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桅蠀位伪蠂蟿蠈
螚 螒慰蠀尉委位喂慰 螞伪魏慰蠀蟿蠉蟻 蔚委谓伪喂 蟺伪纬喂未蔚蠀渭苇谓畏. 螘蟺委 未蠋未蔚魏伪 渭苇蟻蔚蟼 魏蟻蠉尾蔚蟿伪喂 蟽蟿喂蟼 纬蠀谓伪喂魏蔚委蔚蟼 蟿慰蠀伪位苇蟿蔚蟼 蟿畏蟼 危蠂慰位萎蟼 桅喂位慰蟽慰蠁委伪蟼 魏伪喂 桅喂位慰位慰纬委伪蟼 蠈蟿伪谓 畏 伪蟽蟿蠀谓慰渭委伪 魏伪蟿伪位伪渭尾维谓蔚喂 蟿慰 螤伪谓蔚蟺喂蟽蟿萎渭喂慰, 蟽蟿慰 螠蔚尉喂魏蠈, 蟿慰谓 危蔚蟺蟿苇渭尾蟻喂慰 蟿慰蠀 1968. 螘魏蔚委 胃伪 渭蔚委谓蔚喂 魏位蔚喂蟽渭苇谓畏 纬喂伪 魏维渭蟺慰蟽蔚蟼 渭苇蟻蔚蟼 魏伪喂 蟽' 伪蠀蟿蠈 蟿慰 未喂维蟽蟿畏渭伪 慰喂 蟿慰蠀伪位苇蟿蔚蟼 胃伪 渭蔚蟿伪蟿蟻伪蟺慰蠉谓 蟽蔚 苇谓伪 蟿慰蠉谓蔚位 蟽蟿慰 蠂蟻蠈谓慰, 渭苇蟽伪 伪蟺蠈 蟿慰 慰蟺慰委慰 胃伪 未蔚喂 蟿伪 蠂蟻蠈谓喂伪 蟺慰蠀 苇味畏蟽蔚 蟽蟿慰 螠蔚尉喂魏蠈 魏伪喂 蟿伪 蠂蟻蠈谓喂伪 蟺慰蠀 胃伪 味萎蟽蔚喂. 螝慰喂蟿维味蔚喂 蟿慰 蟺维蟿蠅渭伪 魏伪喂 伪蟻蠂委味蔚喂 苇谓伪 蟺伪蟻伪位畏蟻畏渭伪蟿喂魏蠈 蟺伪蟻伪渭蠉胃喂: 螘委谓伪喂 畏 渭畏蟿苇蟻伪 蟿畏蟼 蟺慰委畏蟽畏蟼 蟿慰蠀 螠蔚尉喂魏慰蠉.
螒蠀蟿蠈 蟿慰 苇谓蟿慰谓伪 畏位蔚魏蟿蟻喂蟽渭苇谓慰, 蟺蟻蠅蟿慰蟺蟻蠈蟽蠅蟺慰, 畏渭喂蟺伪蟻伪喂蟽胃畏蟽喂慰纬蠈谓慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚委谓伪喂 苇谓伪 未蠀谓伪蟿蠈 蟻蔚蠉渭伪 蟽蠀谓蔚委未畏蟽畏蟼 渭苇蟽伪 蟽蟿慰 慰蟺慰委慰 慰喂 蟺慰喂畏蟿苇蟼 蟿慰蠀 螠蔚尉喂魏慰蠉 慰蟻纬委味慰谓蟿伪喂 魏伪喂 蟺蔚蟻喂未喂谓慰蠉谓蟿伪喂. 螕蔚渭维蟿慰 维纬蟻喂蔚蟼, 蟽魏慰蟿蔚喂谓苇蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 蟺蟻慰蠁畏蟿蔚委蔚蟼, 畏蟻蠅喂魏慰蠉蟼 蟺慰喂畏蟿苇蟼, 蟿蟻蔚位慰蠉蟼 蟺慰喂畏蟿苇蟼, 魏伪位位喂蟿苇蠂谓蔚蟼 "蟺谓喂纬渭苇谓慰蠀蟼 伪蟺蠈 蟿畏 位伪渭蟺蟻蠈蟿畏蟿伪 蟿畏蟼 谓喂蠈蟿畏蟼", 畏 蟺伪胃喂伪蟽渭苇谓畏 伪蠁萎纬畏蟽畏 蟿畏蟼 螒慰蠀尉委位喂慰 -蟿伪蠀蟿蠈蠂蟻慰谓伪 蟽蟺伪蟻伪魏蟿喂魏萎 魏伪喂 位蠀蟻喂魏萎- 魏伪蟿伪魏位蠉味蔚蟿伪喂 伪蟺蠈 蟿畏谓 慰蠀蟽委伪 蟿畏蟼 蟿苇蠂谓畏蟼 蟿慰蠀 螠蟺慰位维谓喂慰.
芦螣 巍慰渭蟺苇蟻蟿慰 螠蟺慰位维谓喂慰 蠈蟻喂蟽蔚 蔚魏 谓苇慰蠀 蟿畏 渭慰蟻蠁萎 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 渭蔚 蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭维 蟿慰蠀 "2666". 危蟿畏谓 蟺伪蟻伪喂蟽胃畏蟽喂慰纬蠈谓慰 伪蠁萎纬畏蟽畏 蟿慰蠀 "桅蠀位伪蠂蟿慰蠉" 慰蟻伪渭伪蟿委味蔚蟿伪喂 尉伪谓维 伪蠀蟿蠈 蟺慰蠀 畏 位慰纬慰蟿蔚蠂谓委伪 苇蠂蔚喂 蟿畏 未蠀谓伪蟿蠈蟿畏蟿伪 谓伪 纬委谓蔚喂禄
(New Statesman)
芦螒蠀蟿蠈 蟿慰 蟽蠉谓蟿慰渭慰, 蟽蠁喂蠂蟿蠈 蟺慰喂畏蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 苇蠂蔚喂 蟽蟿蠈蠂慰 谓伪 蟽蠀渭蟺蠀魏谓蠋蟽蔚喂 蟿畏 尾委伪 魏伪喂 蟿畏谓 蟿蟻伪纬蠅未委伪 蟿畏蟼 蟺蟻蠈蟽蠁伪蟿畏蟼 位伪蟿喂谓慰伪渭蔚蟻喂魏伪谓喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼. 螚 蟺蟻蠈味伪 蟿慰蠀 螠蟺慰位维谓喂慰 蔚委谓伪喂 位喂蟿萎 伪位位维 蠀蟺苇蟻慰蠂伪 蟽蠀渭蟺伪纬萎蟼. 螣喂 维位位慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 蟿慰谓 伪纬伪蟺慰蠉谓 蔚蟺蔚喂未萎 魏维谓蔚喂 蟿慰 纬蟻维蠄喂渭慰 谓伪 蠁伪委谓蔚蟿伪喂 蟺慰位蠉 蟽畏渭伪谓蟿喂魏蠈禄
(The Times)
芦螤伪蟻伪喂蟽胃畏蟽喂慰纬蠈谓慰 魏伪喂 渭伪纬蔚蠀蟿喂魏蠈 渭蠅蟽伪蠆魏蠈 伪纬维蟺畏蟼, 胃伪谓维蟿慰蠀, 蟺慰蟿慰蠉 魏伪喂 蔚尉伪胃位委蠅蟽畏蟼. 螣喂 蟽蠀纬纬蟻伪蠁喂魏苇蟼 蔚渭渭慰谓苇蟼 蟿慰蠀 螠蟺慰位维谓喂慰 渭蔚 蟿畏谓 蟺慰委畏蟽畏, 蟿畏 未畏渭喂慰蠀蟻纬委伪 渭蠉胃蠅谓, 蟿畏谓 蟺伪蟻维蟿慰位渭畏 魏伪喂 伪蟺慰蟿蠀蠂畏渭苇谓畏 谓喂蠈蟿畏 尉蔚蠂蠉谓慰谓蟿伪喂 蟽蔚 伪蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭蔚 蠀蟺苇蟻慰蠂畏 慰蟻渭萎. 危伪谓 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 胃伪 苇纬蟻伪蠁蔚 慰 巍蔚渭蟺蠋 伪谓 未蔚谓 蟿伪 蔚委蠂蔚 蟺伪蟻伪蟿萎蟽蔚喂 蠈位伪 蟽蟿伪 蔚喂魏慰蟽喂苇谓伪 蟿慰蠀禄
(Dazed and Confused)
螒蠀蟿蠈 蟿慰 苇谓蟿慰谓伪 畏位蔚魏蟿蟻喂蟽渭苇谓慰, 蟺蟻蠅蟿慰蟺蟻蠈蟽蠅蟺慰, 畏渭喂蟺伪蟻伪喂蟽胃畏蟽喂慰纬蠈谓慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚委谓伪喂 苇谓伪 未蠀谓伪蟿蠈 蟻蔚蠉渭伪 蟽蠀谓蔚委未畏蟽畏蟼 渭苇蟽伪 蟽蟿慰 慰蟺慰委慰 慰喂 蟺慰喂畏蟿苇蟼 蟿慰蠀 螠蔚尉喂魏慰蠉 慰蟻纬委味慰谓蟿伪喂 魏伪喂 蟺蔚蟻喂未喂谓慰蠉谓蟿伪喂. 螕蔚渭维蟿慰 维纬蟻喂蔚蟼, 蟽魏慰蟿蔚喂谓苇蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 蟺蟻慰蠁畏蟿蔚委蔚蟼, 畏蟻蠅喂魏慰蠉蟼 蟺慰喂畏蟿苇蟼, 蟿蟻蔚位慰蠉蟼 蟺慰喂畏蟿苇蟼, 魏伪位位喂蟿苇蠂谓蔚蟼 "蟺谓喂纬渭苇谓慰蠀蟼 伪蟺蠈 蟿畏 位伪渭蟺蟻蠈蟿畏蟿伪 蟿畏蟼 谓喂蠈蟿畏蟼", 畏 蟺伪胃喂伪蟽渭苇谓畏 伪蠁萎纬畏蟽畏 蟿畏蟼 螒慰蠀尉委位喂慰 -蟿伪蠀蟿蠈蠂蟻慰谓伪 蟽蟺伪蟻伪魏蟿喂魏萎 魏伪喂 位蠀蟻喂魏萎- 魏伪蟿伪魏位蠉味蔚蟿伪喂 伪蟺蠈 蟿畏谓 慰蠀蟽委伪 蟿畏蟼 蟿苇蠂谓畏蟼 蟿慰蠀 螠蟺慰位维谓喂慰.
芦螣 巍慰渭蟺苇蟻蟿慰 螠蟺慰位维谓喂慰 蠈蟻喂蟽蔚 蔚魏 谓苇慰蠀 蟿畏 渭慰蟻蠁萎 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 渭蔚 蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭维 蟿慰蠀 "2666". 危蟿畏谓 蟺伪蟻伪喂蟽胃畏蟽喂慰纬蠈谓慰 伪蠁萎纬畏蟽畏 蟿慰蠀 "桅蠀位伪蠂蟿慰蠉" 慰蟻伪渭伪蟿委味蔚蟿伪喂 尉伪谓维 伪蠀蟿蠈 蟺慰蠀 畏 位慰纬慰蟿蔚蠂谓委伪 苇蠂蔚喂 蟿畏 未蠀谓伪蟿蠈蟿畏蟿伪 谓伪 纬委谓蔚喂禄
(New Statesman)
芦螒蠀蟿蠈 蟿慰 蟽蠉谓蟿慰渭慰, 蟽蠁喂蠂蟿蠈 蟺慰喂畏蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 苇蠂蔚喂 蟽蟿蠈蠂慰 谓伪 蟽蠀渭蟺蠀魏谓蠋蟽蔚喂 蟿畏 尾委伪 魏伪喂 蟿畏谓 蟿蟻伪纬蠅未委伪 蟿畏蟼 蟺蟻蠈蟽蠁伪蟿畏蟼 位伪蟿喂谓慰伪渭蔚蟻喂魏伪谓喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼. 螚 蟺蟻蠈味伪 蟿慰蠀 螠蟺慰位维谓喂慰 蔚委谓伪喂 位喂蟿萎 伪位位维 蠀蟺苇蟻慰蠂伪 蟽蠀渭蟺伪纬萎蟼. 螣喂 维位位慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 蟿慰谓 伪纬伪蟺慰蠉谓 蔚蟺蔚喂未萎 魏维谓蔚喂 蟿慰 纬蟻维蠄喂渭慰 谓伪 蠁伪委谓蔚蟿伪喂 蟺慰位蠉 蟽畏渭伪谓蟿喂魏蠈禄
(The Times)
芦螤伪蟻伪喂蟽胃畏蟽喂慰纬蠈谓慰 魏伪喂 渭伪纬蔚蠀蟿喂魏蠈 渭蠅蟽伪蠆魏蠈 伪纬维蟺畏蟼, 胃伪谓维蟿慰蠀, 蟺慰蟿慰蠉 魏伪喂 蔚尉伪胃位委蠅蟽畏蟼. 螣喂 蟽蠀纬纬蟻伪蠁喂魏苇蟼 蔚渭渭慰谓苇蟼 蟿慰蠀 螠蟺慰位维谓喂慰 渭蔚 蟿畏谓 蟺慰委畏蟽畏, 蟿畏 未畏渭喂慰蠀蟻纬委伪 渭蠉胃蠅谓, 蟿畏谓 蟺伪蟻维蟿慰位渭畏 魏伪喂 伪蟺慰蟿蠀蠂畏渭苇谓畏 谓喂蠈蟿畏 尉蔚蠂蠉谓慰谓蟿伪喂 蟽蔚 伪蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭蔚 蠀蟺苇蟻慰蠂畏 慰蟻渭萎. 危伪谓 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 胃伪 苇纬蟻伪蠁蔚 慰 巍蔚渭蟺蠋 伪谓 未蔚谓 蟿伪 蔚委蠂蔚 蟺伪蟻伪蟿萎蟽蔚喂 蠈位伪 蟽蟿伪 蔚喂魏慰蟽喂苇谓伪 蟿慰蠀禄
(Dazed and Confused)
232 pages, Paperback
First published January 1, 1999
260 people are currently reading
7958 people want to read
About the author
Roberto Bola帽o
168听books6,425听followersFor most of his early adulthood, Bola帽o was a vagabond, living at one time or another in Chile, Mexico, El Salvador, France and Spain. Bola帽o moved to Europe in 1977, and finally made his way to Spain, where he married and settled on the Mediterranean coast near Barcelona, working as a dishwasher, a campground custodian, bellhop and garbage collector 鈥� working during the day and writing at night.
