolution. The connection with Paz Posdata is very clear and needs to be underlined:
even though Posdata doesnt seem to be the history of horror of 1968, it certainly is; it is
the history of 1968 and the story of that historymainly the Mexican revolution and the
Aztec past as understood by Paz and represented in the image of the pyramid, and as the
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In the previous block quotation Auxilio questions the Spanish poets apparent
passivity or indifference towards the issue of knowing the terror and its objects by
remaining apparently inactive or in a state of melancholy (17-18). At the same time, and
this is narrated in the specific context of her visits to Pedro Garfias, Auxilio questions her
own accusation of Garfias inactivity by noting that maybe he did broke many vases or
mysterious objects throughout his life (18), maybe his melancholic state and inactivity
against the terror she sees is something he fought against in the past. In Amuleto the
allusions to that possible past are not explained, but Garfias biography is specially
revealing when addressed in terms of these thematics. Garfias, who was a militant
republican during and after the civil war that led to Generalsimo Francisco Francos
dictatorship, was forced to flee Spain after the civil war (1936-39) as many others. His
writing reflects on that experience and his biography is an extended account of his years
vuestro comisario / yo era una llama de fiebre / y un retumbar de locura / en el filo de mis
dientes (Moreno 358). His writings are characterized by his commitment to the ideals
he physically and poetically stood for, and also to the always present attempt to connect
his exile with his past. This is very apparent in Primavera en Eaton Hastings (Poema
buclico con intermedio de llanto) (1941) which was written in England and focuses on
the ethical aspects of writing while in exile: mientras duerme Inglaterra, yo he de seguir
gritando / mi llanto de becerro que ha perdido a su madre (44). Garfias poetry addresses
mainly the victims of the civil war via the combination of imaginative acts and personal
experience as he reflects on the possibility of a closer encounter with the other, or in this
8
See specially the extensive critical and anthological volume by Francisco Moreno Gmez entitled Pedro
Garfias, Poeta de la Vanguardia, de la Guerra y del Exilio.
153
case, with the victims and the dead that he left behind after his exile. His is an attempt to
bridge, aesthetically and through memory, the past with the present, the experience of
exile and that of a militant defender of the republic with the experience of those who
In the former block quotation (17) Auxilio raised the same question of
responsibility once again, as if the writing attempts of Garfias and other poets had not
been enough, whatever their circumstance had been. However, it was in part because of
her reading of Garfias poems in the bathroom of the Facultad de Filosofa y Letras that
Auxilio was able to survive the occupation of the UNAM by the Mexican Police Especial
Force [Granaderos]: el pasillo estaba vaco, sumido en sus desvados colores crema y la
gritera que suba por las escaleras era de las que atontan y hacen historia.(30)9 But
Auxilio also sees Garfias poetry as one that couldnt resist her reading at a moment like
the one she was experiencing: la poesa de Pedrito Garfias apenas pudo resistir (hay
poetas que resisten cualquier lectura, otros, la mayora, no) y en esas estaba cuando de
repente o ruido en el pasillo (32). In this sense Garfias attempt to write is the correct
strategy, as Auxilio will later confirm when she claims that her successful resistance was
so because she wrote [porque escrib resist] although his poetry did not achieve the
capacity to resist her reading. This part of Auxilios story benefits the act of reading and
leaves the door open for the act of writing, for the poet as someone that can resist
9
De hecho, gracias a Pedro Garfias y a mi inveterado vicio de leer en el bao, yo fui la ltima en enterarse
de que [] el ejercito haba violado la autonoma universitaria, [] Qu hice entonces? Lo que cualquier
persona, me asom por la ventana [] vi furgonetas en donde los granaderos y algunos policas vestidos de
civil estaban metiendo a los estudiantes y profesores presos, como en una escena de una pelcula de la
Segunda Guerra Mundial mezclada con una de Maria Flix y Pedro Armendriz de la Revolucin
Mexicana, una pelcula que se resolva en una tela oscura pero con figuritas fosforescentes, como dicen que
ven algunos locos o las personas que sufren repentinamente un ataque de miedoy entonces yo me dije:
qudate aqu, Auxilio. No permitas, nena, que te lleven presa. Qudate aqu, Auxilio, no entres
voluntariamente en esa pelcula, nena, si te quieren meter que se tomen el trabajo de encontrarte. (30-31)
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anything, but not Garfias poetry. Garfias himself, in Primavera en Eaton Hastings,
questions the limits of the poetic task: El verso humano pesa / Yo lo cojo en mis manos /
y siento que me dobla las muecas, a conception of poetry against which Bolao stands
firmly. For Bolao, the poet, el verdadero poeta lo puede todo (Off the Record, Chile),
as he has expressed in several writings and interviews. The scene is important because it
establishes Bolaos conception of poetry, the poet and the possibilities of writing and
reading in relation to horror via the allusion to the militant Spanish poet and his exile in
Mexico. The multiple stories that Auxilio narrates are all linked to her mirador de 1968
just like Garfias interventions, and to Bolaos conceptualizations of the bind between
personal stories and hallucinations somehow related to the world of letters or art, her
bohemian life in houses, streets, bars and cafes in the DF, her memories of 1968, and her
determination to defend the last reducto of university autonomy (33). Her monologue
does not situate her in any particular space, location or time, even though her stories refer
to specific locations. Maria Martha Gigena has studied how Amuleto reformulates notions
of time and space using Auxilios narration in order to create a notion of time that is
always another time, a notion of the subject that is always another subject in constant
shift throughout real and imaginary locations.10 Auxilios narration is in this sense a form
of memorialization that does not reveal her present situation or location, but focuses
completely in the remembering of her past from a seemingly floating center. The notions
of time and space are fantastic in the novel and questioned by the multiple plays with
past, present and future, but also by the aspects of her narration that constantly fluctuate
10
Maria Marta Gigena, in Manzonis La Fugitiva Contemporaneidad.
155
between imagination and history and between self and other: Quiero decir: Me puse a
revuelto y adormilado en un solo huevo tibio (35) Auxilio has access to all the times:
mi nave del tiempo (mirador del 68) desde la que puedo observar todos los tiempos
(52) Her discourse also challenges fixed notions of the subjects and proposes an
atemporal I that is also the other I. Auxilio introduces herself as Auxilio Lacouture y soy
Uruguaya (11) only to moments later suggest herself as other, something which lead us
Leonora Carrignton, yo Eunice Odio, yo Lilian Serpas. These notions of time, space and
subject are fantastic in the traditional Southern Cone literature but also, and particularly,
in the tradition of Mexican stories such as Fuentes Chac Mool, which I will discuss in
the third part, and Paz notions of time and the subject which were explored in the first
section. The militant and straight forward poetry of Pedro Garfias cannot resist Auxilios
approach. In this sense Garfias melancholic, bucolic, militant and testimonial poetry is
which adopt militant standpoints. Nonetheless the writing of the Spanish poet helped her
Paco Ignacio Taibo II), historical (Montemayor, Camin), a more hybrid approach that
opens the discussion to the interplay between imagination and history (Paz, Bolao,
Volpi, del Paso, Aguilar Mora), interpretative and journalistic essays (Paz, Montemayor,
Fuentes, Volpi, Monsavais) and novelistic attempts to address a historical reality from
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several perspectives or areas of the political spectrum (Bolao, Sainz, Martres, Volpi).
These categories are certainly visible but not entirely, since many of them overlap in
form, style and narrative strategies. It will be useful, for the sake of contrasting, to review
Taibos and Elenas accounts before continuing my analysis. Their attempt to provide a
truthful and militant account of the events ended up incorporating Bolaos and Paz
main strategies fiction, myth, imagination, memory, history- providing a strong contrast
and also a similarity or certain dependency to the strategies used by the main texts
analyzed in this work. My analyses of Paz and Bolao will show how they, without
claiming a militant stance ala Poniatowoska and Taibo, also address questions of
the author and intersected with her subjective interventions. She calls it a collage of
voices bearing historical witness. Critics have underlined the mix of novelistic strategies
with the first person accounts collected by the author. David W. Foster sees the authorial
intervention in organizing the material gathered, the eloquent juxtaposition of oral texts
with various other sources, the interplay between personal commentaries and antiphonic
choruses (47) as conscious artistic decisions and interventions that lend La noche its
novelistic texture. Ponitowoska interviews witnesses and participants from all sides of the
political spectrum, victims and victimizers, left and right, but the tone of the narrative
clearly condemns the governments massacre and pays passionate homage to the victims,
identification with them. The arrangements of the interviews and testimonios collected by
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Poniatowska rely on modern narrative techniques, for example a non-consecutive
Taibo IIs account is a deeply personal memoir that relies on the authors
recover micro and macro stories related to the student movement and the government
repression. It is based on his journal entries from those four months which were
originally intended to become a novel that he had never managed to write: It is probably
a novel that does not want to be written (13). The value of these memories lies in what
they negate or try to escape but to which they inevitably return to. At various points
Taibo II claims as a problem the fact that for many, Tlatelolco 68 and the months
leading to the massacre have fallen in to the realm of myth or into the realm of fiction, or
that novel which he never wrote: Transforming into myth, into a mere collection of
intransigencies. I have come across some people who go so far as to say that none of it
ever happened (14). And then through the book, and specially towards the end of these
memoirs, Taibo II returns to the discussion of myth, in his characteristic overdrive tone,
only to adopt it and claim it as part of his vision of the student movement consequences:
I am thus in favor of the fantasy, the antiauthoritarian myth of the movement []. I
dont give a royal shit about objectivity. [] Because, when you get down to it, this is a
myth that gives them a major pain in the ass (130). Even though Poniatowaska and
Taibo II try to present a historical reality of a militant vein, their accounts are matizados
by novelistic and mythical strategies that raise questions about the ethical and aesthetical
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and imaginative acts. While trying to avoid writing a narrative invested in imaginative
Bolaos and Paz texts acknowledge and adapt this problematic faced by
Poniatowoska y Taibo II and adopt a narrative style that puts historical reality to work in
combination with imaginative acts. An example is how Auxilio narrates, alluding and
using standard procedures of horror films, how a soldier who entered the bathroom
almost found her, how he could have dropped his hat over the stools door, and the
listening of his steps without seeing him, and how at the end he did not find her. The
techniques of the horror filmic story are used several times throughout the text and are
more pronounced in the recounting of Erigones myth towards the end of the novel. The
use of horror films strategies is not something new in Bolaos narratives, in which
references to and use of literary and filmic genres such as Horror Films, Detective
plentiful.
mythical strategies, while Bolao recurs to a highly exploited strategy through his carreer
and which he employs in all the main texts discussed in this dissertation. It consists of the
skillful combination of fragments or short stories slightly interrelated that hover around a
semi-stable historical center, place or event, and a genre such as: Father Urrutia, the
Chilean dictatorship and the Costumbrista and Confessional in Nocturno; Carlos Wieder,
the narrator and the Chilean dictatorship and lo policial in Estrella; the Sonoran desert,
novela acadmica, among others) in 2666; and finally Auxilio, the violent events of
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Mexico 68, and the psychohistorical novel in Amuleto. What follows is a study on how
these adaptations occur in Amuleto and in Posdata and what they reveal about pyramidal
and postpyramidal critiques. In Amuleto, Bolao tried to destabilize the sense of firm
history or imagination, time and space. His critique of Garfias militant poetry or the
examples I critique (Ponitowoska and Taibo II) emphasize the erroneous sense of truth,
directness and compromise that characterizes the left political spectrum that Bolao
past and present, as fiction and history, with no single goal besides the attempt to move
towards (but beyond) what we cannot know for certain: Tlatelolco 68.
Carlos Fuentes Chac Mool provides another angle for the examination of Posdata and
Amuleto. The short story narrates the story of Filiberto, a frustrated Mexican bureaucrat
living in Mexico City who collects Mexican indigenous art and enjoys vacations in
11
A sculptural figure seated on the ground with its upper back raised. Its hands hold a vessel on the
stomach where offerings may have been placed or human sacrifices carried out.
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He puts it in his humid basement, flooded because of pipeline problems. Filiberto then
starts noticing changes in the sculpture, which slowly starts coming to life because of the
extreme humidity and constant rain. The Chac Mool becomes a subject, at first friendly,
but later more and more demanding and violent, terrorizing Filiberto with his endless
need of water. The living sculpture ends up killing Filiberto and taking over his life,
revealing a complete change of roles. We had learned at the beginning of the story that
Filiberto, a good swimmer, had drowned in Acapulco. By the end of the story we are led
to assume that it was the Aztec deity that, using his fantastic powers, drowned him and
indirectly brought him back. Now a yellow Indian, it is the Chac Mool who opens the
door when Filibertos dead body is brought back, and orders for it to be put in the
basement.
indigenous past; the same otherness or invisible Mxico that Paz underlines in Posdata,
and which both authors bring to modern history as the other which is the same, as a
preoccupation with the past and the subconscious mind. The main difference is that, as
explained before, Paz posit this past as the continuation of the Aztec power structure and
rituals of sacrifices, reflected in events such as Tlatelolco 68 or in other past events such
as the revolt of 1692.12 Fuentes, on the other hand, offers a take over by the past, an
inversion of roles or a repressed past that returns to haunt the present. Paz sees a
continuation between the Aztec kings, Virreyes and Seores Presidentes which also
translates into the manifestation of the invisible or the other Mxico that participates with
its blood in the sacrifices. In Posdata Paz demands a critique of this past but the core and
the tone of his critique focuses on the solidification of power in the figure of a President
12
Paz discusses this revolt in relation to 1968 in his introduction to Poniatowoskas La noche de Tlatelolco.
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of quasi religious status and the students role in this process, or their inability to turn the
acts into real changes: in place of tactical and strategic realism, what we find at this
(ix).This fact makes us question Paz decision when writing the prologue to
student movement. On the same hand, Taibo IIs book, full of oversimplifications,
slogans and anecdotes that praise the student movement, does little to escape Paz
criticism, which the detective fiction writer defines as essentialism, and attacks in his
memories of 1968. After his straight forward critique of the Mexican government, Paz
points out that in fact the student movement benefited the government, thus solidifying
the pyramid and the status quo, instead of accomplishing their demands for democracy
(Massacre in Mexico): the truth of the matter is that the primary beneficiary of the
events of 1968, and very nearly the only beneficiary, has been the regime itself, which in
the last few years has embarked in a program of reforms aimed at liberalizing it (xvi).
But to be fair, Pazcritique emphasizes that reforms that start at the top very rarely bring
out changean alternatative altogether different from the PRI is requiredbecause they
perpetuate the pyramidal structure. In fact, Paz critique stops short of suggesting
directly, I think he does it indirectly, a terrible parallelism towards the end of Posdata
the Aztec past by the governmentand the celebratory tone of the many books and
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homage to the student movement and especially those massacred at Tlatelolco. As he puts
it:
Arent the celebratory and melancholic books revering Tlatelolcos students perpetuating
the pyramid rituals, celebrating and cynically showcasing the guilt and pride that started
the rituals and add to the possibility of another Tlatelolco? Isnt the museum of
anthropology a homage and guilt exposition of the pyramidal faith of the student
movement? Is it not any attempt to write the story and history of Tlatelolco an uncanny
experience where familiar opposites collide? In other words, what Paz callsand
compares to the 1692 revoltthe spontaneous and healthy negation of 1968 has not been
followed by any kind of affirmation in terms of change and on the opposite sense, it has
been an affirmation of the pyramid, of the same point of view. What apparently
celebration of the same through the figure of the opposite, through the figures of
resistance. Poniatowska and Taibo IIs efforts also partake in the solidification of the
pyramidal image through a mechanism of resistance: when attempting to speak out they
end up reenacting and praising the role of those sacrificed and therefore restituting the
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value and the validity of the pyramidal power structure, of the sacrificial value, while
solidification of the pyramidal structure that is able to identify and exploit the antinomies
presented by institutions like the Museo de Antropologa, but also the failures,
shortcomings and blindness that solidify any attempt to change Mxico from the bottom
up. The Chac Mools victory or its return helps to understand Bolaos postpyramidal
approach to Mexico 68 because both imply a rupture with the continuation or repetition
of the past, the sacrifices of the past or the sacrifices of the PRI that Paz emphasizes and
criticizes. What can be learned in terms of this critique of the solidified pyramid beyond
imaginative (self)criticism of the sides involved in the struggle for a different Mxico?
What postpyramidal strategies are present on Amuleto and Chac Mool that add to Paz
critique? Are these texts offering a way to distinguish between espectros de las
pesadillas and las verdaderas visiones (155) that Paz establishes as the center of the
critique of lineal notions of time and subject positions or identities (see part two) but also
in its critique of the past and the recuperation of a subterranean world, the other Mxico,
or the invisible Mexico, which we have seen in Paz and Fuentes. Amuleto explicitly
situates America at the center of its critique recovering the same problematic past as part
of Auxilios meditations and chaotic ramblings: este continente que en mala hora
encontraron los espaoles, que en mala hora poblaron esos asiticos despistados (51).