He continued with his poetry, before shifting to fiction in his early forties. In an interview Bola帽o stated that he made this decision because he felt responsible for the future financial well-being of his family, which he knew he could never secure from the earnings of a poet. This was confirmed by Jorge Herralde, who explained that Bola帽o "abandoned his parsimonious beatnik existence" because the birth of his son in 1990 made him "decide that he was responsible for his family's future and that it would be easier to earn a living by writing fiction." However, he continued to think of himself primarily as a poet, and a collection of his verse, spanning 20 years, was published in 2000 under the title The Romantic Dogs.
Regarding his native country Chile, which he visited just once after going into voluntary exile, Bola帽o had conflicted feelings. He was notorious in Chile for his fierce attacks on Isabel Allende and other members of the literary establishment.
In 2003, after a long period of declining health, Bola帽o passed away. Bola帽o was survived by his Spanish wife and their two children, whom he once called "my only motherland."
Although deep down he always felt like a poet, his reputation ultimately rests on his novels, novellas and short story collections. Although Bola帽o espoused the lifestyle of a bohemian poet and literary enfant terrible for all his adult life, he only began to produce substantial works of fiction in the 1990s. He almost immediately became a highly regarded figure in Spanish and Latin American letters.
In rapid succession, he published a series of critically acclaimed works, the most important of which are the novel Los detectives salvajes (The Savage Detectives), the novella Nocturno de Chile (By Night In Chile), and, posthumously, the novel 2666. His two collections of short stories Llamadas telef贸nicas and Putas asesinas were awarded literary prizes.
In 2009 a number of unpublished novels were discovered among the author's papers.
He continued with his poetry, before shifting to fiction in his early forties. In an interview Bola帽o stated that he made this decision because he felt responsible for the future financial well-being of his family, which he knew he could never secure from the earnings of a poet. This was confirmed by Jorge Herralde, who explained that Bola帽o "abandoned his parsimonious beatnik existence" because the birth of his son in 1990 made him "decide that he was responsible for his family's future and that it would be easier to earn a living by writing fiction." However, he continued to think of himself primarily as a poet, and a collection of his verse, spanning 20 years, was published in 2000 under the title The Romantic Dogs.
Regarding his native country Chile, which he visited just once after going into voluntary exile, Bola帽o had conflicted feelings. He was notorious in Chile for his fierce attacks on Isabel Allende and other members of the literary establishment.
In 2003, after a long period of declining health, Bola帽o passed away. Bola帽o was survived by his Spanish wife and their two children, whom he once called "my only motherland."
Although deep down he always felt like a poet, his reputation ultimately rests on his novels, novellas and short story collections. Although Bola帽o espoused the lifestyle of a bohemian poet and literary enfant terrible for all his adult life, he only began to produce substantial works of fiction in the 1990s. He almost immediately became a highly regarded figure in Spanish and Latin American letters.
In rapid succession, he published a series of critically acclaimed works, the most important of which are the novel Los detectives salvajes (The Savage Detectives), the novella Nocturno de Chile (By Night In Chile), and, posthumously, the novel 2666. His two collections of short stories Llamadas telef贸nicas and Putas asesinas were awarded literary prizes.
In 2009 a number of unpublished novels were discovered among the author's papers.
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November 19, 2024
History is like a horror story.
The student youth of Mexico raised their fists in protest during the summer and fall of 1968, marching against the government towards the violent climax of the on October 2nd. 鹿 Student demonstrations were organized in response to the killings of several students by the police called in to repress a fight between gang members of two rival schools鈥攖he Mexican National Autonomous University (UNAM) and National Politechnical Institute (IPN)鈥攁nd were further aggravated by the upcoming summer Olympics taking place in Mexico City. The Olympic Committee, headed by an American, chose Mexico as the first third-world country to host an Olympic event, and protestors saw this as an attempt to portray Mexico as a country stabilized by American support and financial backing. Protestors took to the streets shouting 鈥�We Don't Want Olympic Games, We Want a Revolution!鈥� Roberto Bola帽o鈥檚 slim, yet satisfying, Amulet has as its centerpiece the Mexican army occupation of UNAM, using the violent event as a nucleus around which narrator Auxilio Lacouture鈥檚 life events orbit. Finding herself trapped in the UNAM bathroom during the occupation, a subtle yet monumental act of resistance, Auxilio becomes unstuck in time, narrating events both past, present and future, yet always returning to the moonlight reflecting off the tiles of the lonely bathroom floor. Through pure poetic ecstasy, Bola帽o uses Auxilio鈥檚 beautiful mind and perspective to brilliantly juxtapose seemingly disparate elements in order to paint a unified and emotionally charged portrait of the struggles, sorrows and strife of the Latin American people.
Student demonstration, August 27th, 1968
鈥�I could say I am the mother of Mexican poetry, Auxilio says on the opening page, 鈥�but I better not. I know all the poets and all the poets know me.鈥� Drifting in extreme poverty through the streets of Mexico City like so many others, Auxilio is a glorious soul that finds odd jobs at the university to earn her keep while spending her nights in drunken sublimity with the young Mexican poets, such as the authors alter-ego, Arturo Belano, caring for them as a mother while being shamelessly enraptured by their poetry. Auxilio has a rare gift of seeing the events of the world, past and future, unfold before her eyes, unlocked during her isolation in the UNAM bathroom, but with this gift comes great costs. It would be easy to dismiss her as crazy, a woman missing teeth (鈥�I lost my teeth on the alter of human sacrifice鈥�) and crying at the words of people half her age before leaving the bars without paying, yet that would be a grave misunderstanding and would deny oneself an illuminating look into her heart and soul.
Bola帽o possessed an incredible gift for organizing seemingly unrelated events into a unified message. Auxilio鈥檚 skipping across time bears witness to many different characters and subtly probes into their hearts, making Amulet almost feel like a collection of short stories, with them all orbiting around one narrator. Yet, somehow through the juxtaposition, Bola帽o manages to make each story mesh, creating a space between each idea where the reader鈥檚 mind will occupy and abstractly connect each element, each theme, into one larger, all-encompassing image. These are stories of poverty, resilience, heartbreak, rebellion, bravery and even an investigation into the story of and . The conflict between students and government is also juxtaposed with the overthrowing of Allende in Chile, in which Belano plays a role. While no connection is never made overt, the themes of conflict and revolution are enough to give the reader a sense of the violence haunting Bola帽o . What is most impressive and satisfying, however, is the way Bola帽o orchestrates a world where literature is of the utmost importance, giving meaning and validation to the lives of those who give meaning through its application to the sights and sounds of the horror show of History playing out around them.
Much in the ways Auxilio binds the lives of those around her into one common, driving force, Amulet serves to bind together the oeuvre of its author. As is the elaboration of the final story in , Amulet expands on Auxilio鈥檚 small, but unforgettable account in . While Amulet may be a minor work, it plays a key role in the Bola帽o universe, expanding on the themes that constitute the life-giving roots of his work. The idea that violence plagues Latin America through all eternity is glimpsed, even connecting itself to his magnum opus through a hallucinatory passage as Auxilio follows Belano towards a potentially deadly confrontation:
Short, yet overflowing with passages of sheer beauty reminiscent of Bola帽o鈥檚 prose poems that are sure to drain your pen dry underlining each gem, Amulet is a wonderful trip through horrific and melancholy events. Auxilio may only play a small role in the uprisings, yet her small role forever transfixes her into mythological magnitude in history, becoming a beacon of hope and a symbol of fortitude for the weak and weary to seek comfort and redemption. The final pages are the most haunting, culminating all the sorrows and struggles into a song of revolution that will live on regardless of the body count at the oppressive hands of both the army and history. Similarly, while Bola帽o may have passed, his voice lives on. It is certainly a voice worth listening to.
4/5
鈥� I'll tell you, my friends: it's all in the nerves. The nerves that tense and relax as you approach the edges of companionship and love. The razor-sharp edges of companionship and love.鈥�
鹿The following history of the 1968 student revolution is paraphrased from the article .
虏As discussed in Machado De Assis鈥� , we are all uniquely wired (or, perhaps, uniquely weird), and who is really to say what constitutes sanity. Understandably there must be clinical standards, I鈥檓 not here to disparage the psychological community in any way, however, Auxilio is a wonderful literary example of how we often write off others without truly attempting to understand them and see the world through their eyes. By dismissing her as crazy, you lose the opportunity to unlock the world and learn through her. Laziness is similar, and often dismissing someone as lazy is actually the lazy way out; even what appears as laziness is a highly complex set of emotions and actions that offer deeper insights into a person. Not that this is a universal law, but hopefully you get the point. I鈥檓 moralizing now, which makes me extraordinarily uncomfortable, so I鈥檒l conclude by reiterating that literature, and characters like Auxilio, plead that we try harder to understand and accept one another instead of casting one another aside through negatively connotative dismissals.
鈥�I decided to tell the truth even if it meant being pointed at.鈥�
The student youth of Mexico raised their fists in protest during the summer and fall of 1968, marching against the government towards the violent climax of the on October 2nd. 鹿 Student demonstrations were organized in response to the killings of several students by the police called in to repress a fight between gang members of two rival schools鈥攖he Mexican National Autonomous University (UNAM) and National Politechnical Institute (IPN)鈥攁nd were further aggravated by the upcoming summer Olympics taking place in Mexico City. The Olympic Committee, headed by an American, chose Mexico as the first third-world country to host an Olympic event, and protestors saw this as an attempt to portray Mexico as a country stabilized by American support and financial backing. Protestors took to the streets shouting 鈥�We Don't Want Olympic Games, We Want a Revolution!鈥� Roberto Bola帽o鈥檚 slim, yet satisfying, Amulet has as its centerpiece the Mexican army occupation of UNAM, using the violent event as a nucleus around which narrator Auxilio Lacouture鈥檚 life events orbit. Finding herself trapped in the UNAM bathroom during the occupation, a subtle yet monumental act of resistance, Auxilio becomes unstuck in time, narrating events both past, present and future, yet always returning to the moonlight reflecting off the tiles of the lonely bathroom floor. Through pure poetic ecstasy, Bola帽o uses Auxilio鈥檚 beautiful mind and perspective to brilliantly juxtapose seemingly disparate elements in order to paint a unified and emotionally charged portrait of the struggles, sorrows and strife of the Latin American people.
Student demonstration, August 27th, 1968
鈥�I could say I am the mother of Mexican poetry, Auxilio says on the opening page, 鈥�but I better not. I know all the poets and all the poets know me.鈥� Drifting in extreme poverty through the streets of Mexico City like so many others, Auxilio is a glorious soul that finds odd jobs at the university to earn her keep while spending her nights in drunken sublimity with the young Mexican poets, such as the authors alter-ego, Arturo Belano, caring for them as a mother while being shamelessly enraptured by their poetry. Auxilio has a rare gift of seeing the events of the world, past and future, unfold before her eyes, unlocked during her isolation in the UNAM bathroom, but with this gift comes great costs. It would be easy to dismiss her as crazy, a woman missing teeth (鈥�I lost my teeth on the alter of human sacrifice鈥�) and crying at the words of people half her age before leaving the bars without paying, yet that would be a grave misunderstanding and would deny oneself an illuminating look into her heart and soul.