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This is a clear allusion to the Aztecs and other pre-Columbian societies, and to the
Spanish conquerors. The postpyramidal approaches found in Chac Mool or Amuleto posit
imaginative acts at the forefront of their critique, which respond to Paz call for a critique
of the pyramid. Not only does Amuleto recover the espaoles and Aztecas despistados
but also the Aztecs guerras floridas (76) or wars of honor and responsibility between
Aztec groups, in order to provide bodies for sacrifice and satisfy the gods. Auxilio praises
Arturo Belanos participation in the Guerras Floridas throught Amuleto and calls for the
adoption of the same responsibility. She narrates how Arturo Belano participated in the
Guerras Floridas of Latin America and returned as a veteran who continued to help his
friends in Mexico City, especially in the scene of El Rey de los Putos (78-89) were
Belano and Auxilio save the life of a homosexual slave. As in Paz analysis, where the
1692 revolt or spontaneous explosion is compared to the Tatelolco 1968, the Guerras
Floridas in Amuleto are associated with the older generation of the 1968 student
movement in a translation of the act of responsibility via an imaginative act: the rescue of
a homosexual about to die at the hand of el Rey de los Putos en la Colonia Guerrero of
Mexico City. Arturo Belano returns from his participation in the Chilean Unidad Popular
and translates his experience into a battle against a modern King. It is a postpyramidal
critique because the battle is not merely a battle against the solidification of the PRI that
returns to the same, but a battle in all fronts, transnational and transhistorical, Arturo
Belano against dictatorships through Latin American, against the sexual exploits of a
King in Modern Mexico City, and as we have seen before, Auxilio against time, against
the violation of autonomy and against parricide, against the same petrified point of view.
In Fuentes Chac Mool the return of the other Mexico, the return of the invisible
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other which is the same, as the story clearly shows, posits a postpyramidal takeover and
literal destruction of the pyramid. The Aztec Chac Mool comes to life and after initially
establishing a relation of cooperation takes over Felibertos life, or the modern Mexican
subject, thus reversing the ritual of sacrifice and bringing the Aztec past to the present as
a visible entity, as a visible other that manages to occupy a space above the ruins of his
own Aztec past. The Chac Mools switch of the sacrificial hierarchy recovers the Aztect
past not to provide continuation to the pyramidal myth but to conquer the myth and
therefore call for a postpyramidal understanding of the present in aesthetic and political
terms that reply to the historical realities of Mexico. In Bolaos Amuleto the historical
and aesthetical recuperation of the Guerras Floridas and the battles against modern kings
by the structures of power in modern Mxico, or the same structures of power that put
Chac Mool in the basement of Filibertos house at the beginning of the story. This is an
aesthetical recuperation that hints at the impossibility of historical truth and at the
The key issue raised in this chapter, which remains tied to the aesthetical
dilemma, poses ethical and historical questions in relation to how identification of past
with present can avoid annihilating the distance between them, between self and other. In
relation to a postpyramidal critique Bolaos text provides a key scene which recovers
the Greek myth of Erigones and juxtaposes it to Auxilios narration. The story is well
known; Agamemnon returns from Troy and is assassinated by his wife Clytemnestra and
Egisto, who had become lovers during his absence (and now get married). Agamemnon
and Clytemnestras children, Electra and Orestes, decide to avenge their father and
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recuperate the kingdom by assassinating their own mother and Egisto. In the middle of
this story of parricide and horror it is the beautiful Erigone, the daughter of Egisto and
Clytemnestra, who now remains at the mercy of the new king and his sister, her
stepbrother and stepsister (Orestes and Electra). One night Orestes rapes her stepsister
and falls in love with her. Orestes knows the problem facing him, he is in love but she is
Egistos daughter and he must sacrifice her as the rest of Egistos followers. Orestes gets
Erigones pregnant and with Electras advice decides to kill her in order to avoid any
chance of Egistos bloodline taking over the kingdom again. Orestes, however, changes
his mind and gives Erigones the option of leaving the kingdom. Erigones accepts after a
long night of doubts, confessions and revelations amongst them. Orestes travels
accompanied by Pilades and becomes famous all over Greece. Erigones end is not
certain. She apparently committed suicide or was rescued by Artemisa, who made her her
priestess.
Carlos Coffen Serpas is the character that tells the Greek myth to Auxilio when
shes visiting to let him know that Lilian Serpas, his mother, was going to spend the night
somewhere else. This scene was preceded by Auxilios recounting of a fantastic story
where she talks and follows the Spanish exiled painter Remedios Varo, who had died
years before. There is no break between the stories, and the narration flows as if
Auxilios madness had reached an unprecedented level of conflicting images, stories and
atemporal situations: as era Lilian, as era la mujer que me puse a seguir desde el sueo
de Remedios Varo, la gran pintora catalana (105). At certain point Auxilio, during the
recounting of Coffens retelling of Erigones myth, thinks that Coffen Serpas is playing
games with her, trying to scare her as if they were playing the roles of Orestes and
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Erigones, and reflects on the story imagining that she is back in the bathroom of the
UNAM (once more) and that she is taken to the birth of history in a hospital bed: y los
mdicos me miraban y decan no, seora, slo la llevamos para que asista al parto de la
historia porque el parto de la historia no puede esperar, porque si llegamos tarde usted
ya no ver nada, slo las ruinas y el humo, el paisaje vaco (128-9). Auxilio then
opens her eyes, delivers her message to Carlos Coffeen and leaves to go to (or to appear
in) her apartmentmuch closer to the birth of historywhere she reads something that
its not Pedro Garfias: No recuerdo qu le. Seguro que no a Pedro Garfias (130).
Towards the end of Amuleto, specifically in the last two chapters and after Auxilio
has experienced the dreams and recounting of the myths, she literally assists to the birth
of history. Still in a psychotic state she becomes a dreamer of prophecies and predicts the
future of many writers, as she has predicted the graveyard of 2666 (77), but most
importantly she returns to the space of history, to the space of memory and the takeover
of the UNAM, to Tlatelolco 68. Auxilio recounts how she listens to her own legend told
by others and how it changed according to the storyteller. The narration is now an
extreme intersection of thoughts, prophecies, memories and opinions that exhaust the
discourse of conflicting memories, images and stories in order to open space for her last
vision of the students marching towards their death in Tlatelolco, towards the moment of
Los o cantar y nada pude hacer para que se detuvieran, yo estaba demasiado
lejos y no tena fuerzas para bajar al valle, para ponerme en medio de aquel
prado y decirles que se detuvieran, que marchaban hacia una muerte cierta. [..]
as pues los muchachos fantasmas cruzaron el valle y se despearon en el
abismo. [] y aunque el canto que escuche hablaba de la guerra, de las hazaas
heroicas de una generacin entera de jvenes latinoamericanos sacrificados, yo
supe que por encima de todo hablaba del valor y de los espejos, del deseo y del
placer. [] y ese canto es nuestro amuleto. (153-54)
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Erigones story is the opposite in terms of outcome, but is essentially the same pyramidal
structure relating to a history of State violence and sacrifice. After all the bloodshed and
parricide she left the kingdom, and although her end is uncertain, she did not become part
of history as one more sacrificed body by the State. She brakes the cycle of pyramidal
sacrifices. Erigones becomes an outsider and a nomad, an exiled, just like Auxilio, and
not a victim. The key to Auxilios narration is its uncanniness; she, as is the case of
Erigones, is an outsider an exile with an uncertain future, but also the mother of the
poetas Mexicanos and an insider who witnessed the violent events of 1968. Her narration
recognizes this double positioning and exploits it by providing a narration that conjoins
several stories told from the oppositional spaces de la cultura y la locura as to avoid
the trap of the pyramid. The repressed past returns in each of the stories, annihilated and
appropriated by the pyramidal history or the pyramidal homage but also returns to
disappear. The distance between past and present remains open just like the distance
between self and other. Auxilio watches the students walk towards their death and cannot
save them, cannot join them, cannot eliminate the distance between past and present
revealing the falsity of the truth, revealing the intersection of truth, fiction and history:
narration.
creative destruction which is also emphasized in Paz critique. It is plausible and most
169
certainly possible that Paz viewed his critique of the pyramid from self-ironic distance
without necessarily forcing its total validity as some have tried arguing.13 The emphasis
in Posdata, as well as in Amuleto, in images and metaphors of flux, diversity and its final
call to dissolve idols through use of the critical imagination, points towards the paradigm
of creation and escape from repression as a kind of imaginative escape from the pyramid
As I hope to have shown Paz and Bolaos narratives converge at various key points
helping to illuminate what a postpyramidal critique could provide without eliminating the
contact zones where history and fiction unavoidably meet. As Paz puts it in Corriente
dispersin, sea visible la unidad contradictoria de estos fragmentos: todos ellos apuntan
hacia un tema nico: la aparicin en nuestra historia de otro tiempo y otro espacio (1).
This temporary conclusion of how the Aztec past affects contemporary events is
grounded on the view of man, which informs Posdata and the view of the poet, which
informs Amuleto. It regards mans gestures, events and deeds as part of an ever-changing
flux, as signs in rotation to quote Paz title of a chapter form El arco y la lira. The
notion of sins in rotation places fiction at the center of mans search for identity: As is
13
See for example: La Divina Pareja: Historia y Mito en Octavio Paz by Jorge Aguilar Mora.
170
the case with nouns and pronouns, we are masks, [] we are inseparable form our
fictionsour factions. (11) The ambiguous quality of fictions and narrations, their
capacity to imagine, enslave and liberate, is the controlling fact in Posdata. Both Posdata
and Amuleto perform a critique of the pyramid that assumes the responsibility of
addressing the interdependence between historical events and the erasures proper to the
task of remembering, between the opaqueness of the world and the nave transparency of
certain accounts. The manipulation of memories occupies a central space where the
struggle for imagining a future takes place, for questioning the abstractions of history and
In Amuleto, Auxilio, the mother of all the poets and the mother of history, reveals
the postpyramidal body that attempts to distinguish between the nightmares and the
visions, between creation and destruction, via her imaginative and writing acts. Amuleto
is a text born out of the relation between words and death: Pens: porque destru lo
escrito me van a descubrir, me van a pegar, me van a violar, me van a matar. Pens:
ambos hechos estn relacionados, escribir y destrur, ocultarse y ser descubierta (147).
Amuletos vision of the poets seems to aggressively engage this question from the outset
as if trying but failing to affirm a politics and ethics in relation to the narration and the act
that focuses on the uncertainties of death and disappearance. As Auxilo puts it, the poet is
against aquellas tirnicas leyes del cosmos, que se oponen a las leyes de la poesa (34),
or the poet as facing las aventuras de la poesa que son siempre aventuras de vida o
muerte. The conflicting imaginations that Auxilio underlines in her narration, the
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different times as the incarnation of the same time and the different selves as the
incarnation of the same self, or Arturo Belano as active revolutionary and herself as
passive spectator, are all in agreement with Paz call for a postpyramidal critique of
conflicting histories. Paz gesture of solidarity called for the halt of the sacrifice rituals
and the avoidance of a return to the same. His risky postpyramidal critique gained him
many enemies; including those still enamored with the idea of revolution or with the
governments status quo, but suggested the only way out of the terrible repetition of the
events of 1968: the dissolution of the idols (de izquierda o derecha) within ourselves.
Why do the murderers of Ciudad Jurez come to my mind at this particular moment? Let
14
Volpis La imaginacin y el poder, an excellent hybrid account of the intellectual history of 1968 from
literary, political, ethical, journalistic and several other perspectives.
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Chapter 4
Roberto Bolaos novel 2666 (2003) is structured around the relationship between the
narrator and various other characters that gradually bring to light segments of the history
ethico-political questions. 2666 is divided into five parts, five stand alone novels that
recount the travels of several characters across Europe and Latin AmericaLos criticos,
assassination and disappearance of women in Santa Teresa / Cuidad Jurez, among other
stories of calamity which they live or learn about individually. In broad terms, their
discovery can be seen as a dialogic relationship between their own particular past stories
macro-structural level, and questions of shame, guilt, moral corruption, memory and
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In 2666 and the previously discussed novels Bolao poses the old question of the
artistsspecially writers and paintersrelation to society, but 2666 is by far his most
intense and provocative representation of the bind between political-ethics and aesthetics.
It is in this sense that the notion of writer or intellectual needs to be redefined; Bolaos
main character is a German writer of the post-war, and the other characters approach to
the main issues in 2666 is intimately connected to his ethics and aesthetics. What is then
Bolaos project?
way to examine Bolaos fiction and literary criticism in its inter-American and
literature, visual art, terror and memory, I demonstrate ways in which the experience of
witnessing horror and the questions raised by mechanisms of accountability exceed the
subject and the cultural, social and political institutions that systematize society, the legal
and religious institutions, social constructions of identity, the state and the military,
thereby allowing us to rethink how we relate to others, including the dead, the victimizers
and the disappeared, and consequently to the possibility of justice and responsibility in
the contemporary world and the future. My project oscillates between the atmosphere of
disillusionment and the possibility of a future or questions of hope in Bolaos texts and
throughout the history of the twentieth century. I have explored the boundaries of
horror (Literatura nazi en Amrica, Estrella distante, Nocturno de Chile), to the violent
events of 1968 in Mexico City (Amuleto) and now I move to the disappearance of women
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in the Mexico/US border and to Holocaust representations as they haunt Bolaos last
narratives (2666).
Contrary to several descriptive readings of 2666 and Bolaos oeuvre that tend to
overemphasize Bolaos interest and focus on total evil, el mal absoluto39 or his
historical consciousness, I show that Bolaos project seeks to excavate the history of
calamity of the twentieth century through an articulation of the conflict and connections
between aesthetic production and political intervention, a conflict that frames his
narratives and his vision of the world, a conflict that oscillates between disillusionment
and hope. I suggest that Bolaos impulse in writing these novels is to look for suitable
narratives to display the ethical and political dimensions of the speculative meditations
his characters and narrators perform. Confronted with the bankruptcy and vanished
explanatory power and appeal of enduring dichotomies of left against right, good versus
evil, ethical versus political, rational versus irrational, aesthetical/cultural versus ethico-
opening up a new space for a cultural and political discourse that reaches its highest
contribution in 2666. This leads Bolaos writing, its narrators and its readers to one
indicative of the failures of aesthetic innovation and political intervention in the past:
ego in several texts, in the note to the first edition. Echevarra points out that he found a
note that says: El narrador de 2666 es Arturo Belano (1125). The note is important
because it opens a space for an inter-textual dialogue with previous texts (Los detectives
39
J.C. Galdo and Ignacio Rodrguez de Arce.
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salvajes, Amuleto, Estrella distante, and several short stories and poems) where Belano
appears as the narrator or a character. The fact helps to add new and more precise
contexts to the extensive and complex narration presented in 2666. Curiously, the letters
that spell Belano form the word Nobela and Nobel, and Arturo can be almost certainly a
reference to the French poet Arthur Rimbaud. In Los detectives salvajes Arturo Belanos
sidekick is Ulises Lima, both obvious literary references but in their Latin American
The first part of 2666, La parte de los crticos, tells the story of four European critics
whose development as scholars and critical work is centered on the figure of Hans Reiter
(whose later penname is Benno Von Archimboldi), an obscure German writer of the post-
war period. The key problem faced by the critics during the 1990s is their ignorance of
scholarship and prestige. They spend most of their time presenting and defending their
reading of Archimboldi in conferences and visiting each other in order to alleviate their
solitude. Pelletier, the French critic, and Espinoza, the Spanish critic, share sexual
encounters with an English critic and graduate student Liz Norton; they expect her to
choose one of them as a committed partner. On the bench is Morini, an Italian critic with
multiple sclerosis and restricted to a wheelchair who also frequents the same conferences
and whose role within the group, it appears, is more of an observer. Towards the end the
critics end up in Santa Teresa, Mexico, where they expect to find Archimboldi. This
section will focus on the critics while also exposing some of the coded insights provided
176
The three male critics are middle-aged professionals born around the 1960s who I
believe are intended to represent the mindset of that group in the post-1960s era. Born
between the 1950s and 1960s, decades that intensively flirted with revolution, change,
and progressive ideals that ultimately faded, the critics were too young at the time to feel
anything but contempt and maybe a superficial identification with or rejection to their
elders nostalgia for (or opposition to) 1968, Cuba, Vietnam and other key events. Their
full integration to the work force as middle age intellectuals occurred in the mid 1980s
generation (b. 1953). Bolao, known for his marginal jobs and semi-lumpen existence,
came of age at the same time as a writer and is in many aspects the complete opposite of
what the critics represent as part of a professional group of scholars. The critics main
The critics are fully integrated into their profession but are fundamentally asocial
and melancholic subjects. This leads them, at various points during the novel, to abandon
their interest in the German writer and to concentrate in biological and private existential
pursuits. The seemingly unimportant love triangle that borders on novela rosathat latter
becomes a squarebetween Pelletier, Espinoza and Norton, one that requires constant
travels between England, France and Spain, reflects their borderline depressive
symptoms, their repressed need to fill a void. At one point during the novel, when they
take some time apart from each other, the male critics recur to frequent visitations to
bordellos and lose interest in their professional work. On the contrary, the 26 year old
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divorcee Liz Norton, behaves as if afraid of any kind of commitment and therefore
maintains several relationships at once. Her lifestyle covers up her maniac depression,
(192). Morini also participates of these conferences, visits and personal exchanges, at
first mostly from the limited space of the wheelchair though later as a key protagonist.
But before the critics reach the resolution of their sentimental and professional
dilemmas, which manifests itself as a repetition of the same old patterns or mechanisms
disillusionment and back to normalcy. Once the love triangle, the friendship between the
four scholars, and their common quest for Archimboldi has been established, a series of
events reveal that, far from lacking connections or seemingly acting as bourgeoisie
completely disconnected or absent from the terrible situations surrounding their daily
lives, the critics are actively involved in the former. From J.C. Galdos point of view, the
story of British painter Edwin Johns and the mutilation of his hand, which later became
part of a painting, comes to substitute that absence in La parte de los crticos: Hay en
La parte de los crticos un atisbo de lo terrible que est ausente de sus [los crticos]
vidas cotidianas en la historia de Edwin Johns (29-30). Galdo adds that the mutilation
artist debates his role and compares it to The Scream by Edvard Munch.