I never paid, or hardly ever. I was the one who could see into the past and those who can see into the past never pay. But I could also see into the future and vision of that kind comes at a high price: life, sometimes, or sanity. So I figured I was paying, night after forgotten night, though nobody realized it; I was paying for everyone鈥檚 round, the kids who would be poets and those who never would.I like to believe that one of the many gifts of literature is to cultivate a more open-minded view and to learn acceptance of others. Auxilio must face the horrors of history, of existence, in a way others cannot, and must travel to the vicious depths of her soul that most minds form a wall to protect themselves from having to journey into. Like a snake that unhinges its jaw to swallow a large meal, Auxilio must unhinge her mind鈥攁t least by the common socially accepted, or clinical, standards虏in order to swallow such enormous thoughts and burdensome truths. She witnesses the pains and poverty of others, and is charged with the task of putting it all together to witness the birth of History and document it across the ages.
The birth of History can鈥檛 wait, and if we arrive late you won鈥檛 see anything, only ruins and smoke, an empty landscape, and you鈥檒l be alone again forever even if you go out and get drunk with your poet friends every night
Bola帽o possessed an incredible gift for organizing seemingly unrelated events into a unified message. Auxilio鈥檚 skipping across time bears witness to many different characters and subtly probes into their hearts, making Amulet almost feel like a collection of short stories, with them all orbiting around one narrator. Yet, somehow through the juxtaposition, Bola帽o manages to make each story mesh, creating a space between each idea where the reader鈥檚 mind will occupy and abstractly connect each element, each theme, into one larger, all-encompassing image. These are stories of poverty, resilience, heartbreak, rebellion, bravery and even an investigation into the story of and . The conflict between students and government is also juxtaposed with the overthrowing of Allende in Chile, in which Belano plays a role. While no connection is never made overt, the themes of conflict and revolution are enough to give the reader a sense of the violence haunting Bola帽o . What is most impressive and satisfying, however, is the way Bola帽o orchestrates a world where literature is of the utmost importance, giving meaning and validation to the lives of those who give meaning through its application to the sights and sounds of the horror show of History playing out around them.
Much in the ways Auxilio binds the lives of those around her into one common, driving force, Amulet serves to bind together the oeuvre of its author. As is the elaboration of the final story in , Amulet expands on Auxilio鈥檚 small, but unforgettable account in . While Amulet may be a minor work, it plays a key role in the Bola帽o universe, expanding on the themes that constitute the life-giving roots of his work. The idea that violence plagues Latin America through all eternity is glimpsed, even connecting itself to his magnum opus through a hallucinatory passage as Auxilio follows Belano towards a potentially deadly confrontation:
Then we walked down the Avenida Guerrero; they weren鈥檛 stepping so lightly any more, and I wasn鈥檛 feeling too enthusiastic either. Guerrero, at that time of night, is more like a cemetery than an avenue, not a cemetery in 1974 or in 1968, or 1975, but a cemetery in the year 2666, a forgotten cemetery under the eyelid of a corpse or an unborn child, bathed in the dispassionate fluids of an eye that tried so hard to forget one particular thing that it ended up forgetting everything else.This intertextuality is one of the many reasons that it is hard to go long without returning to the poetic pages of a Bola帽o book, creating a world that seems to come alive through repeat characters.
Short, yet overflowing with passages of sheer beauty reminiscent of Bola帽o鈥檚 prose poems that are sure to drain your pen dry underlining each gem, Amulet is a wonderful trip through horrific and melancholy events. Auxilio may only play a small role in the uprisings, yet her small role forever transfixes her into mythological magnitude in history, becoming a beacon of hope and a symbol of fortitude for the weak and weary to seek comfort and redemption. The final pages are the most haunting, culminating all the sorrows and struggles into a song of revolution that will live on regardless of the body count at the oppressive hands of both the army and history. Similarly, while Bola帽o may have passed, his voice lives on. It is certainly a voice worth listening to.
4/5
鈥� I'll tell you, my friends: it's all in the nerves. The nerves that tense and relax as you approach the edges of companionship and love. The razor-sharp edges of companionship and love.鈥�
鹿The following history of the 1968 student revolution is paraphrased from the article .
虏As discussed in Machado De Assis鈥� , we are all uniquely wired (or, perhaps, uniquely weird), and who is really to say what constitutes sanity. Understandably there must be clinical standards, I鈥檓 not here to disparage the psychological community in any way, however, Auxilio is a wonderful literary example of how we often write off others without truly attempting to understand them and see the world through their eyes. By dismissing her as crazy, you lose the opportunity to unlock the world and learn through her. Laziness is similar, and often dismissing someone as lazy is actually the lazy way out; even what appears as laziness is a highly complex set of emotions and actions that offer deeper insights into a person. Not that this is a universal law, but hopefully you get the point. I鈥檓 moralizing now, which makes me extraordinarily uncomfortable, so I鈥檒l conclude by reiterating that literature, and characters like Auxilio, plead that we try harder to understand and accept one another instead of casting one another aside through negatively connotative dismissals.
鈥�I decided to tell the truth even if it meant being pointed at.鈥�
January 1, 2021
Es posible que no sea lo mejor de Bola帽o. Sin embargo, el atractivo y el encanto con el que el autor dota a su personaje, Auxilio Lacouture, convirtieron la lectura para m铆 en puro gozo.
Auxilio es el precioso homenaje que Bola帽o hace a Alcira Soust Scaffo, poeta uruguaya que sobrevivi贸 a la ocupaci贸n por el ej茅rcito mejicano de la Ciudad Universitaria gracias a que pudo esconderse en los ba帽os de la UNAM y permanecer en ellos durante doce d铆as con sus doce noches hasta ser rescatada medio muerta.
Este suceso ignominioso de la historia mexicana es el centro sobre el que gravita todo el 鈥渄elirio aterrorizado鈥� que es la novela, tal y como tan acertadamente la califica Rodrigo Fres谩n, aunque lo que la hace inolvidable es la voz de Auxilio, la libertad que de ella emana, su delicioso juego con las palabras que es una verdadera fiesta del lenguaje que me trajo a la mente no pocas veces la genial y exuberante novela de Fernando del Paso, Palinuro de M茅xico, la cual tambi茅n tiene como eje central la masacre de la Plaza de Tlatelolco, pero sobre todo me la record贸 por p谩rrafos como este:
Auxilio es el precioso homenaje que Bola帽o hace a Alcira Soust Scaffo, poeta uruguaya que sobrevivi贸 a la ocupaci贸n por el ej茅rcito mejicano de la Ciudad Universitaria gracias a que pudo esconderse en los ba帽os de la UNAM y permanecer en ellos durante doce d铆as con sus doce noches hasta ser rescatada medio muerta.
Este suceso ignominioso de la historia mexicana es el centro sobre el que gravita todo el 鈥渄elirio aterrorizado鈥� que es la novela, tal y como tan acertadamente la califica Rodrigo Fres谩n, aunque lo que la hace inolvidable es la voz de Auxilio, la libertad que de ella emana, su delicioso juego con las palabras que es una verdadera fiesta del lenguaje que me trajo a la mente no pocas veces la genial y exuberante novela de Fernando del Paso, Palinuro de M茅xico, la cual tambi茅n tiene como eje central la masacre de la Plaza de Tlatelolco, pero sobre todo me la record贸 por p谩rrafos como este:
鈥淓l tiempo o no se detiene nunca o est谩 detenido desde siempre, digamos entonces que el cont铆nuum del tiempo sufre un escalofr铆o, o digamos que el tiempo abre las patotas y se agacha y mete la cabeza entre las ingles y me mira al rev茅s, unos cent铆metros tan s贸lo m谩s abajo del culo, y me gui帽a un ojo loco, o digamos que la luna llena o creciente o la oscura luna menguante del DF vuelve a deslizarse por las baldosas del lavabo de mujeres de la cuarta planta de la Facultad de Filosof铆a y Letras, o digamos que se levanta un silencio de velatorio en el caf茅 Quito y que s贸lo escucho los murmullos de los fantasmas de la corte de Lilian Serpas y que no s茅, una vez m谩s, si estoy en el 68 o en el 74 o en el 80 o si de una vez por todas me estoy aproximando como la sombra de un barco naufragado al dichoso a帽o 2000 que no ver茅.鈥�Desde esos lavabos, Auxilio anda pendiente de cado sonido, de cada sombra, intentando exorcizar el horror con esa luna que se refleja en las baldosas y le permite leer poemas de Pedro Garfias, con esa luna que salta de baldosa en baldosa y las derrite 鈥渉asta abrir un boquete por donde pasan im谩genes, pel铆culas que hablan de nosotros y de nuestras lecturas y del futuro r谩pido como la luz y que no veremos鈥�. Auxilio recuerda, reinventa y recrea un pasado, un presente y un futuro, sin atenerse a ning煤n orden, sin trama a la que ce帽irse, sin tema que no pueda tocarse, sin poeta, real o ficticio, que no pueda imaginar, sin encuentro en bares, calles y salones que no pueda producirse. Auxilio siente y expresa un amor profundo por la poes铆a y por los poetas y ella misma se convierte en poeta en el recuerdo de personas y episodios, de esas personas y episodios que no deben caer en el olvido, porque hay una responsabilidad del recuerdo, una obligaci贸n contra el olvido que entierra a personas y episodios, que, como los libros, son presas f谩ciles del polvo. Lo exige toda una generaci贸n de poetas y no poetas que asistieron al final del sue帽o revolucionario.
鈥淪er谩 una historia polic铆aca, un relato de serie negra y de terror. Pero no lo parecer谩. No lo parecer谩 porque soy yo la que lo cuenta.鈥�Y hay que agradecerle y mucho a Bola帽o la creaci贸n de esta voz encantadora que cuenta, esta Auxilio tan cercana a la Maga de Cort谩zar que siente pero no sabe, que ignora el porqu茅 de la tristeza que desprende un simple florero pero es capaz de sentir el infierno que se encierra en su boca y llorar y casi desmayarse. Asidua a las mil tertulias de poetas es incapaz de entender el gl铆lico que all铆 se habla, abierta a todos para los que siempre tiene cien palabras o mil, vagabunda por el DF convertida en murci茅lago o duende. Auxilio la testigo, Auxilio la memoria, Auxilio visionaria del futuro y visionaria tambi茅n del pasado, Auxilio madre de la poes铆a mexicana, Auxilio la que se nutre de literatura hasta quedar desdentada y triste, la poseedora de la poes铆a, del canto que protege, del canto que es nuestro amuleto.
October 16, 2023
Amulet focuses on one of the minor characters in The Savage Detectives, Uruguayan poet Auxilio Lacouture, 'the mother of all young Mexican poets'. When the army invades the campus of the National Autonomous University of Mexico in 1968, Auxilio happens to be in the women's toilets, and fearing she might face arrest or worse, she ends up hiding in the bathroom for thirteen days, drinking tap water and chewing scraps of toilet paper to survive. She soon starts hallucinating, and this slim novel (only 120-odd pages), is the record of her meandering mind, shifting from memories to prophecies in Bola帽o's distinctive style - inventive, quirky and entertaining. The picaresque episodes are strewn with mantra-like repetitions and occasionally go over the top - but just at the point where I was ready to berate Bola帽o for his self-indulgence, he brought everything together in a moving finale, a real tour de force. Highly recommended.
On a personal note, this is the second book I've ever read in Spanish. I'm slowly getting there!
On a personal note, this is the second book I've ever read in Spanish. I'm slowly getting there!
August 23, 2020
Roberto Bolano 鈥� Amulet
Just a moment while I鈥檓 trying to dry myself after this dive into a sea of words. A sea in which you鈥檙e in and which is in you at the same time. A sea sometimes calm (but never too calm) and other times swirling with fluctuating intensity, roaring and crashing, never allowing even a glimpse of land. Reading Amulet is like taking a nauseous, dreamy ride on a rollercoaster with a bottle of vodka in your hand. The narrator calls herself the mother of Mexican poetry. To me, she is a symbol of many things which I dare not name. She finds herself trapped in a bathroom stall during the army occupation of the Mexican National Autonomous University and there she starts recollecting moments from the past as well as the future. Memories float and grow around her like a cocoon which protects and nourishes all that's heroic and worth saving in this rapidly changing world. Mesmerizing and rousing at the same time, this little book begs for a re-read. As a matter of fact, it begs to be taken out of the shelf every once in a while for a quick read through random pages. I wonder what this will feel like.
Not quite dry enough but who am I kidding? Something tells me Bolano鈥檚 sea is one you never stop carrying inside you.
Just a moment while I鈥檓 trying to dry myself after this dive into a sea of words. A sea in which you鈥檙e in and which is in you at the same time. A sea sometimes calm (but never too calm) and other times swirling with fluctuating intensity, roaring and crashing, never allowing even a glimpse of land. Reading Amulet is like taking a nauseous, dreamy ride on a rollercoaster with a bottle of vodka in your hand. The narrator calls herself the mother of Mexican poetry. To me, she is a symbol of many things which I dare not name. She finds herself trapped in a bathroom stall during the army occupation of the Mexican National Autonomous University and there she starts recollecting moments from the past as well as the future. Memories float and grow around her like a cocoon which protects and nourishes all that's heroic and worth saving in this rapidly changing world. Mesmerizing and rousing at the same time, this little book begs for a re-read. As a matter of fact, it begs to be taken out of the shelf every once in a while for a quick read through random pages. I wonder what this will feel like.
Not quite dry enough but who am I kidding? Something tells me Bolano鈥檚 sea is one you never stop carrying inside you.
August 10, 2022
匕賰乇賷丕鬲 賲亘毓孬乇丞 賵睾賷乇 賲乇鬲亘丞 夭賲賳賷丕 賮賷 丨賷丕丞 兀賵賰爻賷賱賷賵 賱丕賰賵鬲賵乇
鬲鬲匕賰乇賴丕 賵賴賷 賲禺鬲亘兀丞 賮賷 廿丨丿賶 賰賱賷丕鬲 噩丕賲毓丞 丕賱賲賰爻賷賰
亘毓丿 丕賯鬲丨丕賲 丕賱賯賵丕鬲 丕賱丨賰賵賲賷丞 賱賱噩丕賲毓丞 賮賷 爻亘鬲賲亘乇 1968 賱賮囟 丕賱賲馗丕賴乇丕鬲 賵丕毓鬲賯丕賱 丕賱胤賱丕亘 賵丕賱兀爻丕鬲匕丞
鬲丨賰賷 毓賳 丕賱爻賷丕爻丞 賮賷 兀賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞, 賵毓賳 丕賱兀氐丿賯丕亍 賲賳 丕賱卮毓乇丕亍 賵丕賱兀丿亘丕亍 賮賷 丕賱賲賰爻賷賰
賵賲賳賴賲 丕賱卮丕毓乇 丕賱卮丕亘 丕乇鬲賵乇賷鬲賵 亘賷賱丕賳賵 丕賱匕賷 鬲鬲卮丕亘賴 兀丨丿丕孬 丨賷丕鬲賴 賲毓 乇賵亘乇鬲賵 亘賵賱丕賳賷賵 丕賱賰丕鬲亘
爻乇丿 爻丕禺乇 兀丨賷丕賳丕 賮賷賴 卮賷亍 賲賳 丕賱賴匕賷丕賳 賲丕 亘賷賳 丕賱匕賰乇賷丕鬲 賵丕賱兀丨賱丕賲
賷賰鬲亘 亘賵賱丕賳賷賵 毓賳 賲毓丕賳丕丞 卮亘丕亘 丕賱賯丕乇丞 丕賱賱丕鬲賷賳賷丞 賲賳 丕賱氐乇丕毓丕鬲 丕賱爻賷丕爻賷丞 賵丕賱丿賷賰鬲丕鬲賵乇賷丕鬲
賵賷丨鬲賮賷 亘丕賱賰孬賷乇 賲賳 丕賱賲亘丿毓賷賳 賮賷 兀賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞 賲賳 丕賱卮毓乇丕亍 賵丕賱賰購鬲丕亘 賵丕賱賮賳丕賳賷賳
鬲鬲匕賰乇賴丕 賵賴賷 賲禺鬲亘兀丞 賮賷 廿丨丿賶 賰賱賷丕鬲 噩丕賲毓丞 丕賱賲賰爻賷賰
亘毓丿 丕賯鬲丨丕賲 丕賱賯賵丕鬲 丕賱丨賰賵賲賷丞 賱賱噩丕賲毓丞 賮賷 爻亘鬲賲亘乇 1968 賱賮囟 丕賱賲馗丕賴乇丕鬲 賵丕毓鬲賯丕賱 丕賱胤賱丕亘 賵丕賱兀爻丕鬲匕丞
鬲丨賰賷 毓賳 丕賱爻賷丕爻丞 賮賷 兀賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞, 賵毓賳 丕賱兀氐丿賯丕亍 賲賳 丕賱卮毓乇丕亍 賵丕賱兀丿亘丕亍 賮賷 丕賱賲賰爻賷賰
賵賲賳賴賲 丕賱卮丕毓乇 丕賱卮丕亘 丕乇鬲賵乇賷鬲賵 亘賷賱丕賳賵 丕賱匕賷 鬲鬲卮丕亘賴 兀丨丿丕孬 丨賷丕鬲賴 賲毓 乇賵亘乇鬲賵 亘賵賱丕賳賷賵 丕賱賰丕鬲亘
爻乇丿 爻丕禺乇 兀丨賷丕賳丕 賮賷賴 卮賷亍 賲賳 丕賱賴匕賷丕賳 賲丕 亘賷賳 丕賱匕賰乇賷丕鬲 賵丕賱兀丨賱丕賲
賷賰鬲亘 亘賵賱丕賳賷賵 毓賳 賲毓丕賳丕丞 卮亘丕亘 丕賱賯丕乇丞 丕賱賱丕鬲賷賳賷丞 賲賳 丕賱氐乇丕毓丕鬲 丕賱爻賷丕爻賷丞 賵丕賱丿賷賰鬲丕鬲賵乇賷丕鬲
賵賷丨鬲賮賷 亘丕賱賰孬賷乇 賲賳 丕賱賲亘丿毓賷賳 賮賷 兀賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞 賲賳 丕賱卮毓乇丕亍 賵丕賱賰購鬲丕亘 賵丕賱賮賳丕賳賷賳
December 4, 2017
When Only a Wedge Will Do
I read this because I鈥檓 a lazy cheapskate.
I bought it for $5 (reduced from $50) in a recent Borders sale.
But I was looking for a relatively short wedgie between larger undertakings, the next of which will be Haruki Murakami鈥檚 鈥�1Q84鈥�.
At 184 pages, it鈥檚 more of a novella than a novel (although I鈥檝e never really understood or cared much for the distinction).
What鈥檚 important for me is how much the author put into those pages and how much we the readers get out of them.
As I write this, I鈥檓 hovering between rating it five or four stars. I wonder what I鈥檒l manage to persuade myself.
Galvanised Irony
For each generation, there is sometimes (not always) an event that seems to either polarize or galvanise people.
It could horrify or unite them.
It could symbolize conflicts or trends that might not yet have become apparent and only become obvious retrospectively.
In 1937, it could have been the bombing of Guernica (which was depicted in Picasso鈥檚 famous work of cubism).
In 1945, it could have been the bombing of Dresden.
In 1956, it could have been the invasion of Hungary.
In 1968, it could have been the invasion of Czechoslovakia.
In 2001, it could have been the collapse of the Twin Towers.
Since the advent of TV and 24 hour news, there are so many of these events that you could almost argue that none stands out from the others.
Europe 1968
On 22 March, 1968, a small group of students, poets and musicians occupied an administration building at the University of Paris.
After the Police were called, the group left the building peacefully.
However, subsequent conflicts resulted in the closure of the University on 2 May.
Demonstrations, protests, strikes and riots occurred over Paris throughout May, eventually petering out in June and July.
On the evening of 20 August, 1968, the armed forces of the Warsaw Pact invaded Czechoslovakia.
Mexico 1968
Meanwhile, on 12 October, 1968, the athletes of the world were to gather in Mexico City for the Games of the XIX Olympiad.
It was to be the first time the Summer Olympics would ever be held outside Europe, the United States or Australia.
The Mexican Government treated the Olympics as a unique opportunity to showcase the country to the world.
It spent US$150M (US$7.5BN in today鈥檚 terms) on the preparation for the games, money that the basically Third World country could ill afford.
After a number of student protests against government oppression, there was a peaceful protest of 50,000 students at the National Autonomous University of Mexico (鈥淯NAM鈥�) on 1 August, 1968.
The fact that such a huge protest was peaceful convinced the public that the protesters were not just violent gangs or rabble-rousers.
However, in mid-September, the President of Mexico ordered the Army to occupy the UNAM Campus.
Many staff and teachers were beaten and arrested.
Then, on 2 October (just ten days before the Opening Ceremony), around 10,000 university and high school students assembled in the Plaza de las Tres Culturas in Tlatelolco.
What followed was a massacre by the Police and Army in which between 30 and 1,000 protesters and bystanders were killed (depending on who you believe).
The Plaza is closed off by buildings on three sides.
The Government basically closed off the fourth side and started shooting.
Thirteen Days in a Cubicle
鈥淎mulet鈥� takes place over thirteen days and twelve nights from the eighteenth to the thirtieth of September.
Auxilio Lacouture is a Uruguayan national who lives in Mexico City.
She loves poetry and might even be a poet herself.
She works part-time at UNAM and cleans the apartments of a number of her favourite poets.
鈥淚 am a friend to all Mexicans. I could say I am the mother of Mexican poetry, but I better not. I know all the poets and all the poets know me.鈥�
On 18 September, she finds herself in the middle of the whirlwind that blows through Mexico City:
鈥淚 could say one mother of a zephyr is blowing down the centuries, but I better not.鈥�
At the very point the Government evacuates the campus, she is sitting in a cubicle in the women鈥檚 bathroom on the fourth floor of the building that houses the Faculty of Philosophy and Literature.
She evades capture and remains in the bathroom for the duration of the novel, dreaming and reading her book of poetry, while outside the campus is guarded by the Army.
鈥淎mulet鈥� could be an almost stream of consciousness record of her musings over the thirteen days, only it鈥檚 more accurate to describe it as a river of conscience.
It concerns political issues, but it鈥檚 not an ideological tract.
鈥淭his is going to be a horror story. A story of murder, detection and horror. But it won鈥檛 appear to be, for the simple reason that I am the teller. Told by me, it won鈥檛 seem like that. Although, in fact, it鈥檚 the story of a terrible crime.鈥�
It鈥檚 easy to read, its economical and eloquent, but most importantly Bolano's prose has an hypnotic droning beauty that suits the judgment of history on an isolated, but all too frequent, outbreak of evil .
Heroes of the Oppression
The heroes of the novel are the poets and painters.
They are latter day gods.
Their youth, curiosity and expressiveness embody the best that civilization has to offer.
They are its life force.
While poets write and recite, while artists wield their brushes, society has a heartbeat.
When they stop, life stops, civilization stops.
鈥淭he dark night of the soul advances through the streets of Mexico City sweeping all before it. And now it is rare to hear singing, where once everything was a song. The dust cloud reduces everything to dust. First the poets, then love, then, when it seems to be sated and about to disperse, the cloud returns to hang high over your city or your mind, with a mysterious air that means it has no intention of moving.鈥�
Auxilio is the mother of the poets, their audience, their protector, their sustenance.
This responsibility has to be borne by a woman, a mother who cares.
She draws her own sustenance from other women, such as the Catalan painter Remedios Varo and the Mexican poet, Lilian Serpas, of whom she says:
鈥淚 know she that she has seen many bad things, the ascension of the devil, the unstoppable procession of termites climbing the Tree of Life, the conflict between the Enlightenment and the Shadow or the Empire or the Kingdom of Order, which are all proper names for the irrational stain that is bent on turning us into beasts or robots, and which has been fighting against the Enlightenment since the beginning of time...鈥�
Descent into the Maelstrom
In the last chapter, Auxilio decides to leave the building, to 鈥渃ome down from the mountains鈥�, where she has exiled herself:
鈥淚 decided not to starve to death in the women鈥檚 bathroom. I decided not to go crazy. I decided not to become a beggar. I decided to tell the truth even if it meant being pointed at.鈥�
She sees two birds singing in a tree.
They watch, as a cloud sweeps across a broad field in the direction of an abyss.
At first, she thinks that it is the cloud casting a dark shadow over the valley.
Then she realises it is 鈥渁 multitude of young people, an interminable legion of young people on the march to somewhere鈥 was too far away to see their faces. But I saw them. I don鈥檛 know if they were creatures of flesh and blood or ghosts. But I saw them...They were probably ghosts.鈥�
Then she realises that they were singing, 鈥渟inging and heading for the abyss鈥�.
It was a 鈥渂arely audible song, a song of war and love, because although the children were clearly marching to war, the way they marched recalled the superb, theatrical attitudes of love鈥nd although the song that I heard was about war, about the heroic deeds of a whole generation of young Latin Americans led to sacrifice, I knew that above and beyond all, it was about courage and mirrors, desire and pleasure.鈥�
Onward Questioning Soldiers
For every generation, there are some who march and sing, there are some who resist oppression, while the rest of us take the path of least resistance.