The figure of Edwin Johns, on the contrary, introduces new questions which are
not so much related to the absence of the terrible or the spiritual state of the
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contemporary artist/critics but to an economic issue, transaction or investment. We first
hear this story when Norton is telling it to Morini while they are walking through the
neighborhood where the painter used to live, and who moved there due to the more
affordable rent. Norton also told him how the painter became famous because of the self
mutilation of his hand, which he later located in the center of one of his paintings, making
the exhibition a total success (76). The reason for the mutilation is revealed later, during
Pelletiers, Espinozas and Morinis visit to the painters madhouse in Switzerland, but
we learn about it when Morini is telling the story to Liz Norton: -Por dinero -dijo
Marcel Duchamps were, since the British painter had already thought out his painting
before cutting his own hand, having it stuffed and put into a painting that he later sold.
a work of art without the artist to make it (Cros 55). Edwin Johns selected an object, a
part of his body, and decided to change it from body part to art piece. The process set in
motion by Edwin Johns and Duchamp redefines artwork, in the case of Duchamp at the
beginning of the 20th century (1910s-20s) and in the case of Edwin Johns at the end of the
century (1990s), a timeline that certainly has its value if we compare the selections of
objects at their respective periods. Duchamp selected bicycle wheels, books, shovels, a
bottle rack, but Edwin Johns used himself as the object. The key gesture of both painters
and Bolaos selection is to take an object directly from reality, therefore challenging and
questioning the value of another long debated dichotomy that locates copies and originals
179
as opposites. In these cases of selection and minimal artist intervention the status of an
become obsolete or superseded. Duchamp40 lived modestly and clearly achieved his goal
of showing his detachment and indifference to the beauty and value of the work of art;
during the three critics visit to a very lucid Edwin Johns (as if his stay in the institution
was unnecessary), the painter is explaining his vision of the world when the friends
notice an anthology of German literature from the 20th century that includes one of
Archimboldis stories. Johns explains that even though he doesnt read German, he
bought the book because he liked the painting by Hans Wette that appeared in the cover.
Far from expressing a terrible situation, Edwin John expresses an economic issue, which
he solved by taking the chance of investing his own hand and, as the former quote shows,
has a very coherent vision of the world. Galdos allusion to the painter refers to the
40
As Duchamp notes: No, I really dont feel like broadening my horizons. When I get a little money, I will
do different things. But I dont think that the few hundred francs or whatever cash I would get out of it
could make up for the hassle of seeing this reproduced for the public. (Cros 10)
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absence of the terrible in the critics life, something that is, however, only partially
absent, if we consider their conflictive relation to the murders and mass disappearance of
women in Santa Teresa/Ciudad Jurez, where the critics end up looking for Archimboldi.
For the most part, the critics accept the fact and go on about their business looking for
Archimboldi, concerned with their own situations as any other tourist. However, instead
of being absent from the critics lives, lo terrible, as Galdo puts it, is manifested in their
relation with Liz Norton and later as a partial coming to consciousness during their stay
in Santa Teresa.
A key event takes place in London, when Pelletier and Espinoza, infuriated after
finding out that Norton had yet another lover, violently attacked, insulted and possibly
killed a Pakistani taxi driver who insulted Liz Norton. The narrator describes the feeling
after the beating as: Era como si, por fin, hubieran hecho el mnage a trois [with
Norton] con el que tanto haban fantaseado, (103) as a multiple orgasm felt by the two
male critics and Norton as the voyeuristic observer. But later, when discussing the event,
Pelletier and Espinoza remain perturbed by it but also terribly attached to their violent
ways:
The incident establishes a precedent that links the three critics to the murderers of women
in Santa Teresa: the possibly dead taxi driver is left abandoned and found by others, just
like what happened to the women in Santa Teresa. The incident causes the critics a
certain shame and culpability, who go on their separate ways for a while. Espinoza and
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Pelletier start frequenting prostitutes. Then, after an unspecified period of time, the critics
meet again El tiempo, que todo lo mitiga, termin por borrar de sus conciencias el
sentimiento de culpabilidad que el violento suceso de Londres les haba inoculado (117).
The spiritual state of the critics didnt need, then, the figure of Edwin Johns to put in
evidence the terrible state of the artist, intellectual or writer of the contemporary world.
Through them, the terrible manifests itself as part of the horror presented in 2666. These
events mark a key moment that takes the critics from a functional normality, exemplified
by their relation with Norton and the academic world, to a period of violent
The critics trip to Santa Teresa is made possible by a key piece of information about
Archimboldi provided by a Mexican artist named Rodolfo Alatorre who they meet in a
seminar in Toulouse and who tells them about Almendros (el Cerdo) dealings with
Archimboldi. Mrs. Bubis, the wife of Archimboldis editor, had given Archimboldi
Almendro for help when Mexican policemen were trying to rob him on his way to Santa
Teresa. Mrs. Bubis had met Almendro at a cultural gathering in Berlin, and we will find
out more about him in the last part of the novel. Almendro, alias el Cerdo, was able to
help Archimboldi, and Alatorres grant to Toulouse, because of his privileged position in
the Mexican government. El Cerdo, or the Pig, explains it all: Bolao is reiterating
one of his frequents criticisms to the intellectual or artists attachment to the workings of
the state, which has its roots in the years of the infrarealistas and their attack of cultural
events or poetry readings that they did not like or agree with.
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The information provided by this encounter is not as relevant as the critics would
like to think it is, but serves to connect them with a net of mostly Mexican pretentious
intellectuals that guide them upon their arrival to Mexcio City, and later in Santa Teresa.
The key figure among them is the Chilean Professor of Philosophy at the University of
Santa Teresa and expert on Archimboldi, Amalfitano, the protagonist of the second part,
but introduced here as a melancholic and suicidal exile who helps the critics in their
pursuits. Amalfitano is very critical of Mexican politics and intellectuals. As the narrator
puts it: Amalfitano solo poda ser visto como un nufrago, un tipo descuidadamente
Amalfitano can be seen as the Latin American version of the critics. He belongs
to their generation, was born during the 1950s and 1960s, but is an advanced state of
disillusionment, which the critics will reach during their stay in Santa Teresa. It is
important to point out one monologue in which Amalfitano describes Mexican and Latin
American intellectuals and writers relation to power before moving on to the critics
experience in Santa Teresa and before continuing with the discussion of Amalfitano in
the next section. Amalfitanos vision, which acknowledges exceptions to its overall
outlook, presents a bleak panorama of an attachment to the state that was explored in the
Bolao Intersects Octavio Paz. Paz Posdata develops a critique of the pyramid that
writers from the right and left of the political spectrum of the Aztecs myth of sacrifice to
modern Mexicowhich his essay traces in detail from the times of Aztecs through the
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independence, revolution, domination of the PRI and Tlatelolco 68in order to
establish and target what he sees as a key problem in Mexican and global societies: the
mythical pyramidal point of view or the solidification of power represented by the image
of the pyramid and controlled, in the case of Mexico, by the PRI and the PAN, or in the
case of other societies controlled by the strong state. The simultaneous presence of
students, presidents, and gods at the top of the pyramid and sharing the same point of
view (Posdata, 289) poses particular ethical and political questions concerning the
relation of the state and its detractors as condensed in the image of the pyramid. This is
no? dijo Pelletier (160), but not by Norton, the youngest of the critics, who admits her
confronted here with the bankruptcy and vanished explanatory power and appeal of
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enduring dichotomies of left against right, art against politics, and the predominantly
writers.41 But more than criticism of a suspicious economic interest, Bolaos project
clearly attempts to posit the blurry demarcations or divisions between both sides of the
political spectrum, between the state, its soldiers and its critics, by emphasizing Mexicos
case in Amuleto and 2666 but also Chile in Nocturno and Estrella distante.
The key point here is to analyze how Bolaos texts can serve to study the
possible alternatives to the impasse described above and how it rejects the old political
dichotomies that dominated the 1960s and 1970s. Underlining the story of Edwin Johns
strategies in Europe and Latin Americathe case of Zuritas air poetry or Eltits
mutilations comes to mind42, and reexamines their gestures of protest and resistance. In
Bolaos oeuvre, the criticism of neovanguardist strategies travels from the mostly
suggested global and post-statal neovanguard that follows exclusively markets flows, as
is the case of British painter Edwin Johnsthis critique, of course, needed to be located
in Europe. The critique of Mexican intellectuals, on the other hand, remains attached to a
critique of the still prevalent authoritarian state in Latin America, dominated at the
present time mostly by left-center coalitions and multiple flirtations with market policies.
41
At a recent national conference and after otherwise interesting presentations exploring the archival
material on Boom writers at Princeton Univeristy, the discussion round sadly turned into a discussion of the
proper amount of economic compensation the writers should have received or should receive in the future
for their documents or personal archives.
42
See chapter one.
185
This is key for an overall reading of 2666. The novels main figure, Archimboldi, will try
to avoid this flux of capital and complex economic concatenations and its circumstances,
which in the case of Amalfitanos monologue makes the distinction between left and
right, an inoperative one, or one that only serves the state. In the case of Edwin Johns it
posits the question of art and politics in a post-state context. The discussion of
Archimboldis poetics in the last part of the chapter will bring to light what I think can be
read as response to these problems in 2666, and which remains here as an impasse, an in-
Thus, two aspects of La parte de los crticos remain crucial for my reading: the
insights into Archimboldis literary productions and criticism provided by the critics and
which I will address in part five, and the European critics experience in Santa Teresa.
The latter is marked superficially by the critics failed search for Archimboldi. The
academics of Santa Teresa, who the critics approach with disdain and arrogance, trips
around the different neighborhoods of Santa Teresa, which are described as if in a state of
The consummation of the often mentioned mnage a trois takes place in Santa Teresa and
seems to operate as an agent of change. Little is known about the event, except that it was
initiated by Norton and that afterwards she could not sleep and thought about Morini,
who stayed in Italy, and that Espinoza and Pelletier fell profoundly asleep. Soon after the
43
Similar to the narrator in Estrella distante
186
Durante tres das vivieron como sumergidos en un mundo submarino. Buscaban
en la tele las noticias ms bizarras y peregrinas, relean novelas de Archimboldi
que de pronto ya no entendan, se echaban largas siestas, por las noches eran los
ltimos en abandonar la terraza, hablaban de sus infancias como nunca antes lo
haban hecho. Por primera vez se sintieron, los tres, como hermanos o como
soldados veteranos de una compaa de choque a quienes ya no les interesa la
mayora de las cosas. Se emborrachaban y se levantaban muy tarde y solo de vez
en cuando condescendan a salir con Amalfitano a pasear por la ciudad, a visitar
lugares de inters de la ciudad que acaso podran atraer a un hipottico turista
alemn entrado en aos. (172)
A very revealing fact about the sexual encounter, which was previously compared to the
beating of the Pakistani taxi driver (103), is that it changes the purpose and priorities of
their stay in Santa Teresa. Soon after Norton announces that she is leaving, Pelletier and
Espinoza, after various vague attempts to locate Archimbolidi, seem to interact more with
Santa Teresa in their respective ways (179, 181). Espinoza starts a relation with a young
carpet street salesman and Pelletier rereads Archimboldi and tries to become acquainted
with Santa Teresa by reading newspapers. Towards the end of this part they both receive
an e-mail letter from Norton recounting the story of her return to safety and normalcy, far
away from the horror she perceived in Santa Teresa, and now involved in a relation with
Morini. The e-mail letter is intercalated with short fragments in which the narrator
describes Espinozas relation with the young salesman and Pelletiers readings. Both
have had opportunities and have superficially played with the possibility of immersing
themselves into the murderers of Santa Teresa or other strategies as a way to search for
Archimboldi, who is there in order to help his nephew, who has been accused of the
murders. Instead, they return to the normalcy of their disillusionment and are at least one
step closer to the state of consciousness exemplified by Amalfitano (152). The Chilean
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his current situation or to his encounter with the European critics already discussed in this
section.
Oscar Amalfitano is a Philosophy Professor at the University of Santa Teresa who moved
to Mexico with his sixteen-year old daughter Rosa after the expiration of his contract at
the University of Barcelona. His wife, Lola, abandoned him before their move to Mexico.
She went in search of a new life with her favorite and idealized poet, who ultimately
rejects her. At the time the poet was living in a madhouse in Mondragon, Spain. The
reference to poet Leopoldo Maria Panero (1948) is clear.44 Lola, also in a psychotic state,
lives precariously and risks her health during strange sexual encounters and finally falls
ill. She visits Amalfitano and Rosa on more time after seven years, only to let them know
about her unsteady situation and imminent death due to AIDS (237).
chaos, Amalfitanos figure raises two important questions among several others: what has
happened to enlightenment, to the ideal of rational discourse since the 1960s? How can
we study the antirationalist tendency perceptible in all Western societies in the present
day? Or, in his own words: No s qu he venido a hacer a Santa Teresa No lo sabes?
instructed his sister to hang and expose a geometry textbook to the elements of nature and
consider it her wedding present. Amalfitanos imitation uses the Testamento Geomtrico
44
Spanish poet fascinated with the radical left. Known also for his stays in prison or madhouses.
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by Catalan poet Rafael Diestea textbook he has, although he does not know how it
came into his possessionand also exposed it to the elements by hanging it up from his
clothes line upon his arrival to Santa Teresa. The readymades, according to Harriet and
Sidney Janis explanation in Marcel Duchamp, Anti-Artist, are what the name
suggests: complete objects which are at hand, and which by reason of the artists
selectivity are considered by him as belonging to the realm of his own creative activity
readymade:
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Duchamps Unhappy readymade plays with notions of chance and links the textbook to
human experiences and feelings, as the title shows. As Harriet and Sidney Janis put it:
This ready-made epitomizes the conflict between human knowledge and the eternal
verities. Duchamp accepts as inevitable the action of the forces of nature, the changes
which time effects, its proclivity for corroding, destroying, reducing to rubbish all that
man builds (38). This understanding of the ready-mades, which is congruous with
Duchamps own descriptions and vague explanations of his artistic selections, has
striking similarities to Edwin Johns conception of the world and theory of casualidad in
La parte de los crticos (123). This resemblance can be seen especially with the casual
libro cargado de principios, (246) a geometry book, to the random forces of nature.
conflicts against the forces of nature and in relation to his troubling presence as part of
imitation of Duchamps readymade, and the gradual deterioration of his mental capacities
to organize his life can be put in two key contexts. The first one is his antirationalist
inclinations, which include his ready-made and his drawings of geometrical figures with
various apparently random names of thinkers in their vertices, and secondly his random
meditations about Santa Teresas climate and atmosphere of destruction and desolation,
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intertwined with his concern for the safety of his daughter Rosa, conversations with the
ghosts of his father and grandfather, and other people from or visiting Santa Teresa.
After describing the hanging of Diestes book from the clothes line the narrator
relates Amalfitanos discrediting of the logic of geometrical figures and ideas which he
continues in the form of drawings. These were drawings of random geometrical figures
with names in their vertices and which he draws unconsciously during his classes or
while sitting at home. The description of the third figure, which has a B on the top of the
antirationalism:
dibujo 1 dibujo 3
dibujo 6
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poda ser Dios o la existencia de Dios que surge de su esencia. Slo entonces
Amalfitano repar en que el dibujo 2 tambin exhiba una A y una B y ya no
tuvo duda ninguna de que el calor, al que estaba desacostumbrado, lo haca
desvariar mientras dictaba sus clases (248).
Amalfitano produces three more drawings with names, which also share the pattern of
were found in his study desk, and even though he recognized them as his he had no
recollection of drawing them. Drawing number six partially breaks the pattern of the
previous five and presents the figure of Vladimir Smirnov on one side, disappeared in the
Stalinist concentration camps in 1938, and on the other side the figure of Suslov,
ideologist of the Stalinist regime. This seemingly logical ordering is turned into comedy
by two horizontal lines that include the names of Harold and Allan Bloom. Amalfitanos
disillusionment with his profession and the ideals of enlightenment at a theoretical level
political context of Santa Teresa and its landscape, as in his last drawing, which attested
His general disillusionment and concern with Rosas safety, in a city were women
are murdered and disappear, drives Amalfitano to the point of suicidal thoughts: Hay
venir aqu? Por qu traje a mi hija a esta cuidad maldita? Por qu lo que deseo, en el
starts hearing a voice that questions him, and again, starts making a confusing list of
thinkers, this time without the geometrical figures (265). His state of mind and
meditations on Santa Teresa are captured in the descriptions of the Sonaran landscape.
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During an undesired trip to the outskirts of Santa Teresa with a female colleague
These descriptions, the feeling of someone following him, the moments when he hears
the voice or worries about Rosas safety and future, his olympic rejection of professor
Perez sentimental advances, his philosophic lists and geometrical drawings, as well as
the news offered to the reader about newly found murdered bodies of women, are often
made, which he contemplates every morning before departing to work, upon his arrival
home and before bedtime. It is the contemplation of failure and defeat of a Chilean
philosopher at the hands of casuality and the forces of nature. But besides the
irreconcilable with the former critique of reason. Amalfitano is talking with the voice that
Amalfitano dijo: todo lo dems nos traiciona? Y la voz: si, en efecto, si, es duro
admitirlo [] pero es la puritita verdad. La tica nos traiciona? El sentido de
deber nos traiciona? La honestidad nos traiciona? La curiosidad nos traiciona?
El amor nos traiciona? El valor nos traiciona? El arte nos traiciona? [] No,
dijo Amalfitano, el valor no nos traiciona jams. Y el amor a los hijos tampoco.
Ah, no?, dijo la voz. No, dijo Amalfitano, sintindose de pronto en calma. []
As que todo nos traiciona, includa la curiosidad y la honestidad y lo que bien
amamos. Si, dijo la voz, pero consulate, en el fondo es divertido. (267)
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After this visit from the voice Amalfitano recovers some relative confidence and
happiness and seems to believe in the advice uttered by the voice: Y despus: tienes que
tener cuidado camarada, me parece que aqu las cosas estn al rojo vivo; Ponte a hacer
algo til (269) Todo est muy bien deca la voz, todo es cuestin de que te vayas
acostumbrando (270). And in fact Amalfitano seems to adjust to the circumstances and
returns to functional normalcy. He plans how to send his daughter to a safe place in
Barcelona, talks with Dean Guerras son about the precarious situation in Santa Teresa
and Mexico, which they seem to see from similar bleak lenses, reads about Chile and
dreams with Boris Yeltsins ridiculous explanation of life (Oferta + Demanda + Magia)
(291). It is an apparent return to his initial normalcy, but within his current state of
failure, depression and frequent mental collapses. As we know, the crisis will return to
haunt him and drive him once again to the point of suicidal thoughts as La parte de los
hanging of his book, of his means of survival, of his method. Invited for dinner at
Amalfitanos, the critics Pelletier and Espinoza take a look at Amalfitanos unhappy
ready-made while the Chilean observes them: Desde la ventana Amalfitano los
observaba mordindose los labios, aunque ese gesto en l, y en ese preciso instante, no
(177).
The link between Amalfitanos condition, the bleak panorama and socio-political
exemplifies the clash between human knowledge and the stable verities in Amalfitanos
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struggle with selection and decisionsmake the argument concerning Amalfitanos
character as a clear case of disillusionment and paranoia in which the failure of any
possibility of rational discourse makes for a sarcastic critique of enlightenment and for an
establishment of cynicism and the cynic throughout Amalfitanos figure: the ultimate
IV. Fates Abjection and the Death of the Mother: The Crisis of Identity Politics (La
Oscar Fate, also known as Quincy Williams, is a young African American journalist from
New York who works for a racially defined magazine: Amanecer Negro. La parte de
Fate follows Fate throughout the course of several journalistic assignments combined
with several personal experiences. During these the narrator and Fate recount Fates
attempts to diversify the magazines political approach, to come to terms with the death
of his mother, and with the socio-political and ethical panorama that surrounds his
The story of Fate is constructed, among other things, around a key and elemental
body function: vomiting. From beggining to end Fate vomits or feels nauseated (302,
328, 332, 383, 412). The fact incites us to think Fates narratives in relation to the
ambiguous catharsis and in terms of what we feel compelled to cast away from ourselves,
During the course in which I become, I give birth to myself amid the violence
of sobs, of vomit. Mute protest of the symptom, shattering violence of a
convulsion that, to be sure, is inscribed in a symbolic system, but in which,
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without either wanting or being able to become integrated in order to answer to
it, it reacts, it abreacts. It abjects. (3)
Throughout the novel, Fate will journey through moments of abjection as a mode of
narration that emphasizes horror, emptiness, gradual defeat and doubtfulness of the
subject faced with abjection, understood as that which recreates social unlivability, as a
repressed exclusion that always threatens to come back, as a loss but also a gain of
identity that serves as counterpoint to the moral norm, and that threatens Fates own
imbedded in his position as an African American journalist working for a marginal and
narrowly defined magazine stages a symbolic domain of representation for the crisis of
identity politics.
The novel begins by outlining a sense of disconnection between Fate and his deceased
mother while he takes care of funeral arrangements and assists to the funeral right before
departing to Detroit to interview a member of the Black Panthers. The city of Detroit is
later compared to Santa Teresa, where Fate will later end up in order to cover a boxing
match. Fate doesnt know any of his mothers friends or neighbors and ignores basic
details about her and her life (301), while working for a magazine that emphasizes a
sense of racial and communal support. The death of the mother is put into words towards
the end of this part: El dolor impreciso que siento ante la desaparicin de mi madre?
(398). Before Fate does not manifest any emotion or thoughts about his loss but moves on
pass the corpse of his mother. After the funeral service he vomits for the first time (302).
The thought of his mother, the corpse and the vomiting accompanies him during
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his work assignments. For Julia Kristeva the corpse is the crucial site of the abject, the
site where meaning collapses. It, the death of the mother or the corpse, is a threat to
Fates identity, which combined with the almost simultaneous death of his mothers
neighbor-friend and the murder of a colleague from the magazine, expose to him the
fragility of his own identity and body as an African American, a journalist and a son. The
corpse then introduces another key element of La parte de Fate and 2666: fear. This
fear, however, will arrive slowly as Fate immerses himself in the atmosphere of Santa
Teresa and eventually has to abandon the safety of the funeral ritual for the space of
unburied bodies and potential cadavers who are lying and walking around in Santa
Teresa, and faces the constant presence of his dead mother (340, 344, 353, 360, 382, 433,
438) as a corpse laying outside the realm of the sacred. After the funeral he leaves the
Panthers Party in 1966 who is now living in a rundown and apparently dangerous (309)
neighborhood in Detroit. When he finally reaches Seaman the first thing he does is to ask
for the bathroom and vomits. Two decades after intensive flirtation with revolution,
change and progressive ideals that ultimately faded, Seaman remains as a preacher of
nostalgic discourses and a writer of cooking books. The caricature painted by Bolao
captures the remains and the political disillusionment of an armed movement reduced to a
small place in the margins of history or in the subterranean history of modernity to which
the murdered women of Santa Teresa also belong. Seaman, aware of his position in
history but still idealizing the movement and surviving as well as he can, states this
better: [] preocupado por mis hermanos, a la mayora de los cuales les importaba un
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pimiento el que yo me pudriera o no (326). In the same line of Seamans story the
narrator tells the story of Antonio Ulises Jones, and African American member of the
Communist Party in the United States, who Fate had interviewed in the past. This
reportage had given Fate a certain stature in the magazine. Antonio Jones ended up in the
These stories of defeat and the crisis of ideological and identitarian movements,
which include several others that will be mentioned later, are not meant to inform the
reader of events or histories certainly familiar, but to set up Fates politico-ethical relation
to his past, to his job and to his future visit to Santa Teresa. Fate is entangled in a history
of marginality and defeat that still seems to believe in itself, as the magazine orientation,
the illustrious figures he interviews and his actual job show, even though they are the
folkloric residues of generations that strived for radical change. Up to this point we are
only teased with contradictory notions of Fates positions in this dilemma, positioned as
involved and disconnected, as vomiting and nausea: Nunca ms volvi a ver a Antonio
Jones, de la misma manera que era muy posible que nunca ms volviera a ver a Barry
Seaman (332). Both activists are alive but also dead father figures. One could also say
that they are dead mother figures that gave birth and maintained radical movements of
emancipation and resistance and that, as Fates mother, finally succumbed to stronger
forces and were forgottenas the ashes of Fates mother left alone in her own house
turned into mere dreams and nostalgia after their death: El dolor impreciso que siento
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The imprecision of these disappearances (i.e. maternal, ideological) and the
disillusionment that accompanies them is the main topic of La parte de Fate and the
framework for the following questions: what has happened to leftists and minority
movements, to the ideal of revolutionary and resistance discourses since the 1960s and
1970s? How can we examine the reduction of activism and new resistance movements
noticeable in all Western Societies today? The European critics of the first part were a
figure that belongs to the younger sector of the same generation, a generation born
between the 1950s and 1960s, and therefore too young at the time to feel anything but
contempt and maybe a superficial identification or rejection of their elders nostalgia for
(or opposition to) 1968, Cuba, Vietnam, Civil Rights, and other key events. Their full
integration to the work force as middle age intellectuals occurred in the mids1980s and
1990s climate of conservatism and political disillusionment that the thirty year-old Fate
needs to negotiate form his marginality and not from the position of privilege occupied
Before leaving Detroit, Fate gets a message asking him to go to Santa Teresa to cover a
boxing match. He then goes to Seamans house to say goodbye, and as hes leaving, he
laughs while running downstairs remembering that one of the books that Seaman read in
prison was an abbreviated compendium of Voltaire. On his way to Santa Teresa, driving
from Tucson, Fate stops at a restaurant where he is the only black person and where he
overhears parts of various conversations. The most interesting one takes place between a
a young and an old man who talk about crime in general and about the murderers
199
occurring in Santa Teresa. The old man, Professor of Criminology Edward Kessler, states
his theories about the assassinations. He is on his way to Santa Teresa for the second
time. I will return to his theories in La parte de los crmenes, where Kessler plays a
prominent role and where the details of his first visit are revealed. At this point Fate is not
informed about the crimes and disappearances of women in Santa Teresa, although he
overheard parts of Kesslers conversation and still focuses on the boxing match (341).
esclavos, a book written by a white professor and that Fate saw at Seamans apartment
and later bought. Fates reading is totally arbitrary and emphasizes its banal aspects: a
flag he cannot identify and the beauty of some names (334, 340). Crossing the frontier he
is asked again if the purpose of his visit is investigating the crimes but Fate doesnt seem
new charactersmainly Mexican sport journaliststhat will play a key role in this part
and also enhance Kesslers discussion of the assassination in Santa Teresa and the
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But the best example of the problematic of identity as politics and politics as identity,
geographical space or location, even though Fate hesitates when his identity comes into
play. Throughout the narration Fates apparently stable politico-racial identity and
stancean African American journalist working for an African American magazine and
reporting on African American issuesis tested by his coming to consciousnes with the
of his mother. His constant thinking about his dead mother reveals an approximation to
Fates eventual commitment to an issue outside the African American spectrum. While
driving to go interview the African American boxer Count Pickett, Fate thinks of his
alguna manera ella ya estuviera muerta o como si le dijera, con gestos y no con palabras,
que los rostros no eran importantes ni en esta vida ni en la otra (360). The image
indirectly suggests that the issues should be faceless or colorless and puts Fates general
dilemma in terms of his relation to his mother and the two journalistic tasks he needs to
disappearances. Chucho Flores, a young sports writer who dated Rosa Amalfitano
introduces Fate to the confusion surrounding the assassination cases: La mayora son
detenidos. Hay algunos casos solucionados. Pero la leyenda quiere que solo sea uno y
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and asks permission to write a reportage about the murdered women and becomes
irritated when Mexican resembling their pre-Columbian past are ridiculed by another
North American journalist. The North American journalist comments: A eso le llaman
mejorar la raza. Un enano mexicano manda a su hijo enano a estudiar a una Universidad
mayor estatura. La clase alta mexicana, de hecho, esta haciendo, por su cuenta y riesgo,
lo que hicieron los espaoles pero al revs (365). Fate reacts and tries to punch him for
his commentaries: T qu eres, un publicista del Ku Klux Klan? (366). The story told
by the North-American journalist is in fact told in a playful tone aimed at ridiculing the
attempts, by the middle and upper classes in Mexico, to cover up their past. The story
also explains the reason why there are not many Mexican heavyweights, or for the same
reason, Latino heavyweights. But the racial critic of the Mexican racist bourgeoisie,
which has enough accuracy to be stated, infuriates Fate who has entered into a process of
decoloring and recoloring himself but in the opposite direction to the whitening process
described by the other journalist. Fate now wants to write about the disappeared Mexican
women in the border with the United States or the Sonoran landscape, to make them
appear or noticed, while the journalist accused by Fate of being a propagandist of the Ku
Klux Klan, describes another formula for their disappearance in the present.
Santa Teresa Fate remembers a previous proposal for an article about La Hermandad de
Mahoma, a group of black radicals from Harlem that manifested themselves in favor of
Bin Laden after September 11, 2001 and that described Fates magazine as dated (369)
and September 11 as a scheme designed by the CIA or the FBI. The rejection of the
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article on La hermandad by magazines director is based on the grounds of insignificance
or the degree of radical stupidity manifested by the members. Fate accepts the rejection
but gives an explanation of his reason for proposing such article: La estupidez -dijo
Fate-. La variedad interminable de formas con que nos destrozamos a nosotros mismos
(372). The statement outlines Fates understanding of the African American struggles as
a unified front that rejects attempts to diversify the resistance and probably confirms the
criticism of La hermandad when its members discredit Amanecer Negro as dated. But
even if Fate does not sympathize with La Hermandads support for Bin Laden after
Teresa moves his politics and approach to journalism beyond the fixed boundaries of the
entonces? Sobre poltica dijo Fate-. Sobre temas polticos que afectan a la comunidad
afroamericana. Sobre temas sociales (394). Fate accepts and supports the narrow,
this waycovering the story of a black boxer in Santa Teresa simply because he is black,
or the Black Panthers, or the black communistcancels the possibility of any relevant
discussion and opens the possibility for any group, marginal or not, to manifest
themselves from the same narrow optic. But after days learning about the murders and
disappearances in Santa Teresa, a phone discussion with the director of the magazine will
show Fates new face and approach to his journalistic activities, a change provoked by
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-Un retrato del Tercer Mundo -dijo Fate- un aide-mmoire de la situacin de
Mxico, un panorama de la frontera, un relato policial de primera magnitud,
joder.
-Un aide-mmoire - dijo el jefe de seccin-. Eso es francs, negro? Desde
cuando sabes tu francs?
-No se francs -dijo Fate-, pero se lo que es un jodido aide-mmoire.
-Yo tambin se lo que es un jodido aide-mmoire. -dijo el jefe de seccin []
-Aqu hay material para un gran reportaje -dijo Fate.
-Cuntos putos hermanos estn metidos en el asunto? -dijo el jefe de la seccin.
-De qu mierda me hablas? -dijo Fate.
-Cuntos jodidos negros estn con la soga al cuello? -dijo el jefe de seccin.
-Y yo que s, te estoy hablando de un gran reportaje -dijo Fate-, no de una
revuelta en el gueto.
-O sea: no hay ningn puto hermano en esa historia -dijo el jefe de seccin.
-No hay ningn hermano, pero hay ms de doscientas mexicanas asesinadas,
hijo de puta -dijo Fate.
-Qu posibilidades tiene Count Pickett? -dijo el jefe de seccin.
-Mtete a Count Pickett en tu jodido culo negro -dijo Fate. (373-74)
The editorial manager and Amanecer Negro posit one of the key problems of essentialist
conceptions of identity and race: one that privileges particular categories and aspects (e.g.
sexual orientation, race, color, political struggle) as the key determinants of social
meaning and politics of changethe interviews by Fate to the Black Panthers founder
and the Black communist from Brooklyn are also examples. The narration in 2666 shows
these political figures in an advanced state of marginality and political decadentism that
surpass what they faced at the beginning of their struggles. This essentialist approach, as
shown in 2666, loses sight of the instability and heterogeneity of identity categories. The
example of La Hermandad de Mahoma shows a way out of this essentialism that even
though is politically dangerous and violent, it manifests the need to open up the politics
of solidarity instead of constructing limited identities. Fate, even though he supports the
essentialist tendencies of Amanecer Negro and critics what he calls the stupidity of La
hermandad, moves in the direction of a new task as the former quote describes: to
undermine and question identity politics in order to destabilize the normalizing forces,
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progressive or reactionaries, that bring these essentialist categories into being in the first
place. Fate moves towards the coming into being of the faceless mother (360). To give an
example from the realm of identity politics, Fate is closer here to the late Gloria Anzalda
and her not so popular politics and notions of identity bridges. As the author of
While This Bridge Called My Back displaced whiteness, this bridge we call
home carries this displacement further. It questions the terms white and women
of color by showing that whiteness may not be applied to all whites, as some
possess woman of color consciousness, just as some woman of color bear white
consciousness. This book intends to change notions of identity, viewing it as
part of a more complex system covering a larger terrain, and demonstrating that
the politics of exclusion based on traditional categories diminishes our
humanness []. Many of us identify with groups and social positions not
limited to our ethnic, racial, religious, class, gender, or national classifications.
Though most people self-define by what they exclude, we define what we are by
what we includewhat I call the new tribalism. [] to include whites is not an
attempt to restore the privilege of white writers, scholars, and activists; it is a
refusal to continue walking the color line. [] These inclusions challenge
conventional identities and promote more expansive configurations of
identitiessome of which will soon become cages and have to be dismantled.
(2-4)
Fates impulse to write an aide-mmoire with transnational and transracial flavor points
to a movement similar to the one described above by Anzalda, a step that many groups
based on identity and community formation are still unable to accept and for which
Anzaldua was highly criticized. Fates movement attempts to explain, highlight and study
the heterogeneity of social struggles and marginalized groups, the manifold and
strategies, their potential for change and transformation should be exposed to the outside,
working for a magazine that limits itself to African Americans issues. Fates figure shows
the inseparability and complicity between third and first world issues. His aide-mmoire
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never materializes but Fate experiences first hand some possible explanations and
procedures of the murderers in Santa Teresa, as we will see, and also realizes the limited
Fate meets Guadalupe Roncal at the hotel were the sports journalists covering the
boxing match are staying. She is a journalist from the DF forced to cover the events in
Santa Teresa and afraid for her life while performing the task. Three other journalists
have been killed in the DF for investigating the assassinations in Santa Teresa, as she puts
it: El brazo de los asesinos es largo, muy largo (376). Roncal, who inherited the files
gathered by her predecessor and is terrified, invites Fate to interview the main suspect at
the present, a German-American, in order to feel safe (378). After Fate accepts the
invitation he goes on with his report of the boxing match and Roncal wont appear again
until the end of the novel. Her contribution is to tie the assassinations and disappearances
to Mexico City. After the encounter with Roncal Fate will confront doubts about their
encounter (383) and his interest in the assassinations; he will also confront his own vomit
or the smell of vomit once more (383), and finally he will cover the boxing match
thinking about departing immediately to Tucson in order to fly back to New York.