There are some of us who hide in cubicles for thirteen days, yet can still find it in themselves to admire cubists.
Hundreds, maybe a thousand died, that day at Tlatelolco.
鈥淎mulet鈥� is Roberto Bolano鈥檚 tribute and thank you to them.
It is also a recording of their song, an amulet that will hopefully bring the rest of us, the survivors, another generation of children and young people, good luck and protection.
Olympic Postscript
In the 200m medal award ceremony, African-American athletes Tommie Smith (gold) and John Carlos (bronze) raised their black-gloved fists as a symbol of "Black Power".
The Australian, Peter Norman (silver), wore an American "civil rights" badge as support for them on the podium.
Avery Brundage, President of the International Olympic Committee, firmly believed that politics should have no role in the Olympics.
In the short term, Smith and Carlos were suspended from the U.S. team and banned from the Olympic Village.
In the long term, the IOC banned Smith and Carlos from the Olympic Games for life, and Norman was omitted from the Australian 1972 Olympic team.
This review is dedicated to people who resisted oppression when it would have been personally safer and easier not to.
October 7, 2011
I read this because I鈥檓 a lazy cheapskate.
I bought it for $5 (reduced from $50) in a recent Borders sale.
But I was looking for a relatively short wedgie between larger undertakings, the next of which will be Haruki Murakami鈥檚 鈥�1Q84鈥�.
At 184 pages, it鈥檚 more of a novella than a novel (although I鈥檝e never really understood or cared much for the distinction).
What鈥檚 important for me is how much the author put into those pages and how much we the readers get out of them.
As I write this, I鈥檓 hovering between rating it five or four stars. I wonder what I鈥檒l manage to persuade myself.
Galvanised Irony
For each generation, there is sometimes (not always) an event that seems to either polarize or galvanise people.
It could horrify or unite them.
It could symbolize conflicts or trends that might not yet have become apparent and only become obvious retrospectively.
In 1937, it could have been the bombing of Guernica (which was depicted in Picasso鈥檚 famous work of cubism).
In 1945, it could have been the bombing of Dresden.
In 1956, it could have been the invasion of Hungary.
In 1968, it could have been the invasion of Czechoslovakia.
In 2001, it could have been the collapse of the Twin Towers.
Since the advent of TV and 24 hour news, there are so many of these events that you could almost argue that none stands out from the others.
Europe 1968
On 22 March, 1968, a small group of students, poets and musicians occupied an administration building at the University of Paris.
After the Police were called, the group left the building peacefully.
However, subsequent conflicts resulted in the closure of the University on 2 May.
Demonstrations, protests, strikes and riots occurred over Paris throughout May, eventually petering out in June and July.
On the evening of 20 August, 1968, the armed forces of the Warsaw Pact invaded Czechoslovakia.
Mexico 1968
Meanwhile, on 12 October, 1968, the athletes of the world were to gather in Mexico City for the Games of the XIX Olympiad.
It was to be the first time the Summer Olympics would ever be held outside Europe, the United States or Australia.
The Mexican Government treated the Olympics as a unique opportunity to showcase the country to the world.
It spent US$150M (US$7.5BN in today鈥檚 terms) on the preparation for the games, money that the basically Third World country could ill afford.
After a number of student protests against government oppression, there was a peaceful protest of 50,000 students at the National Autonomous University of Mexico (鈥淯NAM鈥�) on 1 August, 1968.
The fact that such a huge protest was peaceful convinced the public that the protesters were not just violent gangs or rabble-rousers.
However, in mid-September, the President of Mexico ordered the Army to occupy the UNAM Campus.
Many staff and teachers were beaten and arrested.
Then, on 2 October (just ten days before the Opening Ceremony), around 10,000 university and high school students assembled in the Plaza de las Tres Culturas in Tlatelolco.
What followed was a massacre by the Police and Army in which between 30 and 1,000 protesters and bystanders were killed (depending on who you believe).
The Plaza is closed off by buildings on three sides.
The Government basically closed off the fourth side and started shooting.
Thirteen Days in a Cubicle
鈥淎mulet鈥� takes place over thirteen days and twelve nights from the eighteenth to the thirtieth of September.
Auxilio Lacouture is a Uruguayan national who lives in Mexico City.
She loves poetry and might even be a poet herself.
She works part-time at UNAM and cleans the apartments of a number of her favourite poets.
鈥淚 am a friend to all Mexicans. I could say I am the mother of Mexican poetry, but I better not. I know all the poets and all the poets know me.鈥�
On 18 September, she finds herself in the middle of the whirlwind that blows through Mexico City:
鈥淚 could say one mother of a zephyr is blowing down the centuries, but I better not.鈥�
At the very point the Government evacuates the campus, she is sitting in a cubicle in the women鈥檚 bathroom on the fourth floor of the building that houses the Faculty of Philosophy and Literature.
She evades capture and remains in the bathroom for the duration of the novel, dreaming and reading her book of poetry, while outside the campus is guarded by the Army.
鈥淎mulet鈥� could be an almost stream of consciousness record of her musings over the thirteen days, only it鈥檚 more accurate to describe it as a river of conscience.
It concerns political issues, but it鈥檚 not an ideological tract.
鈥淭his is going to be a horror story. A story of murder, detection and horror. But it won鈥檛 appear to be, for the simple reason that I am the teller. Told by me, it won鈥檛 seem like that. Although, in fact, it鈥檚 the story of a terrible crime.鈥�
It鈥檚 easy to read, its economical and eloquent, but most importantly Bolano's prose has an hypnotic droning beauty that suits the judgment of history on an isolated, but all too frequent, outbreak of evil .
Heroes of the Oppression
The heroes of the novel are the poets and painters.
They are latter day gods.
Their youth, curiosity and expressiveness embody the best that civilization has to offer.
They are its life force.
While poets write and recite, while artists wield their brushes, society has a heartbeat.
When they stop, life stops, civilization stops.
鈥淭he dark night of the soul advances through the streets of Mexico City sweeping all before it. And now it is rare to hear singing, where once everything was a song. The dust cloud reduces everything to dust. First the poets, then love, then, when it seems to be sated and about to disperse, the cloud returns to hang high over your city or your mind, with a mysterious air that means it has no intention of moving.鈥�
Auxilio is the mother of the poets, their audience, their protector, their sustenance.
This responsibility has to be borne by a woman, a mother who cares.
She draws her own sustenance from other women, such as the Catalan painter Remedios Varo and the Mexican poet, Lilian Serpas, of whom she says:
鈥淚 know she that she has seen many bad things, the ascension of the devil, the unstoppable procession of termites climbing the Tree of Life, the conflict between the Enlightenment and the Shadow or the Empire or the Kingdom of Order, which are all proper names for the irrational stain that is bent on turning us into beasts or robots, and which has been fighting against the Enlightenment since the beginning of time...鈥�
Descent into the Maelstrom
In the last chapter, Auxilio decides to leave the building, to 鈥渃ome down from the mountains鈥�, where she has exiled herself:
鈥淚 decided not to starve to death in the women鈥檚 bathroom. I decided not to go crazy. I decided not to become a beggar. I decided to tell the truth even if it meant being pointed at.鈥�
She sees two birds singing in a tree.
They watch, as a cloud sweeps across a broad field in the direction of an abyss.
At first, she thinks that it is the cloud casting a dark shadow over the valley.
Then she realises it is 鈥渁 multitude of young people, an interminable legion of young people on the march to somewhere鈥 was too far away to see their faces. But I saw them. I don鈥檛 know if they were creatures of flesh and blood or ghosts. But I saw them...They were probably ghosts.鈥�
Then she realises that they were singing, 鈥渟inging and heading for the abyss鈥�.
It was a 鈥渂arely audible song, a song of war and love, because although the children were clearly marching to war, the way they marched recalled the superb, theatrical attitudes of love鈥nd although the song that I heard was about war, about the heroic deeds of a whole generation of young Latin Americans led to sacrifice, I knew that above and beyond all, it was about courage and mirrors, desire and pleasure.鈥�
Onward Questioning Soldiers
For every generation, there are some who march and sing, there are some who resist oppression, while the rest of us take the path of least resistance.
There are some of us who hide in cubicles for thirteen days, yet can still find it in themselves to admire cubists.
Hundreds, maybe a thousand died, that day at Tlatelolco.
鈥淎mulet鈥� is Roberto Bolano鈥檚 tribute and thank you to them.
It is also a recording of their song, an amulet that will hopefully bring the rest of us, the survivors, another generation of children and young people, good luck and protection.
Olympic Postscript
In the 200m medal award ceremony, African-American athletes Tommie Smith (gold) and John Carlos (bronze) raised their black-gloved fists as a symbol of "Black Power".
The Australian, Peter Norman (silver), wore an American "civil rights" badge as support for them on the podium.
Avery Brundage, President of the International Olympic Committee, firmly believed that politics should have no role in the Olympics.
In the short term, Smith and Carlos were suspended from the U.S. team and banned from the Olympic Village.
In the long term, the IOC banned Smith and Carlos from the Olympic Games for life, and Norman was omitted from the Australian 1972 Olympic team.
This review is dedicated to people who resisted oppression when it would have been personally safer and easier not to.
October 7, 2011
February 23, 2023
賲丕 丿乇賲丕賳丿诏丕賳 賲蹖鈥屫堌ж池屬� 賮乇蹖丕丿 爻乇 丿賴蹖賲貙 賱蹖讴 賮乇蹖丕丿乇爻蹖 賳亘賵丿. 倬鬲乇賵賳蹖賵爻. 氐賮丨賴鈥屰� 鄹 讴鬲丕亘
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卮丕蹖丿 丌賳趩賴 賲乇丕 亘賴 爻賮乇 賵丕丿丕卮鬲 丿蹖賵丕賳诏蹖 亘賵丿. 賲蹖鈥屫堌з嗀池� 丿蹖賵丕賳诏蹖 賴賲 亘丕卮丿. 亘賴 诏賲丕賳 賲賳 讴賴 丿賱蹖賱卮 賮乇賴賳诏 亘賵丿. 丕賱亘鬲賴 賮乇賴賳诏 诏丕賴 丿蹖賵丕賳诏蹖 丕爻鬲 賵 诏丕賴 丿乇亘乇诏蹖乇賳丿賴鈥屰� 丿蹖賵丕賳诏蹖. 氐賮丨賴 郾郾 讴鬲丕亘
丌丿賲蹖 鬲賳 亘賴 禺胤乇 賲蹖鈥屫囏�. 丕蹖賳 蹖讴 丨賯蹖賯鬲 賲丨囟 丕爻鬲. 丌丿賲蹖 鬲賳 亘賴 禺胤乇 賲蹖鈥屫囏� 賵 亘丕夭蹖趩賴鈥屰� 丿爻鬲 爻乇賳賵卮鬲 賲蹖鈥屫促堌� 丨鬲蹖 丿乇 賳丕賲丨鬲賲賱鈥屫臂屬� 賲讴丕賳鈥屬囏�. 氐賮丨賴鈥屰� 郾鄣 讴鬲丕亘
賲毓鬲賯丿賲 夭賳丿诏蹖 倬乇 丕爻鬲 丕夭 趩蹖夭賴丕蹖 讴賵趩讴 賲毓賲丕 賵丕乇貙 乇禺丿丕丿賴丕蹖蹖 讴賴 賴賲賵丕乇賴 賲鬲乇氐丿 鬲賲丕爻 亘丕 倬賵爻鬲 蹖丕 賳诏丕賴賲丕賳 賴爻鬲賳丿 鬲丕 亘丿賱 亘賴 夭賳噩蹖乇賴鈥屫й� 丕夭 倬蹖丕賲丿賴丕 卮賵賳丿 讴賴 鬲賳賴丕 亘丕 毓亘賵乇 丕夭 賲賳卮賵乇 夭賲丕賳 趩賴乇賴 毓蹖丕賳 賲蹖鈥屭┵嗁嗀� 賵 丕賱亘鬲賴 賴賵賱 賵 賴乇丕爻 亘乇賲蹖鈥屫з嗂屫操嗀�. 氐賮丨賴鈥屰� 鄄鄹 讴鬲丕亘
毓卮賯 趩賳蹖賳 丕爻鬲貙 夭亘丕賳 毓丕賲蹖丕賳賴 趩賳蹖賳 丕爻鬲貙 禺蹖丕亘丕賳鈥屬囏� 趩賳蹖賳賳丿貙 爻賵賳丕鬲鈥屬囏� 趩賳蹖賳賳丿貙 丌爻賲丕賳 倬賳噩 氐亘丨 趩賳蹖賳 丕爻鬲. 丕賲丕 乇賮丕賯鬲 賳賴. 鬲賵 亘丕 乇賮蹖賯 鬲賳賴丕 賳蹖爻鬲蹖. 氐賮丨賴鈥屰� 鄣酃 讴鬲丕亘
賴賲賴 賲丕 毓卮賯 讴賴賳賴鈥屫й� 丿丕乇蹖賲 讴賴 賴乇 賵賯鬲 丿蹖诏乇 趩蹖夭蹖 亘乇丕蹖 诏賮鬲賳 賳賲蹖鈥屬呚з嗀� 倬丕蹖卮 乇丕 賵爻胤 賲蹖鈥屭┴篡屬�. 氐賮丨賴鈥屰� 郾鄄酃 讴鬲丕亘
鈥�
January 17, 2019
"This story breaks away from its box."