The fight was over only after two rounds, and Fate was invited for a last meal by the
sports journalists Charlie Cruz, Chucho Flores, Corona and two girls (Rosa Amalfitano y
Rosa Mendez). The reason Fate gives to change his plans is the beauty, the relative
beauty of Rosa Amalfitano (399). They also go to a few dancing places were Rosa seems
to be taking drugs and later ends up at Charlie Cruz house. After watching a rare and
unknown film by Richard Rodriguez with Charlie, Fate looks for Rosa Amalfitano, who
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is sniffing cocaine while Corona, and Chucho discuss something unknownprobably
who is going to have sex with herand Fate, almost murdering one of them, violently
takes her away and they leave Charlies house. The narration suggests the possibility of a
murder but this is not confirmed. Fate apparently thought that she was in danger or that
something wrong was going to happen and takes her to his hotel (427). Once in the hotel
Rosa tells him story of her relationship with Chucho, Charlie and Rosa Prez. Rosa had
met them at Charlies video store and started dating Chucho, who introduced her to
cocaine and later lost her for being too jealous. Fate met them briefly after those events.
La parte de Fate offers another glance at Amalfitanos figure and situation. The
Amalfitano but add to them and to the story line, specifically in regards to what
happened to his daughter Rosa before the arrival of the critics, and about his
take place before the visit of the European critics, and the latest news we have about
Rosa and Fate left the hotel because someone supposed to be a policeman called
looking for them. They went to Oscar Amalfitanos place, where he asked Fate to take
Rosa to the United States and then put her in a flight to Barcelona. Fate brings up the
assassinations after the father asks him to take Rosa to the US: Se trata de los
asesinatos? dijo-. Usted cree que ese Chucho Flores est metido en el asunto? Todos
estn metidos dijo Amalfitano. (433). After Fate and Rosa leave, the novel intercalates
their trip out of Santa Teresa with the appointment with Roncal at prision where the main
suspect (Klaus Haas) was being held. The narrative strategy is the same used in the
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previous parts. La parte de los crticos intercalates Nortons e-mail with the critics
description of their last days in Santa Teresa while La parte de Amalfitano intercalates
Amalfitanos reading and thoughts about Lonko Kilipan with his conversations and
experiences with Guerra. Just like in the previous parts the ending remains open.
Key at the end are Amalfitanos, Rosas, Roncals and Fates suggestions and
ideas about Santa Teresas situation. Amalfitano insinuates that everyone is involved
(todos estn metidos) (433), that the problem, as the criminologist Keesler put it before,
is one that could involve everyone in the community: B: los crmenes tienen firmas
diferentes C: esa ciudad parece pujante, parece progresar de alguna manera, pero lo mejor
que podran hacer es salir una noche al desierto y cruzar la frontera, todos sin excepcin,
todos, todos (339). Amalfitano precisely follows Kesslers advice and gets Rosa out of
Santa Teresa. Rosa, after calling Rosa Perez without any success, suggests that she is
dead: Creo que Rosa est muerta (435). The suggestion links Chucho and Charlie and
their friends to the assassinations in Santa Teresa and to Fates previous comments about
them: [Chucho] lo not como si tuviera algo demasiado grande en la cabeza. Y como si
no supiera qu hacer con lo que tena en la cabeza, aunque sta al final le reventara
(427) or when he asks Amalfitano about the assesinations: Se trata de los asesinatos? -
dijo-. Usted cree que ese Chucho Flores est metido en el asunto? (433). Towards the
end, in company of Fate and Rosa, Roncal freezes before the presence of the American-
German suspect of the assassinations that she was supposed to interview, Fate remembers
that maybe Roncal, Rosa or the suspect himself, said the following: Nadie presta
atencin a estos asesinatos, pero en ellos se esconde el secreto del mundo (439). Fate
208
responds to the statement with more questions that were provided by the narrator at the
Fate ends up sharing the same predicament of the critics and Amalfitano, but in his case
and at thirty years old, the degree of disillusionment and cynicism is just starting to grow,
as manifested in his ideological brakeup with the magazine and his pursuing of the sacred
according to his meditations: Rosa Amalfitano as the ideal of beauty, the sacred, and the
situation and his decisions lead Fate once more to the death of the mother, to his dead
mother (433), to a lost and irreparable situation from which he is trying to escape. So
what is that Fate abjects, that Fate vomits? Is it the essentialist politics, the vomit of the
too dense, too strong to stomach for a long time and now needs to abject it, to expulse it,
in order to encounter his faceless mother. He vomits: El dolor impreciso que siento
Speculation.
La parte de los crmenes deals, to some extent, with the destruction of the physical
landscape by human acts and with the suffering and violence of the inhabitants of those
landscapes, the Sonoran landscape. The dumps, maquiladoras, and the run-down city of
Santa Teresa all present a pattern of violence and destruction only mitigated by a few
209
instances of hope. The atmosphere of dissolution is also intensified by nature, by the
desert and the heat, by the semi-apocalyptic tone of the narrative. This part is made up of
of events that surpass the simple police report and investigation attempts to present a total
but imperfect photograph, a negative, of the living and dying conditions of modern
society. The effort of some policeman, journalists, clairvoyants, and feminists groups
usually falls into oblivion. Politicians and drug dealers seem to be implicated.
infierno: Como Ciudad Jurez, que es nuestra maldicin y nuestro espejo, el espejo
nuestros deseos (339). Ciudad Jurez is Santa Teresa in 2666, but Bolao moved this
city, which in strict geographical terms is located across the border from El Paso, Texas
to the West, and closer to Hermosillo, Mexico, in the Sonoran desert and below the
border with Arizona. La parte de los crmenes is an alephic report in which the
(2002) and by the Mexican journalist in direct collaboration with Bolao. No one better
Hace algunos aos, mis amigos que viven en Mxico se cansaron de que les
pidiera informacin, cada vez mas detallada, adems, sobre los asesinatos de
mujeres de Cuidad Jurez, y decidieron, al parecer de comn acuerdo,
centralizar o pasarle esta carga a Sergio Gonzlez Rodrguez, que es narrador,
ensayista y periodista. [] [Huesos en el desierto] transgrede a la primera
ocasin las reglas del periodismo para internarse en la no-novela, en el
testimonio, en la herida e incluso, en la parte final, en el treno. Huesos en el
desierto es as no solo una fotografa imperfecta, como no poda ser de otra
manera, del mal y de la corrupcin, sino que se convierte en una metfora de
Mxico y del pasado de Mxico y del incierto futuro de toda Latinoamrica. Es
210
un libro no en la tradicin aventurera sino en la apocalptica, que son las dos
nicas tradiciones que permanecen vivas en nuestro continente, tal vez porque
son las nicas que nos acercan al abismo que nos rodea. (Entre parentesis 214-
215; my italics)
This abyss, in an apocalyptic and adventuristic tradition, is what Bolao works with in
2666, details the femicide of more than three hundred women in Cuidad Jurez
between 1993 and 2003. Gonzlez account mixes forensic reportage, journalism,
femicides45 in which the average age of the victims was twenty two years. Gonzlez
emphasized the coincidences between some of the crimes and the serial aspect of some of
them in terms of modus operandi, being aware of the heterogeneity of the possible
perpetrators and the situations in which these took place. Bolao compares his book to
the work of Michael Herr, Gunter Wallraff and Ryszard Kapuscinski (Entre, 215).
crimes in Ciudad Jurez who is also transformed by Bolao into a character named
mirror of the frustrations and infamous interpretations of our liberty and desires (Entre
339) as Bolao describes Cuidad Jurez, (2) a reportage heavily informed by Gonzlez or
his imperfect photography (Entre 214), a picture of evil and corruption that Bolao
considers as a metaphor of Mexico and its past and of Latin America and its apocalyptic
future, (3) the Bolaian imagination revising and arguing with Gonzlez account and (4)
45
The concept belongs to Jane Caputi and Diana E. H. Russell: Femicide: Sexist Terrorism against
Women.
211
Bolaos fluctuations between an imperfect photograph of Latin America and its
extension and connections to other Western histories of disquiet and disillusion (Los
Archimboldi/Germany).
La parte de los crmenes zooms in the concerns and theories about the crimes in
Santa Teresa introduced in the previous parts by the critics, Amalfitano and Fate, among
other figures. It also ties the human apocalypses and extreme criminal behavior
represented by Santa Teresa in La parte de los crmenes with the genocide and terror of
the Second War and the holocaust as presented in La parte de Archimboldi that closes
2666. It is in part the aide-memoire proposed by Fate and rejected by his editor in-chief.
It sets forth the points and theories to be used for discussing the crimes and explores the
multiple relations between the vast spectrum of figures involved in the criminal cases and
the world view presented in 2666. In addition, it serves as a bridge and as a center, as the
point that contains all the points, and as the space of arrival and departure for the key
figures of 2666. Chronologically it covers the period between 1993 and 1997. It should
coincide partially in terms of time period after the end of La parte de los crmenes and
more or less at the beginning of the 21st century. None of these parts or novels is limited
to these temporal boundariesthere are significant incursions to the past and allusion to
the future in all the partsbut the chronology offered above provides a sense of
continuation. Of course this sense of continuity is obscured by the many temporal and
212
thematic detours and deviations that Bolao takes in each of the many united fragments
Kidnapped, tortured, raped, stabbed, shot wounded, strangled and mutilated, poor
En el caso de Mnica Posadas, esta no solo haba sido violada por los tres
conductos, sino que tambin haba sido estrangulada. El cuerpo, que hallaron
semioculto detrs de unas cajas de cartn, estaba desnudo de la cintura para
abajo [] La vagina estaba desgarrada. La vulva y las ingles presentaban
seales claras de mordidas y desgarraduras. (577)
The bodies, abandoned in clandestine dumps (El Chile) or left to rotten in the desert, are
surrounded by a plethora of characters and stories related and unrelated to the crimes:
journalists, politicians, drug dealers, clairvoyants, physicians, gangsters, etc. The reader
of this part is also exposed to many stories seemingly unrelated but always somehow
hypotheses accompanied by more than a hundred lifeless bodies. In what follows I will
focus on several key characters and readings of the crimes that amount only to a
minimalist exposition of the alephian, noir and apocalyptic world presented in the fourth
part of 2666.
Santa Teresa IV: The Crimes and the Sonoran Landscape According to Kessler
(Robert K. Ressler)
During Fates drive from the United States to Santa Teresa in La parte de Fate, the
213
conversations. The most remarkable of these takes place between Professor of
Criminology Edward Kessler and a young man. The professor states the following:
This is the first time in which someone develops an extended opinion about Santa
introduced, but never delivered, during La parte de los crmenes, when Kessler visited
the city to study the problem and instruct the local police. His appearance during the
fourth part borders the mockery of his methods and theories, as in Huesos en el desierto,
and concludes precisely at the moment when he is supposed to deliver his knowledge in a
conference in Santa Teresa. Then, during La parte de Fate, we find out the possible
results of this lecture cited above and set in a cafeteria of the border and during Kesslers
214
In Kesslers theory Santa Teresa is established as a peripheral commune, which
the filter of words keeps isolated from societal scrutiny or relevant exposition. This
isolation from social scrutiny is not solved merely by exposing it because, as presented in
the case of the horseman/assassin, who belongs to society and whose acts are writable
one of the moments when the narrator analyzes his own role and questions, through the
figure of Kessler, his own narration and exposition of the situation in Santa Teresa. The
exercise in writing and the ethics of writing which hides more than it reveals. The
accentuates this theory. One should also remember that at the time of the conversation
between Kessler and a young man during La parte de Fate, Fate, a journalist and
watchman for the rights and conditions of African American minorities, the subject
supposed to grab and turn this type of information into a successful social and political
agenda, fails to listen, record and report the conversation, fails to gather the information
that his profession requires. The fact is symptomatic of the narrators tone and style. As
the reader knows, even when Fate finds out about the assassinations and becomes
involved with the community in Santa Teresa, his role is limited to asking for permission
(Klaus Haas) and taking Rosa Amalfitano away from Santa Teresa.
215
Kesslers own theory of the assassinations is marked by its pessimism and the
way it cancels itself. At the end, Kesslers proposition is a massive exodus from Santa
Teresa towards the desert and the United Sates (339). A mass departure and evacuation of
Santa Teresa which would probably end as a massive form of genocide, due in part to the
difficulty of surviving a border crossing because of natural but also human elements, in
the border between the two walled nations. Kessler doesnt speak to these possibilities
but does propose the exodus and clearly suggests a politics of inaction and contemplation
of the same or a catastrophic exodus: Usted dir: todo cambia. Por supuesto todo
cambia, pero los arqueotipos del crimen no cambian, de la misma manera que nuestra
Correa, a Mexican criminologist in 2666, who describes Kesslers work and succinctly
satirizes his techniques and professional background (722-723). Aside from the critique
of Kesslers work, experience and methods, Garca Correa seems to be in agreement with
Kesslers understanding of the futility of any effort to provide solutions to the problems
in Santa Teresa: Ser criminlogo en este pas es como ser criptgrafo en el polo norte.
Es como ser nio en una cruja de pedofilos. Es como ser merolico en un pas de sordos.
Es como ser condn en el reino de las Amazonas (723). In fact, the previous statement
could be understood as the essence or the key argumentative line in La parte de los
crmenes.
Klaus Haas is Hans Reiters / Benno von Archimboldis nephew and a businessman with
Enciso. He had also been accused of dealing with prostitutes and improper sexual
216
conduct while living in Tampa, Florida and Denver, and his behavior after moving to
Mexico continued to be that of an eccentric with a drive for sexual exploits, frequent
visits to whorehouses and a loveroom in one of his stores (598). Haas was born in La
Repblica Federal de Alemania in 1955, where he also had a criminal past, and was later
nationalized American (USA) in the 1980s. When arrested he was operating very
profitable computer stores in Santa Teresa and Tijuana. The evidence against him for the
assassination of Santa Teresian Estrella Ruiz Sandoval was not conclusive but his
criminal past, his reactions to policeman Epifanios interrogations (597) and several
accounts confirming his relation with Estrella seemed to portray him as guilty of that
murder. His incarceration provides a scattered view of the corrupted and chaotic
correctional system in Santa Teresa, his additional theory about the crimes in Santa
Teresa, and a reason for Hans Reiter/Benno von Archimboldi to travel to Santa Teresa.
After he is arrested and detained the crimes continue in Santa Teresa, and while he may
be guilty of the accusations related to Estrella it is obvious that he is not responsible for
In Estrellas case, the blood that was found in the basement of one of Haas
computers stores in Santa Teresa was sent to a laboratory for DNA testing in order to be
compared to that of Estrellas relatives, but the blood got lost on its way to Hermosillo
and San Diego. The attempt to incriminate Haas fell through the cracks of the system. It
is insinuated that Haas paid for the disappearance of the incriminating evidence or that
the system just didnt work. Haas case is a typical example of the destiny of many of the
crime investigations or theories narrated in La parte de los crmenes. The vast majority
of the cases are closed by lack of evidence or leads, and the totality of the theories about
217
the crimes are often turned into ambiguous theorizations and sometimes superstitious
speculation.
The theory that points to the possibility of a serial killer in relation to the
assassinations in Santa Teresa is improbable, but there is the possibility that a smaller
amount of the femicides fit the serial category. Sergio Gonzlez affirms this possibility
in Huesos en el Desierto when he mentions that among the 300 assassinations: [] est
descriptions of the criminal cases, similar to those that appear in one of the chapters in
Huesos en el Desierto (La vida inconclusa), also point to this possibility of a serial
chain within the approximately three hundred murders (719).46 In the same line, Klaus
Haas proposes a serial theory that exculpates him since he is still in prison and the
assassinations continue. Haas, during one of the various press conferences he arranged
from prison using his cell phone, explains that Estrella Ruiz Sandoval and at least other
thirty women were raped and killed by Antonio Uribe and his cousin Daniel Uribe, both
businessmen with strong ties to drug dealers and police officers and to the United Satets
(731-732). Haas explains that Antonio started the rapes and assassination and that later
Daniel found pleasure in these events in which he was, at the beginning, only a peeping
46
Many suspects are questioned and incarcerated for political reasons but none is found guilty of the serial
crimes. The Mexican authorities emphasized the impossibility of a Mexican serial killer and pointed to a
foreigner. Gonzlez gave several examples in Huesos en el desierto including the model for Bolaos Hass:
El 3 de octubre de 1995, la PJECH detuvo al egipcio Abdel Latif Sharif Sharif, un qumico que llevaba
poco tiempo de vivir en Ciudad Jurez despus de una residencia de dos dcadas en Estados Unidos. Tena
49 aos de edad y sus antecedentes penales le hacan sospechoso de antemano: 14 denuncios en juzgados
estadounidenses por violacin y atentados al pudor [] Una jven a la que haba conocido en un bar
juarense le acusaba de violacin, secuestro y lesiones, lo que haba llamado el inters de la autoridades.
(16). Abdel Latif Sharif Sharif also appears in Seorita Extraviada, a key documentary on the Jurez
murders produced by Lourdes Portillo. See also Whitechapels Crossing to Kill: The True Story of a Serial-
Killer Playground.