Roberto Bola帽o destroys the reader鈥檚 preexisting expectations, as what the reader sees is rarely what he gets. I鈥檝e only previously read "Los Detectives Salvajes" before, and was immediately happy to see that this was an extension of that novel, or, more accurately, it works as a companion piece. I love this kind of stuff! Complimentary works are... extremely difficult to pull off, as one bad novel might pollute the other one. (Take for instance the Hannibal Lecter quadrilogy: Thomas Harris鈥� first Lecter tale was the superb Red Dragon, which then catapulted the villain to fame in The Silence of the Lambs-- but years later Hannibal fumbled, becoming a cataclysmic literary disaster, followed by the last gasp in those grey ashes, Hannibal Rising.) But in this case, both novels are as different in style as could be, though perhaps not different in theme. Bola帽o chronicles an all-but-forgotten literary movement that occurred almost half a century ago at the epicenter of Mexico City. He describes a bohemian existence of poets and artists and Auxilio鈥檚 inner trek through memory and even through the to-be-lived future paints a vivid portrait of the members of this artistic wave.
Surrealism has a better hold on Amulet than its companion novel. The Savage Detective is epic and wide-spanning--many voices are given chance to chronicle that bright but doomed time, but Amulet centers around Auxilio Laucouture. In Amulet you hear the narrative of a ghost. The heroine, mother to all Mexican poets, part Rapunzel, part deranged pariah (think of the woman from The Yellow Wallpaper by Charlotte Perkins Gilman), atop her terrible tower experiences a time warp, and vacillates in examining scenes from her past and her future. Experiences she is yet to have are seen, in true metaphysical oracle style. Her distance from all action occurring in the university and the city gives her the advantage to reach true inner contemplation, to such a degree (no doubt hunger being a driving force) that she admits: 鈥淚 started thinking about my past as if I was thinking about my present, future and past, all mixed together and dormant in the one tepid egg, the enormous egg of some inner bird (an archaeopteryx?) nestled on a bed of smoking rubble.鈥� The character is an obvious spectator (here is the connection to many other novels that deal with consciousness). Again, in doing nothing (鈥淪tay here, Auxilio, you don鈥檛 have to be in that movie; if they want to make you play a role, they can damn well come & find you鈥�) she becomes the perfect candidate to give a form to the narrative, though, like mentioned before, this 鈥渉orror story鈥� breaks from its set parameters.
We are hearing the story directly from Auxilio herself. There is enough evidence of a mumbling, sad, imperfect human directing all of this, & it is because the magic (for instance: the surreal scene inside the antechamber of the King of the Rent Boys in Colonia Guerrero, or the two visionaries [Auxilio and Carlos Coffeen Serpas] coming face-to-face) is filtered through a poetic voice that the effects go unquestioned. Being in the 鈥渘un鈥檚 cell [Auxilio] never had鈥� makes times, scenes, and emotions transitory: they bleed into each other.
Whereas The Savage Detectives follows a clear (you can almost say predestined) path, Amulet promises things which are then delivered, albeit in ambiguous ways. I was expecting, for instance, a cinematic rescue from the bathroom stalls. A closure to the historic events of the army鈥檚 invasion of el DF in 1968. Instead, the 鈥淢other of Mexican Poetry鈥� gives us her prophecies which describes a fun flight of poetic fancy, but also includes her harrowing, apocalyptic vision of 鈥渢he prettiest children of Latin America, the ill-fed and the well-fed children, those who had everything and those who had nothing, such a beautiful song it is, issuing from their lips, and how beautiful they were, such beauty, although they were marching deathward."
Roberto Bola帽o destroys the reader鈥檚 preexisting expectations, as what the reader sees is rarely what he gets. I鈥檝e only previously read "Los Detectives Salvajes" before, and was immediately happy to see that this was an extension of that novel, or, more accurately, it works as a companion piece. I love this kind of stuff! Complimentary works are... extremely difficult to pull off, as one bad novel might pollute the other one. (Take for instance the Hannibal Lecter quadrilogy: Thomas Harris鈥� first Lecter tale was the superb Red Dragon, which then catapulted the villain to fame in The Silence of the Lambs-- but years later Hannibal fumbled, becoming a cataclysmic literary disaster, followed by the last gasp in those grey ashes, Hannibal Rising.) But in this case, both novels are as different in style as could be, though perhaps not different in theme. Bola帽o chronicles an all-but-forgotten literary movement that occurred almost half a century ago at the epicenter of Mexico City. He describes a bohemian existence of poets and artists and Auxilio鈥檚 inner trek through memory and even through the to-be-lived future paints a vivid portrait of the members of this artistic wave.
Surrealism has a better hold on Amulet than its companion novel. The Savage Detective is epic and wide-spanning--many voices are given chance to chronicle that bright but doomed time, but Amulet centers around Auxilio Laucouture. In Amulet you hear the narrative of a ghost. The heroine, mother to all Mexican poets, part Rapunzel, part deranged pariah (think of the woman from The Yellow Wallpaper by Charlotte Perkins Gilman), atop her terrible tower experiences a time warp, and vacillates in examining scenes from her past and her future. Experiences she is yet to have are seen, in true metaphysical oracle style. Her distance from all action occurring in the university and the city gives her the advantage to reach true inner contemplation, to such a degree (no doubt hunger being a driving force) that she admits: 鈥淚 started thinking about my past as if I was thinking about my present, future and past, all mixed together and dormant in the one tepid egg, the enormous egg of some inner bird (an archaeopteryx?) nestled on a bed of smoking rubble.鈥� The character is an obvious spectator (here is the connection to many other novels that deal with consciousness). Again, in doing nothing (鈥淪tay here, Auxilio, you don鈥檛 have to be in that movie; if they want to make you play a role, they can damn well come & find you鈥�) she becomes the perfect candidate to give a form to the narrative, though, like mentioned before, this 鈥渉orror story鈥� breaks from its set parameters.
We are hearing the story directly from Auxilio herself. There is enough evidence of a mumbling, sad, imperfect human directing all of this, & it is because the magic (for instance: the surreal scene inside the antechamber of the King of the Rent Boys in Colonia Guerrero, or the two visionaries [Auxilio and Carlos Coffeen Serpas] coming face-to-face) is filtered through a poetic voice that the effects go unquestioned. Being in the 鈥渘un鈥檚 cell [Auxilio] never had鈥� makes times, scenes, and emotions transitory: they bleed into each other.
Whereas The Savage Detectives follows a clear (you can almost say predestined) path, Amulet promises things which are then delivered, albeit in ambiguous ways. I was expecting, for instance, a cinematic rescue from the bathroom stalls. A closure to the historic events of the army鈥檚 invasion of el DF in 1968. Instead, the 鈥淢other of Mexican Poetry鈥� gives us her prophecies which describes a fun flight of poetic fancy, but also includes her harrowing, apocalyptic vision of 鈥渢he prettiest children of Latin America, the ill-fed and the well-fed children, those who had everything and those who had nothing, such a beautiful song it is, issuing from their lips, and how beautiful they were, such beauty, although they were marching deathward."
December 6, 2021
乇賲丕賳 鬲毓賵蹖匕 乇丕 賲蹖 鬲賵丕賳 丿乇 爻鬲丕蹖卮 卮丕毓乇丕賳 賵 賳賵蹖爻賳丿诏丕賳 丌賲乇蹖讴丕蹖 噩賳賵亘蹖 賵 鬲噩賱蹖賱 丕夭 卮賵乇 賵 乇賵丨蹖賴 噩賵丕賳丕賳 丿丕賳爻鬲 貙 丌賳丕賳蹖 讴賴 丿乇 诏賲賳丕賲蹖 亘丕 乇跇蹖賲 賴丕蹖 丿蹖讴鬲丕鬲賵乇蹖 丕夭 賲讴夭蹖讴 鬲丕 卮蹖賱蹖 趩賴 丿乇 禺蹖丕亘丕賳賴丕 賵 趩賴 丿乇 賲丨丕賮賱 丕丿亘蹖 卮亘賴 乇賵卮賳賮讴乇丕賳賴 噩賳诏蹖丿賴 賵 丿乇 倬丕蹖丕賳 賴賲 賳丕賲蹖 丕夭 丌賳賴丕 亘丕賯蹖 賳賲丕賳丿賴 丕爻鬲 .
丌賳趩賴 丿乇 丿賳蹖丕蹖 毓噩蹖亘 蹖賵賱丕賳蹖賵 賲蹖 亘蹖賳蹖賲 鬲乇讴蹖亘蹖 丕夭 卮讴 賵 賴匕蹖丕賳 賵 鬲丕乇蹖禺 丕爻鬲 貙 卮讴蹖 讴賴 賳爻亘鬲 亘賴 賴賲賴 丕亘毓丕丿 夭賳丿诏蹖 賵噩賵丿 丿丕乇丿 貙 夭賲丕賳 貙 賲讴丕賳 賵 鬲丕乇蹖禺 賵 丨鬲蹖 賴爻鬲蹖 賵 賳蹖爻鬲蹖 . 丕賲丕 蹖讴 丨賯蹖賯鬲 賲胤賱賯 賴賲 丿乇 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇丿 貙 賲蹖丿丕賳 鬲賱丕鬲賱丕賱讴賵 賵 讴卮鬲丕乇 丿丕賳卮噩賵蹖丕賳 賵 噩賵丕賳丕賳 賲讴夭蹖讴蹖 丿乇 丌賳 .( 丕賵乇蹖丕賳丕 賮丕賱丕趩蹖 丿乇 亘禺卮 丿賵賲 讴鬲丕亘 夭賳丿诏蹖 貙 噩賳诏 賵 丿蹖诏乇 賴蹖趩 亘賴 丕蹖賳 讴卮鬲丕乇 賵丨卮鬲賳丕讴 倬乇丿丕禺鬲賴 貙 丕賵 禺賵丿 丿乇 丿丕賳卮诏丕賴 賴賲乇丕賴 丿丕賳卮噩賵蹖丕賳 賵 噩賵丕賳丕賳 丨囟賵乇 丿丕卮鬲賴 賵 丕賱亘鬲賴 丿乇 夭賲丕賳 爻乇讴賵亘 夭禺賲蹖 卮丿蹖丿 賵 賲賴賱讴 亘乇丿丕卮鬲賴 亘賵丿賴) 丕賲丕 賳賵蹖爻賳丿賴 亘丕 賵噩賵丿 丌賳讴賴 讴卮鬲丕乇 鬲賱丕鬲賱丕 賱讴賵 乇丕 賲乇讴夭 丿丕爻鬲丕賳 禺賵丿 賯乇丕乇 丿丕丿賴 丕賲丕 丕氐賱丕 亘賴 丌賳 賳倬乇丿丕禺鬲賴 丕爻鬲 .
乇丕賵蹖 丿丕爻鬲丕賳 丌卅賵讴爻蹖賱蹖賵 賱丕讴賵卅賵鬲賵乇亘賴 賴賳诏丕賲 讴卮鬲丕乇 丿乇 丿丕賳卮诏丕賴 禺賵丿 乇丕 丿乇 丿乇 诏賵卮賴 丕蹖 倬賳賴丕賳 讴乇丿賴 賵丨丕賱 乇賵丕蹖鬲 诏乇 丿丕爻鬲丕賳 卮丿賴 丕爻鬲 貙 丕賮乇丕丿蹖 讴賴 丌卅賵讴爻蹖賱蹖賵 亘賴 丌賳賴丕 倬乇丿丕禺鬲賴 毓賲賵賲丕 卮丕毓乇丕賳 賵 賳賵蹖爻賳丿诏丕賳 诏賲賳丕賲蹖 賴爻鬲賳丿 讴賴 爻乇诏卮鬲賴 賵 丌乇賲丕賳 诏乇丕 亘賴 賳馗乇 賲蹖 乇爻賳丿 貙 蹖讴蹖 丕夭 丌賳丕賳 丌乇鬲賵乇賵 亘賱丕賳賵 丕爻鬲 讴賴 丨囟賵乇 丕賵 丿乇 丿丕爻鬲丕賳 亘蹖卮鬲乇 丨爻 賲蹖 卮賵丿.
亘賵賱丕賳蹖賵 爻亘讴 亘爻蹖丕乇 卮丕毓乇丕賳賴 丕蹖 亘乇丕蹖 賳賵卮鬲賳 鬲毓賵蹖匕 丕賳鬲禺丕亘 讴乇丿賴 貙 讴鬲丕亘 丕賵 爻乇卮丕乇 丕夭 賱胤丕賮鬲 賵 夭蹖亘丕蹖蹖 丕蹖爻鬲 賵 亘賴 賱胤賮 鬲乇噩賲賴 禺丕賳賲 乇亘丕亘賴 賲丨亘 丨爻 賵 讴賱丕賲 卮丕毓乇丕賳賴 蹖賵賱丕賳蹖賵 亘賴 禺賵丕賳賳丿賴 讴丕賲賱丕 賲賳鬲賯賱 卮丿賴 丕爻鬲 丕賲丕 鬲毓賵蹖匕 讴鬲丕亘 爻禺鬲 禺賵丕賳 賵 賲鬲賮丕賵鬲蹖 丕蹖爻鬲 讴賴 丿丕爻鬲丕賳 鬲賯乇蹖亘丕 賲卮禺氐蹖 賴賲 賳丿丕乇丿 .
丌賳趩賴 丿乇 丿賳蹖丕蹖 毓噩蹖亘 蹖賵賱丕賳蹖賵 賲蹖 亘蹖賳蹖賲 鬲乇讴蹖亘蹖 丕夭 卮讴 賵 賴匕蹖丕賳 賵 鬲丕乇蹖禺 丕爻鬲 貙 卮讴蹖 讴賴 賳爻亘鬲 亘賴 賴賲賴 丕亘毓丕丿 夭賳丿诏蹖 賵噩賵丿 丿丕乇丿 貙 夭賲丕賳 貙 賲讴丕賳 賵 鬲丕乇蹖禺 賵 丨鬲蹖 賴爻鬲蹖 賵 賳蹖爻鬲蹖 . 丕賲丕 蹖讴 丨賯蹖賯鬲 賲胤賱賯 賴賲 丿乇 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇丿 貙 賲蹖丿丕賳 鬲賱丕鬲賱丕賱讴賵 賵 讴卮鬲丕乇 丿丕賳卮噩賵蹖丕賳 賵 噩賵丕賳丕賳 賲讴夭蹖讴蹖 丿乇 丌賳 .( 丕賵乇蹖丕賳丕 賮丕賱丕趩蹖 丿乇 亘禺卮 丿賵賲 讴鬲丕亘 夭賳丿诏蹖 貙 噩賳诏 賵 丿蹖诏乇 賴蹖趩 亘賴 丕蹖賳 讴卮鬲丕乇 賵丨卮鬲賳丕讴 倬乇丿丕禺鬲賴 貙 丕賵 禺賵丿 丿乇 丿丕賳卮诏丕賴 賴賲乇丕賴 丿丕賳卮噩賵蹖丕賳 賵 噩賵丕賳丕賳 丨囟賵乇 丿丕卮鬲賴 賵 丕賱亘鬲賴 丿乇 夭賲丕賳 爻乇讴賵亘 夭禺賲蹖 卮丿蹖丿 賵 賲賴賱讴 亘乇丿丕卮鬲賴 亘賵丿賴) 丕賲丕 賳賵蹖爻賳丿賴 亘丕 賵噩賵丿 丌賳讴賴 讴卮鬲丕乇 鬲賱丕鬲賱丕 賱讴賵 乇丕 賲乇讴夭 丿丕爻鬲丕賳 禺賵丿 賯乇丕乇 丿丕丿賴 丕賲丕 丕氐賱丕 亘賴 丌賳 賳倬乇丿丕禺鬲賴 丕爻鬲 .
乇丕賵蹖 丿丕爻鬲丕賳 丌卅賵讴爻蹖賱蹖賵 賱丕讴賵卅賵鬲賵乇亘賴 賴賳诏丕賲 讴卮鬲丕乇 丿乇 丿丕賳卮诏丕賴 禺賵丿 乇丕 丿乇 丿乇 诏賵卮賴 丕蹖 倬賳賴丕賳 讴乇丿賴 賵丨丕賱 乇賵丕蹖鬲 诏乇 丿丕爻鬲丕賳 卮丿賴 丕爻鬲 貙 丕賮乇丕丿蹖 讴賴 丌卅賵讴爻蹖賱蹖賵 亘賴 丌賳賴丕 倬乇丿丕禺鬲賴 毓賲賵賲丕 卮丕毓乇丕賳 賵 賳賵蹖爻賳丿诏丕賳 诏賲賳丕賲蹖 賴爻鬲賳丿 讴賴 爻乇诏卮鬲賴 賵 丌乇賲丕賳 诏乇丕 亘賴 賳馗乇 賲蹖 乇爻賳丿 貙 蹖讴蹖 丕夭 丌賳丕賳 丌乇鬲賵乇賵 亘賱丕賳賵 丕爻鬲 讴賴 丨囟賵乇 丕賵 丿乇 丿丕爻鬲丕賳 亘蹖卮鬲乇 丨爻 賲蹖 卮賵丿.
亘賵賱丕賳蹖賵 爻亘讴 亘爻蹖丕乇 卮丕毓乇丕賳賴 丕蹖 亘乇丕蹖 賳賵卮鬲賳 鬲毓賵蹖匕 丕賳鬲禺丕亘 讴乇丿賴 貙 讴鬲丕亘 丕賵 爻乇卮丕乇 丕夭 賱胤丕賮鬲 賵 夭蹖亘丕蹖蹖 丕蹖爻鬲 賵 亘賴 賱胤賮 鬲乇噩賲賴 禺丕賳賲 乇亘丕亘賴 賲丨亘 丨爻 賵 讴賱丕賲 卮丕毓乇丕賳賴 蹖賵賱丕賳蹖賵 亘賴 禺賵丕賳賳丿賴 讴丕賲賱丕 賲賳鬲賯賱 卮丿賴 丕爻鬲 丕賲丕 鬲毓賵蹖匕 讴鬲丕亘 爻禺鬲 禺賵丕賳 賵 賲鬲賮丕賵鬲蹖 丕蹖爻鬲 讴賴 丿丕爻鬲丕賳 鬲賯乇蹖亘丕 賲卮禺氐蹖 賴賲 賳丿丕乇丿 .
June 15, 2016
Okuyucu olarak 莽ok hassas bir d枚nemimdeyim. 陌莽i bo艧, basit ve ya tam tersi 莽ok a臒dal谋 艧eylerden s谋k谋l谋veriyorum. Edebi 眉sluptan 莽ok anlat谋lan 艧eyin niteli臒i 枚nemli bu aralar. O y眉zden laf kalabal谋臒谋 yapan yazarlar谋n eserleri elimde b眉y眉yor, bitmiyor.
Bolano bu konuda tam olarak otorite. Bir konu bu kadar g眉zel, sade, 枚zel anlat谋labilir. Bir sayfay谋 iki kere okudu臒um oldu 莽眉nk眉 olay谋 anlatma, metaforize etme 艧ekline hayran kald谋m. Kelime kelimesine okuyup, her dakikas谋n谋 kavramaya 莽al谋艧t谋臒谋m bir eser oldu. Hi莽 laf kalabal谋臒谋 yapmadan ama edebiyatt谋n da dibine vurmay谋 ihmal etmeden yaz谋lm谋艧 s眉per bir kitap.
10/8
Bolano bu konuda tam olarak otorite. Bir konu bu kadar g眉zel, sade, 枚zel anlat谋labilir. Bir sayfay谋 iki kere okudu臒um oldu 莽眉nk眉 olay谋 anlatma, metaforize etme 艧ekline hayran kald谋m. Kelime kelimesine okuyup, her dakikas谋n谋 kavramaya 莽al谋艧t谋臒谋m bir eser oldu. Hi莽 laf kalabal谋臒谋 yapmadan ama edebiyatt谋n da dibine vurmay谋 ihmal etmeden yaz谋lm谋艧 s眉per bir kitap.
10/8
Read
February 14, 2017"Amajlija" je dovoljno kratka da se pro膷ita u cugu i dovoljno hipnoti膷ka da tako i treba da se pro膷ita. I mnogo zna膷i - ho膰u re膰i, meni zna膷i - 拧to Bolanjo pi拧e tako kako pi拧e, od prve re膷enice navali na 膷itaoca kao te拧ka konjica u Aleksandru Nevskom i zahteva njegovu celokupnu pa啪nju.
Strukturno je roman pomalo nezgodan (bar za one koji vole klasi膷an zaplet) jer se ne vidi odmah da je koncipiran kao niz ulan膷anih i ne sasvim 膷vrsto povezanih celina koje spaja samo pripoveda膷ica (ali s druge strane, prvih pola strane vam je sasvim dovoljno upozorenje i ko ne odustane sam je kriv). Same celine, opet, nisu prave celine nego onako... delovi bolanjovskog opusa koji mogu da se pri拧iju za sve ostale delove koje je za 啪ivota uspeo da napi拧e i povremeno ba拧 deluju kao da se ne mogu razumeti bez jo拧 barem dve-tri Bolanjove knjige. Ali pripoveda膷ica Auksilio je tako fenomenalno istovremeno 啪ivotan i nadrealan lik da mu je te拧ko na膰i para i ve膰 samo zbog u啪ivanja u njenom glasu vredi ovo pro膷itati.
艩ta znam, posle 2666 (koji me je te拧ko impresionirao) Amajlija me uop拧te nije razo膷arala, samo je... kratka. 艩to verovatno zna膷i da 膰u u potragu za ostalim prevedenim Bolanjovim knjigama.
Strukturno je roman pomalo nezgodan (bar za one koji vole klasi膷an zaplet) jer se ne vidi odmah da je koncipiran kao niz ulan膷anih i ne sasvim 膷vrsto povezanih celina koje spaja samo pripoveda膷ica (ali s druge strane, prvih pola strane vam je sasvim dovoljno upozorenje i ko ne odustane sam je kriv). Same celine, opet, nisu prave celine nego onako... delovi bolanjovskog opusa koji mogu da se pri拧iju za sve ostale delove koje je za 啪ivota uspeo da napi拧e i povremeno ba拧 deluju kao da se ne mogu razumeti bez jo拧 barem dve-tri Bolanjove knjige. Ali pripoveda膷ica Auksilio je tako fenomenalno istovremeno 啪ivotan i nadrealan lik da mu je te拧ko na膰i para i ve膰 samo zbog u啪ivanja u njenom glasu vredi ovo pro膷itati.
艩ta znam, posle 2666 (koji me je te拧ko impresionirao) Amajlija me uop拧te nije razo膷arala, samo je... kratka. 艩to verovatno zna膷i da 膰u u potragu za ostalim prevedenim Bolanjovim knjigama.
October 7, 2013
鈥淚 am in the women鈥檚 bathroom in the faculty building and I can see the future, I said, in a soprano voice, as if I were being coy.
I know that said the dreamy voice, I know that. You start making your prophecies and I鈥檒l note them down.鈥�
I found this book very difficult to come to terms with at times which is based around the year 1968 in Mexico City, be it the future, the past or the present which are all thrown in for good measure to confuse a poor literary individual such as myself.
The narrator, Auxilio Lacouture, a Uruguayan woman, is a poet, and a very unusual woman, who moved to Latin American鈥檚 biggest city, Mexico City in the 1960s. She 鈥渢urned up at the apartments of L茅on Felipe and Petro Garfias鈥� where she offered to clean their apartments by dusting their books and sweeping their floors, etc.鈥�. This is a very unusual, slightly masculine woman with, 鈥渂lue eyes, blond hair going gray, cut in a bob, long, thin face, lined forehead鈥�, who can examine objects over and over again, such as the vase and books mentioned in one of the apartments she is taking care of at the beginning of the book.
Just to add character to her face, her four front teeth are missing. She couldn鈥檛 afford to have these replaced at the time and then lost the inclination to do so. And yet obviously this did bother her because whenever she laughed, she always covered her face with one of her hands. Did people know she had four teeth missing? Well if they did, they were not letting on. She also reminded me of being a kind of literary groupie, as she loved to follow the poets in the bars, and caf茅s of the university, and also to enjoy the night life where she was known as the 鈥淢other of Mexican Poetry.鈥�
Apart from these poets, Auxilio intrigued me with the three women she became friendly with. There is the young philosopher Elena who was in love with an Italian, Paolo, who was purely in Mexico so that he could obtain a visa to go and interview Castro in Cuba; the exiled Catalan painter Remedios Varo, and Lilian Serpas, a poet, who once slept with Che Guevara, with an unusual son called Coffeen who intrigued Auxilio with his tales on Erigone and Orestes.
The Faculty of Philosophy and Literature, in the Mexican National Autonomous University where Auxilio worked at the time, shows an individual, a survivor, constantly on the move, staying with people, losing her possessions, such as her books and clothes; with uncertain working habits but who was also living with this incredible imagination. I thought it was amazing that she could survive a week without spending a peso. Perhaps I鈥檓 living in the wrong country because money melts here.