218
Tom and Antonios helper during the clean up and the disappearance of the bodies. Haas
theory implies multiple reasons such as sexual fetishes and the Uribes social position,
rich kids with double nationality whose fathers had married North Americans, the
marriage between North and Central America, in a process of whitening, blanqueo and
demexicanization. It also points to their ties to the police and drug cartels, but no specific
link to any of the assassinations is provided. The polices attempt to corroborate this
known, is unsuccessful. Just like all the theories that had been provided so far, this one
connected to several important aspects of the novel. One of them is his description of a
bloody giantread Archimboldithat will come to rescue and avenge him (603), and
the second one is the atmosphere of fear, degeneration, chaos and corruption that is
incarcerated. The topic of corruption and its links to the state and the narco-industry are
visible in the activities, forms of community and dialogues that Haas leads from prison,
and is continued in one of the key stories narrated in this part: the investigation
characters from Mexico City that visit Santa Teresa. Sergio Gonzlez is turned into a
character that follows very closely the biography of the Mexican reporter and author of
Bolaos main textual, human and testimonial source for this part: Huesos en el Desierto.
219
Sergio Gonzlez, in need of some extra cash, visits Santa Teresa to investigate, for the
newspaper La Razn, the case of the desecrator of churches, an investigation that leads
nowhere (470). Gradually, back at work in Mexico City, he becomes interested in the
femicides and returns to Santa Teresa. During a press conference in prison Haas gives
him a phone number and they establish a fragmented conversation about the crimes.
Besides his conversations and interviews with Haas and with members of the
police department, Sergio Gonzlez interviews a clairvoyant named Florita that believes
she understands part of the situation (715), but her explanation is in reality very vague.
Sergio Gonzlez does not believe in her profession but suggests that impunity is one of
the key aspects of the situation. Florita replies that the immensity of the problem doesnt
have anything to do with impunity: Cmo si se supieran impunes? No, no, no, dijo
Florita, aqu no tiene nada que ver la impunidad (715). The key character in relation to
Sergio Gonzlez reportages is Azucena Esquivel Plata, a Mexican deputy who also gets
involved in the femicides by chance. Azucena contacts Sergio Gonzlez and tells him
the story of a good friend, Kelly Rivera Parker, who disappeared in Santa Teresa and was
never found. While telling the story of her friend she reveals to Sergio all the information
she had about the crimes in Santa Teresa and also provides another imperfect photograph
Uno cree que desde adentro puede mejorar algunas cosas. Primero trata de
mejorarlas desde afuera, luego crees que si estuvieras dentro las posibilidades
reales de cambio seran mayores. Al menos uno cree que desde el interior uno va
a tener mas libertad de accin. Falso. Hay cosas que no cambian ni desde afuera
ni desde adentro. Pero aqu viene la parte ms divertida. La parte mas increble
de la historia (y me da lo mismo que sea la historia de nuestro triste Mxico o de
nuestra triste Latinoamrica). Aqu viene la parte in-cre-i-ble. Cuando uno
comete errores desde adentro los errores pierden su significado. (761)
220
Kelly Rivera Parker was a party planner who did business in Santa Teresa. She organized
parties with prostitutes for rich people that included rich businessmen, drug dealers and
PRI politicians. Azucena finds this out duringnLoyas investigation. Loya, a former
employee, tells her that the people involved in her friends death or disappearance are her
own people, or PRI politicians that participated in these parties and that had ties with
drug dealers in northern Mexico: Quines? Su propia gente diputada, sus propios
compaeros de partido (780). Loyas help is therefore clarifying but also setting the
limitations of the kind of job hes been asked to do. From his point of view Mexico was
half-dead and half-alive (780). During a two-year period Loyas reports continue and
Azucena gains a better picture of her friends disappearance, and also realizes that her
selfish and egocentric efforts and thirst for vengeance have turned her personal interest,
little by little, from finding her friend into a political consciousness that actively seeks to
resolve the femicides. The parties that Kelly organized were orgies for bankers,
politicians, drug dealers and people with ties to the maquiladoras industry.
It is after Loyas death, apparently of natural causes, that Azucena recruits Sergio
Gonzlez in order to continue with the investigations, or as she tells him, to revolcar el
avispero (790):
He ledo sus artculos. Son buenos, pero a menudo golpea all donde slo hay
aire. Yo quiero que golpee sobre seguro, sobre carne humana, sobre carne
impune y no sobre sombras. [] Conozco los nombres de todos o de casi todos.
Conozco algunas actividades ilcitas. Pero no puedo acudir a la polica
Mexicana. [] Hay gente a la que no le quiero hacer dao y a la que sin
embargo daar. Lo doy por bueno puesto que los tiempos estn cambiando y el
PRI tambin tiene que cambiar. As que slo me queda la prensa. [] He dicho
casi siempre, no ponga esa cara de incredulidad, dijo la diputada. Aqu uno
publica lo que quiere sin problemas. (789)
221
Azucenas alternative is to give Sergio Gonzlez all the information gathered by Loya
and ask him to investigate more and to publish it in order to instigate reactions. She
claims a certain liberty of speech that is relative to the circumstances and that, as we
know, lead to the assassination of Sergio Gonzlez in 2666 and almost to the same
outcome in his real life.47 Sergio worked side by side with Azucena and kept publishing
Fate by journalist Guadalupe Roncal, ends up being assassinated. There was too much at
stake in these cases to let any reporter reveal too much. Azucenas claims about the
almost total liberty of expression in the Aztec nation is negated and interrogated. She is
part of the pyramidal ritual of sacrifices, as are her intentions to change the PRI and the
Azucena, Loya and Sergio is brought down to a localizable human dimension in which
the figure of the politician/private investigator and the journalist/writer and their hopes
and consciousness are useful as a critique of the pyramid, rationality and patriarchy, but
not as a politics of the future or change. After Sergios assassination Fate and Guadalupe
Roncalwho inherits Sergio and Azucenas filesalso attempted and failed to produce
anything remotely convincing as an strategy to deal with corruption and the femicides
present total evil as many have argued. Good intentions and political activism may not
be enough to stop the infamous assassinations or the race towards disaster presented in
Santa Teresa as microcosm of modernity, Latin America and later Europe. Even before
47
The life threatening beating is described in Eplogo Personal, Huesos en el desierto.
222
his encounters with Azucena Sergio had understood a key aspect of the problem:
Sergio raises a political and ethical problem that is tied to the multinational
capitalism exploitation of women laborers in the maquiladoras that have flooded the
Mexican border since the 1960s: the reproduction of quasi mechanical female subjects
without life protection or the female as a subject, object of sexual and mechanical
production and adaptation of the body and soul to the machine. The machine-body can be
overworked, exploited, overused, and raped until it breaks or stops functioning, until it
dies or becomes obsolete. In real life Sergio had been tortured and badly beaten by
unknown raptors linked to the political system in Mexico, but also with connections to
the very profitable business of las maquiladoras, especially in northern Mexico. In 2666
Bolao scatters throughout the text the names of these assembling companies (e.g.
Horizon W&E, EMSA, TECNOSA, Aiwo, Nip-Mex) that usually accompany the
description of one of the assassinations. The real Sergio Gonzlez and author of Huesos
en el Desierto, from whom Bolao borrows a lot of information and fictionalizes and
Monarrez Fragoso subraya que, en estos casos, la mujer es menos que mujer, es
un sujeto a quien se le niega su experiencia subjetiva. (37)
223
maquiladora impone un paradigma que penetra y ordena el cuerpo de la
sociedad (41)
activity of death and reproduction of sadistic desires and economies tries to negate the
function of breadwinner to the female body and instead posits her as threat that must
disappear. However, after the pervasive sense of political and ethical disillusionment that
dominates the previous parts of 2666 and La parte de los crmenes, especially its end,
2666 ironically turns to the obscure but somehow hopeful figure of a German soldier and
writer. Despite the sense of alienation and depersonalization that surrounds him,
Reiter/Archimboldi is the key figure of a politics of the future set against the strong
Soldier/Writer.
the knstlerroman on the subject as an artist rather than as a man in general. In La parte
de Archimboldi the knstlerroman marks the passage form nio-alga to soldier and
finally artist-writer, from Reiter to Archimboldi, and to the fluctuation between one and
48
A type of bildungsroman where the protagonist undergoes an education. Key examples of
knstlerroman are Joyces Portrait of the Artist as a Young Man and Dickens David Copperfield. The
knstlerromans, especially after 1914, are often social-political snapshots of society, a relevant aspect for
the readers of 2666 and La parte de Archimboldi.
224
the other throughout his life. The knstlerroman genre is a popular form of disseminating
an authors concern about his or her artistic and social persona based on different depths
appear before and in a more direct autobiographical vein (Amuleto, Estrella distante, Los
highly fictional and obscure form of the genre. Regardless of whether or not Bolao
de Archimboldi demands a dialogue with the genre, as many other Bolaian texts, which
do not clearly belong to any genre, but demand dialogues with other genres:
others.
life and evolution as soldier and a writer: (1) Reiters childhood, (2) traumatic
participation in WWII where he doesnt kill anyone but gets hurt and loses his voice for a
while, (3) reading of Anskys manuscript and becoming obsessed with the life of this
victim of the war, (4) listening to the story of a German bureaucrat who disappeared
many Jews and who he later kills at the prisoners camp, (5) becoming an extremely
prolific writer with multiple concerns but especially the atrocities of the war and its
victims and the reasons why the critics of the first part claim that Reiter/Archimboldi
should get a Testimonial Award, (6) disappearance from the social body.
225
Hans Reiter
Second World War veteran Hans Reiter (b.1920), who later becomes a very prolific
postwar writer under the penname Benno Von Archimboldi is the son of a First World
War Prussian veteran, a cojo, and a blonde, blue-eyed mother who is tuerta (795).
Reither doesnt have any physical limitations and instead develops a strange capacity to
dive for extended periods of time and to see under water, as well as a preference, as a
child, for the sub-aquatic world, the underwater world. He does not fit the often common
identification of the Germans with the woods or the sea as the mirror of the British
(Canetti, Borges). He prefered: esa otra tierra, llena de planicies que no eran planicies
y valles que no eran valles y precipicios que no eran precipicios (797). His seaweed-like
body seems appropriate for the underwater world and as a boy he manifested a particular
capacity to resist extreme situations such as the lack of oxygen, which is compared in the
sino un alga (797). A seaweed, a plant that symbolizes an elemental form of life, life
without limits or end, hope. Born at the moment when Prussia became a free state of the
Weimar Republic and was destined to disappear, Reiters figure is a figure of conditional
Slo los prusianos se salvan. Pero Prusia ya no existe. Dnde est Prusia? T
la ves? Yo no la veo. A veces tengo la impresin de que murieron todos en la
Guerra. [.] Dnde estn entonces los prusianos? Me acerco a los requeros y
los busco en el horizonte gris? [] Solo te veo a ti [Reiter], tu cabeza entre las
olas que aparece y desaparece [] y aunque a veces mis ojos te pierdan de vista
o aparece tu cabeza a mucha distancia de donde te habas sumergido, no temo
por ti, pues se que volvers a salir, que las aguas nada pueden hacerte. (802-803)
Ever since he was born, and as the son of mutilated parents leaving in Europe between
wars, Reiter is intimately linked to the European conflicts during the first half of the
226
twentieth century. As the Prussian nation is disappearing, Reiter grows up and becomes a
nomad, full of peripatetic and aquatic experiences and is eventually kicked out of school
at the age of thirteen, curiously enough, the same year that Hitler took power. The school
official recommended teaching him an occupational skill because he was not capable at
school, his verbal skills seemed awful, and he was seemingly uninterested in school. As
his country disappears, so does his formal educational grounds, which cause him to go
through a series of jobs from which he is fired because of his lack of dedication. He ends
up working at the same place where his mother works, in a baron Prusianos countryside
house, where he meets Hugo Halder, the barons nephew, and helps him steal things from
the barons place. Halder is a dreamer and a trickster, always with multiple plans to
become successful in the least possible amount of time. Reiter often works cleaning the
books in the Varons library but does not read them until one day, when Halder asks him
to pick one. Another key description of Reiter is given, indirectly, when after picking
Parsifal, by Wolfram von Eschenbach, Halder tells him that that book, even though he
227
Wolframs description is conveyed to Reiter via Halders perception. It will prove very
important when Reiter becomes a writer to understand many of his decisions, especially
when Wolfram says: yo hua de las letras, yo no posea artes or when Halder mentions
that Wolfram used to wear his vestimenta de loco underneath his gentleman attire, or
when he speaks of the independence of the medieval poet or of his uneducated education.
part of the knstlerroman. In this case, however, the first revision of the genre takes place
by moving away from the arquetipo del caballero cortesano (822) or the traditional
struggle described in the former quotation, forces the creator into two groups: the Ivory
Towers and Sacred Founts. The first category privileges isolation in self-created ivory
towers or spaces for creation, and regards their sacrifice as worthier than a life fully
lived. The sacred founts are the opposite: they equate art to life experience or the
participation in history. Reiter, as we will see, fits well in the sacred founts category,
but also crosses over to a place of isolation, although not in its conception as privilege
After the baron closes his house Reiter moves to Berlin, where Halder helps him
get a job. He later finds a better one in a place where they manufacture fusils. In Berlin
Reiter shares with Halder and his friends. All of them seem to be artists or second rank
diplomats, caballeros cortesanos, that Reiter distrust. His German improves, he loses his
49
What I call the Sacred Fount tradition tends to equate art with experience and assumes that the true artist
is one who lives not less, but more fully and intensely than others. Within this tradition art is essentially the
recreation of experience. The Ivory Tower tradition, on the other hand, exalts art above life and insists that
the artist can make use of life only if he stands aloof. (13)
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virginity and sends most of his money to his family, especially to his beloved sister Lotte.
Later in 1939, at the age of twenty, he is called to serve in the army although he prefers
the Marine Corps, especially the military service in submarines, which he cannot join due
to his size.
The Military Life of Hans Reiter: Reading the Self and the Other during War Time
extraordinary height, but also an advantage due to his high capacity to concentrate and
remain calm during battles, as the previous comments about his capacity to hold his
breath while diving and experience an inferno while doing so show (798). As a soldier,
he travels great part of Eastern Europe carrying his only book, Algunos animales y
plantas del litoral europeo, while serving as a good soldier who apparently never kills
anyone during active duty. Bolaos description of his war experiences provides an
World War II, as well as some of the key and decisive moments of the war. On one
occasion, while in Normandy, he thinks about the possibility of quitting and living
naturally by the sea where he could dive until his death came (845).
Four key experiences are relevant in relation to Reiters formation and growth
during his time in the army: his visit to Draculas Castle, his encounter with Ingerborg
Bauer during an allowed visit to Berlin and his family, his finding and reading of Boris
and his encounter with a German bureaucrat in a prisoners camp at the end of the war.
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Draculas Castle
In one of his missions, Reiter is assigned to visit Draculas Castle in Rumania, where a
gathering and expedition had been organized by Rumanian General Entrescu, who at the
time was accompanied by an erudite, Pablo Popescu, and the baroness Von Zumpe.
Reiter is there to serve the Army Generals and their visitors, but witnessed several key
events and encounters, one more time, the baroness Von Zumpe, or Hugo Halders
cousin, who Reiter had seen during his time working at the country house while still in
living in his hometown. She is sympathetic to his presence but nothing else happens and
her presence in such a gathering is partially a mystery. Others present include the General
Von Berenberg along with the Reichs writer Herman Hoensch, an official of the SS, and
two more important officers. One of the key moments describes the visitors as divided
The overtones of the encounter and the location and the people invited signals to an
alephian scene where everything, and specially the horror of life, as opposed to the
ingenuity of the human race, is prevalent. Reiters dream, who is waiting outside the
disponan a comerse a la baronesa Von Zumpe (850). Some conversations and situations
witnessed by Reiter also shed light on this gathering and visit to Draculas Castle:
Esa noche, durante la cena, hablaron de la cripta, pero tambin hablaron de otras
cosas. Hablaron de la muerte. [] Despus hablaron del asesinato. El oficial de
las SS dijo que la palabra asesinato era una palabra ambigua, equivocal,
imprecisa, vaga, indeterminada, que se prestaba a retruecanos. [] El general
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Von Berenberg dijo que si un juez deca que tal acto era un asesinato pues era
un asesinato. [] el general Entrescu confes que sus hroes infantiles eran
siempre asesinos y malhechores por los que senta siempre un gran respeto.
(850-60)
After long conversation speculating about death and assassinations, evil and madness, the
officers and the Baroness go to bed. Reiter is awakened by another soldier, Wilke, and
they enter some secret passages in the castle from which they are able to spy on the
distinguished visitors of the castle during their private moments, and their findings add to
the mysterious scene at Draculas Castle: El rostro de Von Berenbergr estaba contrado,
advirti Reiter, como si sobre sus espaldas tuviera que soportar un peso enorme [] el
peso de su conciencia [] (863). They also spy on the Baroness Von Zumpe and
masturbate as she and general Entrescu have sex: sentada a horcajadas sobre las piernas
de Entrescu, celebraba cimbrando hacia atrs y hacia adelante, como una pastorcilla
mano derecha en la cara de su amante [] (865). The whole scene at Draculas Castle is
full of sadomasochist motives and indirect allusions to the connections between pleasure
voyeurism, violence, sex, abuse and death in a war context. The destiny of General
Entrescu, impalement by his own soldiers towards the end of the war, will add to the
horror presented in the castle scene. There is no clear notion of how these elements are
organized, but they should be read as part of Reiters development and experiences that
situate him in a constant informal education. Most of his experiences, up to the point
when he becomes a writer, contribute to this pattern in a knstlerroman. Reiter will find
education from a variety of sources, such as his previous friendship with Halder, his army
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Ingerborg Bauer
ambiguous homage to Ingerborg Bachmann. During one of his visits to Berlin while on
leave from the Army, Reiter goes to Halders old place, and finds Ingerborg, who is now
living there. The crazy daughter of a nazi party member, Ingerborg Bauer has a
conversation with Reiter in which she establishes disbelief about almost everything. The
two facts are similar to Bachmanns family history and works, her father was a member
of the Austrian Nazi Party and her works dealt with the establishment of truth and the
several aspects of life and is described as mad crazy by the narrator and Reiter. The
partial allusion is probably part of Bolaos many games and provocations that usually
have writers or intellectuals as targets, but here it should be read more as a moment of
progress in Reiters learning experiences during the war, in which he understands Bauers
skepticisms and even learns about the Aztecas, one of the few things in which Bauer
believes, besides storms. A veces incluso me olvido de las cosas en que creo. Son muy
pocas, muy pocas, y las cosas en que no creo son muchas, muchsimas, tantas que
consiguen ocultar las cosas en que s creo (869). Bauers experiences also show a deep
historical pessimism. Later Reiter, during the process of becoming Archimboldi, will
During the attacks to the Soviet Union in 1941 Reiter almost dies a few times but is only
hurt during the attack to Sebastopol. A bullet went through his throat and Reiter lost his
voice but was able to recover it gradually after two surgeries (881). After the surgeries in
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Ukraine Reiter is sent to a nearby village in Kostekino, a village at the banks of the
Dnieper, where all the Jewish inhabitants had been murdered. Reiter is unable to speak
due to his throat injuries, but in one of the empty houses close to the river where Reiter
likes to stay he finds a hiding place, a whole behind a chimney and within a manuscript
by Boris Abramovich Ansky. The manuscript and the design of this hiding place occupy
manuscript and with the circumstances surrounding the construction and planning of the
hiding place. Durante muchos das este problema ocup su mente, pues crea que su
desesperacin que alguna vez aquej a Boris Ansky o a alguien a quien Boris Ansky
construction of a place for surviving becomes Reiters main activity during this time at
constructed around the exchanges between the narrator, the protagonist and the
manuscript he reads. Gradually, those connections bring to light the story of a Jewish
writer and his family, who where persecuted and finally disappeared during World War
II. Later, when he becomes a writer or Archimboldi, Reiters writings will add to this
process of transmission as an attempt at recuperating the accounts of Anskys life but also
of other experiences related to the war. Reiter enters into a process of understanding the
role of reading and writing, into translating traumatic experience into a commensurable
language that will guide the last part of 2666. This experience will be key for Reiter: the
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evolution and formation of the subject, as in most knstlerroman, goes hand in hand with
According to the narrator Anskys manuscript details how he joined the red army
at the age of fourteen thinking that the revolution would eliminate death. He later meets
Efraim Ivanov, a professional but mediocre writer of science fiction and member of the
communist party. They make a pact and Ansky, with his stories and ample imagination,
helps him become famous and revive his career as a writer. In exchange Ivanov helped
Ansky to join the communist party. After this they apparently follow separate ways, but
Ansky continues to help him with his writings and during the time Ansky also becomes
the founder of magazines and theaters and helped others to publish, but never published
anything under his own name. He becomes a cultural institution in himself. Ivanov is
arrested various times and his publications are cancelled. Later, in 1937, he is arrested
In fact, Anskys manuscript also reads as Ivanovs knstlerroman, since many of his
entries deal with Ivanovs struggles as a writer and political figure, a struggle that leads to
fame and prestige but also to his death. More specifically it will be a knstlerroman sub-
type: the artiste manqu, which follows the defeat of the writer or artist. The structure
and order within chaos found by Reiter responds to the life of writers and indirectly to
Ansky himself as an obscure writer. These sections then read as knstlerromans within
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In these sections of the knstlerroman, Bolaos mapping or socio-political
snapshot of the history of violence and destruction during the 20th century moves, based
ramifications and cruelties of communism side by side with Nazi Germany. As the
former passage implies, Ivanov and Ansky become suspects within their own Party and
Ivanov is executed without reason or proof. At the same time this is happening, the proud
similar to Reiters evolution from soldier to writer but in the opposite direction. In
Bolaos oeuvre this is a common occurrence: subjects from any side of the political
spectrum or from any ethical or ideological position always need to reevaluate their
position. As the new descriptions of the manuscript as disordered and chaotic insinuate,
Ansky needs to escape from the ideological trap but also from the possibility of his
These moments of disorder and chaos also include the first time in which the
manuscript mentions the Italian painter Arcimboldo, a name that Reiter will later adapt to
his condition as a writer, to whom Ansky returns in his writing and life every time he
feels defeated or depressed (918). After the war Reiter will imitate this gesture with his
own return to Archimboldo or the adoption of his name as key part of the knstlerroman.
In addition, the manuscript discusses all kind of ideas, from god to sex to writers and
painters and many stories and meditations, until towards the end of the manuscript, when
Ansky returns to Kostekino, at the time when Hitler invaded Polonia. Reiter concludes
that the hiding place was constructed by Anskys father, that it had served to hide the
manuscript, and that the Germans had finally killed them (921). He imagines Ansky
235
walking towards the West to fight and find his death. The possibility of Reiter having
been the author of Anskys death troubles him but is later disregarded (922). When he
Reiter returns to battle and seems obsessed with dead bodies, which he
contemplates (923), and eventually returns to Kostekino as the Russians are approaching
and puts Anskys manuscript back in the place where he found it before leaving: Que
ahora lo encuentre otro, pens. Luego abri la puerta, la cerr con mucho cuidado y se
alej de la aldea con grandes zancadas (929). Again in battle, defeat after defeat, Reiter
comes across the Rumanians and General Entrescu. Entrescus soldiers, in desperation
and defeat and against the inaction of the General and the proximity of the Russians,
decide to torture and kill him in the same way associated with Dracula: impalement
(931). The soldiers confess that they had built a cross without knowing that there were
going to kill the general. Reiters general experiences of war, reading Ansky, the castle,
his encounter with Ingeborg, defeat and his final encounter with the impalement of
Entrescu almost round up the stories of his war experiences and promote a profound
encounter with questions of guilt, death and responsibility in his future as a writer. One
more event will be key in order to give some sense to the stories which deal with the
After the war Reiter surrenders at a prisoners camp close to Ansbach were he meets Leo
struggle combined with an apparent dignity and serenity, a fight between opposite forces
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bureaucrat working in a Polish region in charge of sending foreign workers to the Reichs
industries, until one day, when he gets a train with five hundred Jews:
Combat, no quiero que creas que no combat, lo hice, como cualquier Alemn
bien nacido, pero yo serv en otros teatros, no en el campo de batalla militar sino
en el campo de batalla econmico y poltico [.] Entonces lleg una nueva
orden: tena que hacerme cargo de un grupo de judos que venan de Grecia.
Creo que venan de Grecia. Puede que fueran judos hngaros o judos croatas.
No lo creo, los croatas mataban ellos mismos a sus propios judos (938-940).
Sammer, in fact, does not know what to do with them and tries to find them jobs. The
instructions he gets from his contacts are ambiguous, so he decides to send them to the
farms in the region to help the farmers while a decision is reached (945). He tries to find
out but noone wants to tell them him what to do or take responsibility. Later he gets a
phone call:
Hasta que por la noche recib una llamada de Varsovia, de la oficina de asuntos
judos, un organismo cuya existencia hasta el momento desconoca. Una voz que
tena un marcado tono adolescente me pregunt [] Le dije que si y aad que
no saba que hacer con ellos, pues nadie me haba avisado de su llegada.
Parece que ha habido un error -dijo la voz. []
Ese tren tena que descargar en Auschwitz []
Mire como est la situacin no disponemos de transporte para ir a buscar a los
judos. Administrativamente pertenecen a la Alta Silesia. He hablado con mis
superiores y estamos de acuerdo en que lo mejor y ms conveniente es que usted
mismo se deshaga de ellos. []
As es -dije yo-. Pero me gustara recibir esta orden por escrito -aad.
No sea usted ingenuo -dijo la voz sin la mas mnima arrogancia-, estas
rdenes nunca se dan por escrito. (947-49)
Then Sammer, after a sleepless night, proceeded with normalcy to consult his
administrators, acting as if this was one more administrative task which needed to be
conducted effectively. The course of action was to shoot and bury them in the snow.
They were taken to a remote location with the excuse that they were going to clean the
area, and there they were shot by policemen and farmers who volunteered to do the job.
237
Soon they started to feel the pressure and moral questions attached to their task and the
people willing to do the job started to decline it: Quince est bien. Treinta, tambin. Pero
cuando uno llega a los cincuenta el estmago se revuelve y la cabeza se pone boca abajo
y empiezan los insomnios y las pesadillas (957-8). Then Sammer starts recruiting
drunken kids to do the killing, but that occasionates other problems, which he solves as
any other of their bureaucratic and logistic problems. Even the moral problem is dealt
with in the same way, which inevitably invades the life of the participants in the
genocide. But soon the Germans have to evacuate and Sammer frees the remaining Jews.
As he tells Reiter: Fui un administrador justo. Hice cosas buenas guiado por mi carcter,
y cosas malas, obligado por el azar de la guerra (959). Reiter, as we later corroborate,
kills him and escapes from the prisoners camp. Reiter/Archimboldi, as in previous
occasions, listens attentively to Leo Sammer even though he might seem lost at times, but
all these characters, including the ex-writer that sells him the typewriter, are his
formation informants, and all together inform us of Archomboldis poetics and the
Sammers confession and excuses are a listening experience for Reiter, and the
last step in the informal education that leads to his decision to become a writer, and at the
same time to disappear form the social body due to his experiences during the war and to
the possibility of being persecuted by the police and charged with killing Sammer. The
events leading to this point negotiate with Reiters future writing self or Archimboldi, as
one that should function within a political and cultural context, and reposition the soldier
within society as sacred fount rather that in an ivory tower or privileged space of
creation.
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The Postwar Writings of Benno Von Archimboldi (Hans Reiter)
After escaping from the prisoners camp and working sporadic jobs in several towns
Reiter reunites, apparently by chance, with Ingeborg in Colonia, where he now works at a
prostitutes bar. The descriptions of Reiter and the narrator recreate the chaos and
disorganization of the postwar period. Reiter and Ingeborg move together, and although
Reiter still thinks that Ingeborn is mentally ill he loves her and takes care of her fragile
health or tuberculosis. It is during this period that Reiter confesses killing Sammerthe
bureaucrat and killer of many Jewsfor which Ingeborg and a clairvoyant seem to
excuse him without problems. Ingeborn later tells Reiter that she thinks that he only
killed one man and for good reasons (972). She gives him a mysterious leather jacket
similar to the one Bolaos is wearing in the picture published in 2666which was
apparently waiting for him and suggests he should change his name, since both are
concerned with the possibility of his capture by the Germans or the US Army for killing
Sammer. Reiter takes this action and becomes Archimboldi after writing his first novel,
Ludicke, and at the precise moment when he needed to rent a typing machine from an ex-
writer who expresses his moral judgment about what happened during the war or a
-Este pas -le dijo a Reiter, que aquella tarde se convirti, tal vez, en
Archimboldi- ha intentado arrojar al abismo a varios pases en nombre de la
pureza y de la voluntad. Para m, como usted comprender, la pureza y la
libertad son puro mariconeo. Gracias a la pureza y la libertad nos hemos
convertido todos, entindalo bien todos, todos, todos, en un pas de cobardes y
de matones, que al fin y al cabo son lo mismo. Ahora lloramos y nos afligimos
y decimos no lo sabamos!, lo ignorbamos!, fueron los Nazis!, nosotros
hubiramos actuado de otra manera! Sabemos gemir. Sabemos provocar
lstima y pena. [] Ya habr tiempo para que inaguremos un pequeo lago de
amnesia. (981)
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This confession, acceptance of guilt and shame closes the cycle of the experiences part of
the knstlerroman, one among the many that Reiter has before becoming a writer. The
ex-writer also tells Archimboldi that nothing can be found within a writer, that there isnt
anything inside a writer: En las entraas del hombre que escribe no hay nada (983).
The knstlerroman then comes to name, define and interrogate, by definition an aesthetic
theory, the transformations of Archimboldis views on art and writing. The remainder of
between historical and artistic discourses shed light on Reiters artistic identity, and to
and self-positioning in regards to a past that haunts his writing in the present. In what
follows I concentrate on some of these key experiences and texts that lead to the final
Jacob Bubis, a Jewish that went into exile to London during the war, and to many other
publishing houses. Finally, after many rejections, Bubis offers Archimboldi a book
contract and tells him of the many writers he had published to later find, much to his
despair, that they had become Nazis, in one capacity or another. Archimboldi travels to
Hamburg to see Bubis and to make arrangements for his book. Bubis questions his
penname or the mixture between Italian, German and Spanish in his name but the
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encounter, at some point about to be terminated by Archimboldi, is saved by Bubis
desire to publish his book. Archimboldi tells his real name to Baroness Von Zumpe, now
la Seora Bubis, and with whom Archimboldi had had sex during his visit to Hamburg.
The Baroness is still an hedonist and exotic person, like her encounter with the General
Entrescu had revealed during the scene at Draculas Castle. She says that she had
changed (1014), but no clear indications of these changes, or what she meant by it, are
La rosa ilimitada is the second book sent to Bubis publishing house and the
editor also accepts it with enthusiasm. It shows Archimboldis capacity of fabulation. The
sales are not good and nor are the reviews, but Bubis supports Archimboldi and asks his
wife to support him after his death. The reader knows little about the content of these
books and the things we do know are due to the commentaries by the critics in La parte
de los crticos and thanks to the previous narrations in this last part of Reiters
Bubis leftist ideology and his point of view as a Jew. A glimpse at Archimboldis vision
of literature, (one should also remember the previous comparative description by Halder)
50
Among other books mentioned in the novel is La mscara de cuero, his third novel, which runs the same
luck as the previous two. During the readings that Archimboldi gives in Colonia people seem to leave due
to the thematic of the book; but in places farther form the city people tend to stay. Still, the sales are very
low (1022). After the publication of La mascara Bubis travels and visits a German critic, Lothar Junge,
who has read Archimboldi but does not want to talk about him or his works. Bubis concludes that the
German critic doesnt like him (1029). From the critics point of view Archimboldi does not seem like a
European writer. In fact all the critics that really support Archimboldis works are non-German, as La
parte los crticos shows, and many of the German critics presented in 2666 are against Archimboldi. Ros
de Europa was Archimboldis fourth book. It was a humorous novel about the Dnieper, which causes a lot
of funny moments for Bubis. During the same time Ingeborgs health worsens and with the pre-payment for
Rios Archimboldi moves with her to Kempten where the dry and cold weather could improve her
tuberculosis. Bifurcaria Bifucatas argument was about seaweeds. The book suggests a topic that deals with
Archimboldis childhood and his time in Normandy, when most of his adventures at the bottom of the sea
took place. This one was the first novel that Bubis, his editor, did not like. The pre-payment was
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[] en el primero estaban los libros que el lea y relea y que consideraba
portentosos y a veces monstruosos, como las obras de Doblin [] o como la
obra completa de Kafka. En el segundo compartimento estaban [] sus
enemigos. En el tercer compartimento estaban sus libros [] que vea como un
juego y tambin como un negocio, un juego en la medida de placer que
experimentaba al escribir. (1023)
After an unspecified amount of time the baroness Von Zumpe visits him in Italy were
Archimoldi is living with very little, his clothes and his typewriter that he later throws
away to buy an old laptop. He later buys one with a modem to look for rare news on the
internet (1064). Only one more novel is mentioned in La parte de Archimboldi. But
before, in La parte de los crticos, other novels appear which are not mentioned in the
last part and several comments by the critics add, as pointed out before, to some of the
novels already mentioned here in the previous paragraphs and the previous note. After
consequently lower than usual; Archimboldi protested in writing and after thinking about it Bubis decides
to give him an amount similar to what he paid him for Ros. After the publication of Bifurcata Ingeborgs
heatlhs worsens and she wishes to travel. They then travel all over Europe with the economic help of his
editor and friends and stealing what they could. Then, after she dies, Archimboldi disappears for four years.
Herencia is the next novel received by Bubis. It is a chaotic text of more than five hundred pages which
Archimboldi sends from Venecia. The Baroness Von Zumpe, who at the time had a lover in Italy, goes to
see Archimboldi following Bubis recommendation and ends up staying with Archimboldi and sleeping
with him. Archimboldi is now working as a gardener and seems depressed due to Igneborg death. He has
reconnected with his family. Santo Toms is the apocryphal biography of a biographer whose biografiado
is a Nazi writer. The critics pointed to the possible allusion to Ernst Junger. By this time some of his works
were being republished, and although he could live with what literature had given him he apparently keeps
working as a gardener in Venice. At this point, the narrator is almost always uncertain of the narration and
the facts being stated. La ciega is sent to Bubis from Icaria: Tal como caba esperar, esta novela trataba
sobre una ciega que no saba que era ciega y sobre unos detectives videntes que no saban que eran
videntes (1061). The next four novels also came form Greece, were Archimboldi lived in different islands
with very little. According to the narrator the diver or the nio-alga had already died. Archimboldi still and
swam and dove but not much (1062). El mar negro is a theatrical piece in which the Black Ocean dialogues
with the Atlantic Ocean. Letea is one of his most sexually explicit novels. This brings the story of Letea to
the world of the Third Reich. The novel sold five editions and became the first book by Archimboldi to do
so. In La parte de los crticos it is described as a novel of erotic appearance in relation to which Morini
had done a scholarly study about the masks and caretas of the consciousness and guilt. El vendedor de
lotera was about a handicapped German seller of lottery in New York. El padre, the last one sent from
Greece, is about a son that remembers the adventures of his father as a psychotic assassin. These adventures
start in 1938, when the son was twenty years old, and end enigmatically in 1948. El regreso arrives at
Bubis editorial house after the editors death and it coincides with Archimboldis return to Italy. A year
before sending El regreso, Archimboldi had heard of Bubis death and thought about sending a note.
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El jardn deals with English topics and is part of a trilogy. La mscara de cuero,
mentioned above, is also part of the trilogy. DArsonval is the other part of the trilogy and
it deals with French topics. Together, the three seem to be or could be about the Allies
during World War II and not surprisingly Archimboldis gesture to write and think about
all aspects and sides of the war and not only the side in which he participated. El tesoro
de Mitzi and Bitzus were similar short novels of less than one hundred pages. They both
dealt with similar topics to those addressed in Letea, the masks of the consciousness and
guilt, and have an erotic component. One of the three, probably Letea, was about the
Baroness Von Zumpe, the key erotic character in the novel, with links to many of the
people in power during the war who committed some of the atrocities that 2666
underlines.
of the novel. Los bajos fondos de Berln is a selection of war stories. La cabeza,
la selva is the last novel mentioned in La parte de Archimboldi and probably the last
one he wrote. It reveals much of the biographical information that the critics were unable
to find and that the reader of 2666 finds in this last part. The critics obviously went to
but in a highly codified manner. It is given in the form of comparisons that the critics
make between Archimboldi and other German writers or the comments that the narrator
made about the texts the critics write about. These are scattered comments made by the
critics. Among other things, for example, Espinoza, the Spanish critic, negates the
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connection between Sade and Archimboldi (66) and Pohl, a critic only mentioned a few
times in the novel, gives a magisterial conference about Archimboldi and shame in the
German literature of the postwar (110). And there are many more examples:
The various comparisons and thematics situated him in opposition to several German
writers known for their involvement with postwar thematics and questions of guilt and
shame. The key and more explicit comparison sets Archimboldi in opposition to Ernst
Junger, a writer often criticized for glorifying, comodifying and aesthetizising the
Holocaust (Huyssen 1995, 134). Archimboldi, on the contrary, approaches pain and
possible from the public persona that Junger cultivated and with his manner of
compatible with Heinrich Heine (1797-1856),51 the 19th century Prussian poet, probably
refers to their similar precedence and their satiric stress in their critique of utopian
politics. Heine was also a nomad through Europe and befriended Karl Marx (526-31).
La parte de los crticos also addresses the relationship to several writers of the time:
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Archimboldi y Unamuno. [] El nmero 46, sin embargo, es el que nos
importa, pues all no solo quedaron patentes los dos grupos archimboldianos
antagnicos, el de Pelletier, Morini y Espinoza contra el de Schwarz,
Borchmeyer y Pohl El pblico [] entregado a la visin dionisaca, festiva,
de exgesis de ltimo carnaval (o penltimo carnaval) defendida por Pelletier y
Espinoza. Dos das despus Schwarz y sus adlteres contraatacaron.
Contrapusieron a la figura de Archimboldi la de Uwe Johnson. Hablaron de
sufrimiento. Contrapusieron a la figura de Archimboldi la de Gunter Grass.
Hablaron de compromiso cvico. Incluso Borchmeyer contrapuso a la figura de
Archimboldi la de Friedrich Durrenmatt y habl de humor, lo que a Morini le
pareci el colmo de la desvergenza. Entonces apareci, providencial Liz
Norton y desbarat el contraataque como un Desaix, como un Lannes, una
amazona rubia que hablaba un alemn correctsimo [] (25-26)
Several of the writers mentioned in the above quotation from page 26 were members of
the Gruppe 4752, a German literary club or gentlemens club with the ambiguous goal of
teaching Germans about democracy in the post-hitlerian era and to encourage the post-
war generation of authors (Roberts 892-94). The group was very elitist; members were
allowed by invitation only and based on literary merit, undoubtedly very far from the
isolation and openly lumpen existence and humble politics and customs of Archimboldi.
52
A group of writers disintegrated in 1967-68: [] a body of writers that had been the moral-critical
authority and representative voice in West German literature for twenty years. (Roberts 892)
245
The point that they miss is that the strategy of disappearance is precisely what helps
Archimboldi to stay away from the institution of literature as understood by Gruppe 47,
or by any organization that gives prizes which would trap Archimboldi in the game of
experience reading Anskys manuscript and Anskys posterior disappearance are the
strategies that Archimboldi wants to adopt. The adoption of Ansky favorite painters
name as his penname shows that Ansky is key for his literary projects and poetics. If it
was fully possible to establish a critique of the state and intellectual protagonism, it
should arise not as part of the state or addressed to its representatives, but instead it
should question the role of the socio-political actors (such as intellectuals, artists ,
Amalfitano and the critics. Archimboldi, as the intellectual protagonist of this last
section, makes use of an identification with silence and disappearance, only interrupted
by his texts, and a denial to allow access to his direct life stories, to his culture, politics
and testimonio.
The topic of Archimboldis disappearance also brings into play his situation as an
ignored writer (57) but contrary to the critics preoccupations and pursuits it works in his
favor, as he manages to escape the total commodification of his works. The scant
disappearance that purposely practices the postwar German writer. It is part of his writing
technique to disappear as a subject and to provide very little information about his texts.
246
The Baroness Von Zumpe describes his texts as dark and difficult, but not much else is
given besides the information offered in the above biographical list and some
comparisons made by the critics. In a scene involving a French writer and essayist
Archimboldi, who never befriended any German writer, accepts an invitation to go visit a
house for disappeared writers. As it turns out it was a madhouse in which the French
writer was living and from where Archimboldi quickly leaves. This implies that there is
no possibility for a disappeared writer to have a place for disappeared writers. The former
implies the contradiction of their own disappearance. Archimboldi must remain without a
stable place, and even in that situation he runs the risk of cooptation.
corresponds and sees Baroness Von Zumpe, who tries to convince him to give an
interview since he is now famous. To this Archimboldi responds: Slo en mis peores
pesadillas, le escriba Archimboldi (1079). After these sections the narration of 2666 is
rare and apparently random at points. If the previous novels in 2666 were often
chaotically organized in changing patterns, here, towards the end, the narration seems
simply chaotic. This may be due to Bolaos health condition or to the editors job, who
apparently cut out more than two hundred pages of text and the details about that process
are not available.53 After these unclear moments of the unfinished 2666, however, the text
returns to two key narrations that close the novel and at the same time lead us back to
53
See the essay by Rodriguez de Arce on 2666 where his sources are not revealed.
247
Reiters Return
The narrative returns to some details about Archimboldi and the baroness Von Zumpe,
now at an old age, and to the narrative of Archimboldis family and Lottes story. It
concentrates on Archimboldis sister starting from when she was little, and depicts the
Nazi ideology of his family and their several relocations (1085-86). After a period of time
his father dies, but Lotte and her mother go on and establish a good living. Lotte gets
married and gives birth to the main suspect in La parte de los crmenes, Klaus Haas.
Archimboldi is never around and they think he has completely disappeared (1093) or that
at least thats what they say to little Klaus. As Klaus grows older he always gets in
trouble and has problems with the law and decides to move to the United Sates, where as
problems and ends up in a jail across the border. Lotte visits him frequently and even
learns Spanish in order to facilitate the trips. It is during one of these trips in 2001 that
Lotte buys by chance El rey de la selva by Archimboldi. The description of the book by
The different forms of violence that characterized 2666s excursion throughout the 20th
century have been problematized and in fact Fates, Azucenas, Amalfitanos and others
and subjects. What Archimboldi seems to reject or tries to avoid are political and cultural
undertakings within which the Nation and the Stateas concepts and political realities
248
still take pride on their role. From Archimboldis point of view, then, to transform society
or to radically transform the nation-state, to evacuate the violence inherited in it, one has
to bring about its disappearance via the inaccessibility of the subject. Soon the narration
of 2666 itself will question this strategy or possibility which, after all, is not completely
negated.
Using the information form the book Lotte contacts Archimboldis editor,
baroness Von Zumpe, and tells her the details of her situation and current address. Von
Zumpe says that she hasnt talked with Archimboldi for a long time and cannot do
anything. She apparently did contact him, however, and after three months Archimboldi
appears, or should we say Hans Reiter, at Lottes house in Paderborn. Lotte asks him to
take care of everything, asks if he could win the Nobel Prize and tells him everything
about her son. At the end the readers learn that Archimboldi/Reiter left to Latin America.
Archimboldi is back into the domain of the Nation State as he needs to come to the
rescue of one his main institutions, the family, in order to help his nephew who is in
another institution of the State, the prison. It is implied that after his visit to Latin
America, where he is assaulted by the police, the writer will probably die or disappear
again. Jean Louis Deotte puts Archimboldis situation, the relationship between aesthetic
249
postmodernidad como el fracaso de la modernidad. [] Podemos casi de
manera novelesca, es decir, ficcional, sin ninguna pretensin en cuanto al saber,
sugerir que existe una poca de la melancola post-totalitaria. Una poca que
podemos evocar en contraste con la poca del sublime revolucionario. (150)
Amalfitano, Fate, Esquivel, Gonzlez, and other key characters in 2666. 2666 and
Bolaos oeuvre are not about key historical events but about the hangover experienced
by those who lived or inherited the world after the 1950s. The poetics of disappearance
posits a form of liberty in the figure of Reiter/Archimboldi that oscillates within the
possibility of the abyss, between the possible world and the interruption of thought and
communication.
Posdata
Before leaving Hamburgo for Latin America, reversing the journey of Los detectives
salvajes, Archimboldi goes to a park and asks for a furst Puckler or a three flavored ice
Alexander furst Puckler, a descendant of the man who created the ice cream Archimboldi
was eating. His descendant was a botanic and a gardener per excellence who had written
many books about those topics and thought that he would go into history because of it.
Instead, he goes into history or is remembered not for his books but for the invention of
this ice cream flavor. Then the descendant talks about his ancestors projects and visions
of the world from a botanic and gardeners perspective. Reiter was also a botanic and
gardener, although in an amateur fashion. If you substitute the ancestor for Archimboldi
or Reiter, and maybe even Bolao, you can see a fine farewell letter to literature which
includes a poetics, a concern with posterity and death at the time when the Latin
250
American author was about to die. Bolao often joked about how his name had been
confused with Aztec comedian Roberto Gmez Bolao, and therefore the possibility of
passing into historical confusion as a comedian form Central America. The farewell
monologue-description, give or take one thing or two, fits nicely and obviously with the
Sus libritos, pese a su, cmo llamarlo?, revestimiento botnico, estn llenos de
observaciones ingeniosas y a travs de ellos uno puede hacerse una idea
bastante aproximada de la Europa de su tiempo, una Europa convulsa, cuyas
tempestades en ocasiones llegaban hasta las orillas del castillo de la familia,
ubicado, como usted sabr, en las cercanas de Gorlitz. Por supuesto, mi
antepasado no era ajeno a las tempestades, del mismo modo que no era ajeno a
las vicisitudes de la, cmo llamarlo?, condicin humana. Y por lo tanto escriba
y publicaba a su manera, humilde pero con buena prosa alemana, alzaba su voz
contra la injusticia. Creo que no le interesaba saber a dnde va el alma cuando el
cuerpo muere, aunque algunas pginas sobre esto tambin escribi. Le
interesaba la dignidad y le interesaban las plantas. Sobre la felicidad no dijo una
palabra, supongo porque la consideraba como algo estrictamente privado y
acaso, cmo llamarlo?, pantanoso y movedizo. Tena un gran sentido del
humor, aunque algunas de sus pginas podran contradecirme con facilidad. Y
probablemente, puesto que no era un santo y ni siquiera un hombre valiente, s
pens en la posteridad. (1118)
The knstlerroman seems completed at this point. In the 20th century, knstlerromans
joined modernisms aims at the liberation of the individual marked by a discovery of the
soon discovers that art itself is part of the divisions of labor, that it is detached from any
takes the genre to its limits and needs to be read as a confrontation of the artist with the
mirror created by himself and his socio-political surroundings, based on his childhood,
his years as soldier, writer and traveler. But the mirror and his image is, to quote Bolao,
ends on a note of rejection of the commonplace life and experience. Bolaos characters,
251
as I have been insisting, do not seek a rational world or truth but instead depart from
them. They are, above all, peripatetic subjects in disquiet. The split between Reiter and
Archimboldi is condensed in the former quote and in Reiters return to his filial ties. His
role as writer, which is nourished by life experience and counterbalanced by his role as a
creator, leads to the oscillation between solitude and separation from life and a repeated
return to civil society. His gesture oscillates between disillusion and hope. The irony of
the poetics of disappearance is that it signals, for the reader, the narrator, the characters
252
Conclusion
Todo hace pensar que entraremos en el nuevo milenio bajo la admonicin de la
palabra abyecto []. Una abyeccin dura y pesada y que por momentos parece
irremediable.
Roberto Bolaos texts bring together las prcticas de la moral and set themselves
against any dichotomal conception of the world. The author creates his doubles and the
the best example, but Wieder, Father Urrutia and Auxilio also function within
must create another self as opposite or contrast, but also as the same, not in order to
establish a convention but to approach different practices of morals and their inner
mirror and explosion of themselves in 2666s complex operations by which they invent
Bolao affirms the capacity of art and literature to participate in the debates
regarding the organization and critique of society, that the relationship between aesthetics
and politics affects social discourses and redistributes them in new forms by transcribing
a body of thought, imagination and experience that serves both as cultural expression and
253
political critique. The most productive aspect of the clash between aesthetics and politics
emerges in Bolaos oeuvre as an abyss or as a grieta, an obscure zone that exposes our
vacillations, contradictions and weaknesses to the concrete reality, to the livable and
unlivable zones where positions are negotiated and multiplied into results or living
Bolao often asserts a unity of the self and the other that threatens existing
cultural ideologies (good and evil, proper and improper, domestic and foreign), by
suggesting that these are constructions made of the same originary material and only
The power of horror so prevalent in Estrella distante, for example, is the unity between
opposite poles that the figure of Wieder and the narrator expose to others. Father
exposition of the mechanism that works to eliminate shame, guilt, responsibility and
accountability.
Many of the key characters in 2666 reach high levels of disquiet and
disillusionment to an extreme where they seem half-dead and half-alive. This seems to
change in the last part of 2666, when Reiter/Archimboldi, in an attempt to disclose the
ingenuity of the human race, equates art to life experience, using the figure of the writer
from any side of the political spectrum always need to revaluate their position after
crashing against the balizas that will help shape their acts. Reiter/Archimboldis
254
irremediablemente perdido, solo deseo recuperar la posibilidad cotidiana de mi escritura,
lneas capaces de cogerme del pelo y levantarme cuando mi cuerpo ya no quiera aguantar
mas (Amberes 119). But what does Reiter/Archimboldi recovers after the war? By
the intersections between ethico-political and artistic discourses we learn about Reiters
artistic identity, and to some extent, about Bolaos aesthetic and political-ethics. The
development about Archimboldi, his travels, writings and lifean exercise in self-
exploration and self-positioning in regards to a past that haunts his writing in the present.
The attempt is to narrate the life of a subject inhabiting a loss of sentido in an apocalyptic
adventure that tries to recreate that same loss and its repositioning in a post-totalitarian
imagined present and future. Reiter both disappears and appears, as part of the
conventions and institutions of civil society, but always with a melancholic longing, and
author provides a dramatization of the modern mind in search for knowledge of the self,
and the inner mechanism of literary imaginations as sources of this knowledge, often
affective dynamics. These are, without a doubt, fragile mechanisms full of self-doubt and
Roberto Bolaos ethico-political disquiet is the story of a pursuer that always has
to do more in order to move beyond the logic of good and evil, beyond left and right,
255
beyond life and death. Bolaos oeuvre challenges fixed conceptions of identity,
normality, good, evil, responsibility and the attachment of these categories to fixed codes.
What he challenges is not an essential notion of total evil but the cruelty found and
involves a certain cruelty, the cruelty of unsettling the normal or the dualities that
reassure society and provide closure, because that cruelty seeks to unsettle the order that
at stake, or is the target of this cruelty, of these attempts to imagine new relationships
between culture and politics. The numerous expressions of doubles and reduplications,
uncertainty imbedded in his writings as necessary for the subterranean explorations of the
is at the same time their multiplication and extension. This particular aspect shows
Bolao at his very best, as Borges meditating on the unity of the multiplicity of things or
as Calvinos meditations on the Manifold text which replaces the oneness of a thinking I
with a multiplicity of subjects, voices and views of the world (Calvino 1988). Bolaos
possibly encyclopedic and Borgesian in the way that it connects people, things, and
events in the world. Within Bolaos opus each chapter, short story, novel and poem is
connected in many ways to one another forming labyrinths and reproducing noises ad
infinitum, as imperfect photographs that demonstrate the ways in which the private and
256
public experience of the world exceed the subject identity and the cultural, social and
257
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