Auxilio knew that something horrific was going to happen during the course of 1968. She made prophecies. She was in the women鈥檚 bathroom of the faculty building on the fourth floor she thinks, she wasn鈥檛 sure. Her memories and thoughts are vague as to when they actually happened. She had a propensity for reading in bathrooms (I always thought that was a male trait) as women tend to dash in and out.
When this horrific act happened 鈥渟he saw it all and yet she didn鈥檛 see a thing鈥�; 鈥渟he heard 鈥渁 noise in her soul鈥�. She stayed in the 鈥渟tall鈥� and didn鈥檛 come out until everyone had left. The famous date was 18 September when the university was taken over by the army, who arrested and killed students indiscriminately. Many more people though were killed in the Tlatelolco massacre on 2 October 1968 in the鈥� Plaza de las Tres Culturas in the Tlatelolco section of Mexico City. The violence occurred ten days before the 1968 Summer Olympics celebrations in Mexico City.鈥�
I couldn鈥檛 really handle the first couple of chapters at all but then I discovered the mantra of the bathroom shown above and I managed to settle to a certain extent in the unusual rhythm of this novella.
Amongst Auxilio鈥檚 odd prophecies were:
鈥淔or Marcel Proust, a desperate and prolonged period of oblivion shall begin in the year 2033. Ezra Pound shall disappear from certain libraries in the year 2089鈥�.C茅sar Vallejo shall be read underground in the year 2045. Jorge Luis Borges shall be read underground in under underground in the year 2045.鈥�
Why would Bola帽o want to repeat the last two sentences with the same year? For what purpose? The years that were given? Were these purely fiction or is there some significance here that I鈥檓 unaware of?
And as for the statement, 鈥淰irginia Woolf shall be reincarnated as an Argentinean fiction writer in the year 2076鈥�? Remarkable how she has come into the equation.
This is an extraordinary book with a writing style that I have never encountered before. It was purely a monologue and it did tend to ramble and repeat itself at times. Did I like it? Well, really I鈥檓 not too sure.
Yet again, I was seduced by the title and by an unknown author (to me anyway) but who receives amazing reviews. So going into 鈥渟heep mode鈥� I acquired this 鈥渢aster鈥� of a book.
I could even see the parallels in this book with the May 1968 events in France, which was a volatile period of civil unrest, general strikes and the occupation of factories and universities across the country. These lasted a far longer period and have had serious repercussions on both the French mentality and society, and also upon their economy that is still felt up to the present day. For you see, they continue to remember that the worm can still turn.
There鈥檚 a dreamlike quality about this writing which I found confusing at times, especially Auxilio鈥檚 鈥渕ental鈥� visits, I guess, into the mountains when everything becomes very strange and completely beyond me. Characters pass confusedly throughout the book like ghosts. Parts are brilliant with spell-binding prose, others are brilliantly-depressing, some are magical and yet there are also some very boring long-winded sections that were extraneous but all in all, how does one rate this work? I don鈥檛 know in all honesty and so I鈥檒l go middle of the road until I can read another book by the author to be able to compare my own confused thoughts. Which book to follow up with? Now that鈥檚 the ongoing dilemma.
And finally with the idealistic young Latin Americans who came to maturity in the 1970s, I could understand the meaning of the title with the last words of the novel when I read: 鈥淎nd that song is our amulet鈥�.
And what is that you may wonder? Well, you鈥檒l have to read the book.
I know that said the dreamy voice, I know that. You start making your prophecies and I鈥檒l note them down.鈥�
I found this book very difficult to come to terms with at times which is based around the year 1968 in Mexico City, be it the future, the past or the present which are all thrown in for good measure to confuse a poor literary individual such as myself.
The narrator, Auxilio Lacouture, a Uruguayan woman, is a poet, and a very unusual woman, who moved to Latin American鈥檚 biggest city, Mexico City in the 1960s. She 鈥渢urned up at the apartments of L茅on Felipe and Petro Garfias鈥� where she offered to clean their apartments by dusting their books and sweeping their floors, etc.鈥�. This is a very unusual, slightly masculine woman with, 鈥渂lue eyes, blond hair going gray, cut in a bob, long, thin face, lined forehead鈥�, who can examine objects over and over again, such as the vase and books mentioned in one of the apartments she is taking care of at the beginning of the book.
Just to add character to her face, her four front teeth are missing. She couldn鈥檛 afford to have these replaced at the time and then lost the inclination to do so. And yet obviously this did bother her because whenever she laughed, she always covered her face with one of her hands. Did people know she had four teeth missing? Well if they did, they were not letting on. She also reminded me of being a kind of literary groupie, as she loved to follow the poets in the bars, and caf茅s of the university, and also to enjoy the night life where she was known as the 鈥淢other of Mexican Poetry.鈥�
Apart from these poets, Auxilio intrigued me with the three women she became friendly with. There is the young philosopher Elena who was in love with an Italian, Paolo, who was purely in Mexico so that he could obtain a visa to go and interview Castro in Cuba; the exiled Catalan painter Remedios Varo, and Lilian Serpas, a poet, who once slept with Che Guevara, with an unusual son called Coffeen who intrigued Auxilio with his tales on Erigone and Orestes.
The Faculty of Philosophy and Literature, in the Mexican National Autonomous University where Auxilio worked at the time, shows an individual, a survivor, constantly on the move, staying with people, losing her possessions, such as her books and clothes; with uncertain working habits but who was also living with this incredible imagination. I thought it was amazing that she could survive a week without spending a peso. Perhaps I鈥檓 living in the wrong country because money melts here.
Auxilio knew that something horrific was going to happen during the course of 1968. She made prophecies. She was in the women鈥檚 bathroom of the faculty building on the fourth floor she thinks, she wasn鈥檛 sure. Her memories and thoughts are vague as to when they actually happened. She had a propensity for reading in bathrooms (I always thought that was a male trait) as women tend to dash in and out.
When this horrific act happened 鈥渟he saw it all and yet she didn鈥檛 see a thing鈥�; 鈥渟he heard 鈥渁 noise in her soul鈥�. She stayed in the 鈥渟tall鈥� and didn鈥檛 come out until everyone had left. The famous date was 18 September when the university was taken over by the army, who arrested and killed students indiscriminately. Many more people though were killed in the Tlatelolco massacre on 2 October 1968 in the鈥� Plaza de las Tres Culturas in the Tlatelolco section of Mexico City. The violence occurred ten days before the 1968 Summer Olympics celebrations in Mexico City.鈥�
I couldn鈥檛 really handle the first couple of chapters at all but then I discovered the mantra of the bathroom shown above and I managed to settle to a certain extent in the unusual rhythm of this novella.
Amongst Auxilio鈥檚 odd prophecies were:
鈥淔or Marcel Proust, a desperate and prolonged period of oblivion shall begin in the year 2033. Ezra Pound shall disappear from certain libraries in the year 2089鈥�.C茅sar Vallejo shall be read underground in the year 2045. Jorge Luis Borges shall be read underground in under underground in the year 2045.鈥�
Why would Bola帽o want to repeat the last two sentences with the same year? For what purpose? The years that were given? Were these purely fiction or is there some significance here that I鈥檓 unaware of?
And as for the statement, 鈥淰irginia Woolf shall be reincarnated as an Argentinean fiction writer in the year 2076鈥�? Remarkable how she has come into the equation.
This is an extraordinary book with a writing style that I have never encountered before. It was purely a monologue and it did tend to ramble and repeat itself at times. Did I like it? Well, really I鈥檓 not too sure.
Yet again, I was seduced by the title and by an unknown author (to me anyway) but who receives amazing reviews. So going into 鈥渟heep mode鈥� I acquired this 鈥渢aster鈥� of a book.
I could even see the parallels in this book with the May 1968 events in France, which was a volatile period of civil unrest, general strikes and the occupation of factories and universities across the country. These lasted a far longer period and have had serious repercussions on both the French mentality and society, and also upon their economy that is still felt up to the present day. For you see, they continue to remember that the worm can still turn.
There鈥檚 a dreamlike quality about this writing which I found confusing at times, especially Auxilio鈥檚 鈥渕ental鈥� visits, I guess, into the mountains when everything becomes very strange and completely beyond me. Characters pass confusedly throughout the book like ghosts. Parts are brilliant with spell-binding prose, others are brilliantly-depressing, some are magical and yet there are also some very boring long-winded sections that were extraneous but all in all, how does one rate this work? I don鈥檛 know in all honesty and so I鈥檒l go middle of the road until I can read another book by the author to be able to compare my own confused thoughts. Which book to follow up with? Now that鈥檚 the ongoing dilemma.
And finally with the idealistic young Latin Americans who came to maturity in the 1970s, I could understand the meaning of the title with the last words of the novel when I read: 鈥淎nd that song is our amulet鈥�.
And what is that you may wonder? Well, you鈥檒l have to read the book.
April 24, 2024
鈥淣ovela basada en hechos reales鈥�, ese subt铆tulo se le podr铆a poner a Amuleto, como se apunta al comienzo de esas pel铆culas malas de sobremesa producidas para la televisi贸n. 驴Qu茅 es lo que Bola帽o hace con esos lamentables hechos reales? Les da la vuelta por completo, los convierte en una interpretaci贸n personal铆sima suya y en definitiva transforma esos hechos que ocurrieron en 1968 en la Universidad de M茅xico en una gran novela, arriesgada, un tanto experimental. 听
听
Derroche de recursos literarios y constante juego temporal con el lector. Como digo avanza hacia el pasado, pero atentos, tambi茅n hacia un futuro cierto, jugando en ocasiones con el presente inmediato y la realidad del hecho veraz que est谩 acaeciendo. Las disociaciones mentales producidas por una situaci贸n extrema (el hambre prologada por un confinamiento) hace que se vea a la protagonista de esta historia como un personaje a caballo entre la locura y la genialidad, pregunt谩ndote por momentos mientras vas buscando la orientaci贸n en la historia, si no estar谩 bajo los efectos de alg煤n estimulante.
听
Toda la historia a su vez est谩 trufada de referencias constantes a los personajes que ya aparec铆an en Los detectives salvajes, Arturo Belano, Auxilio Lacouture, alg煤n poeta y a la poes铆a mexicana y latinoamericana de mediados de siglo pasado, y a esos j贸venes escritores y poetas con estigma de perdedores.
听
El final del libro es fant谩stico, ese desfile hacia un destino incierto de todos esos chicos y j贸venes, de toda una generaci贸n.
听
Acompa帽o una cita que no tiene nada que ver con la rese帽a, pero que me pareci贸 soberbia:
听
鈥淒espu茅s nos levantamos, ella dijo que la cafeter铆a a esa hora del cierre le parec铆a siniestra; yo me call茅 mi opini贸n, pero ahora no veo por qu茅 no he de decirla: la cafeter铆a a esa hora me parec铆a magn铆fica, usada y majestuosa, pobre y lib茅rrima, penetrada por los 煤ltimos centelleos del sol del valle, una cafeter铆a que me ped铆a con un susurro que me quedara all铆 hasta el final y leyera un poema de Rimbaud, una cafeter铆a por la que val铆a la pena llorar.鈥�
Ay, los poetas.
听
Derroche de recursos literarios y constante juego temporal con el lector. Como digo avanza hacia el pasado, pero atentos, tambi茅n hacia un futuro cierto, jugando en ocasiones con el presente inmediato y la realidad del hecho veraz que est谩 acaeciendo. Las disociaciones mentales producidas por una situaci贸n extrema (el hambre prologada por un confinamiento) hace que se vea a la protagonista de esta historia como un personaje a caballo entre la locura y la genialidad, pregunt谩ndote por momentos mientras vas buscando la orientaci贸n en la historia, si no estar谩 bajo los efectos de alg煤n estimulante.
听
Toda la historia a su vez est谩 trufada de referencias constantes a los personajes que ya aparec铆an en Los detectives salvajes, Arturo Belano, Auxilio Lacouture, alg煤n poeta y a la poes铆a mexicana y latinoamericana de mediados de siglo pasado, y a esos j贸venes escritores y poetas con estigma de perdedores.
听
El final del libro es fant谩stico, ese desfile hacia un destino incierto de todos esos chicos y j贸venes, de toda una generaci贸n.
听
Acompa帽o una cita que no tiene nada que ver con la rese帽a, pero que me pareci贸 soberbia:
听
鈥淒espu茅s nos levantamos, ella dijo que la cafeter铆a a esa hora del cierre le parec铆a siniestra; yo me call茅 mi opini贸n, pero ahora no veo por qu茅 no he de decirla: la cafeter铆a a esa hora me parec铆a magn铆fica, usada y majestuosa, pobre y lib茅rrima, penetrada por los 煤ltimos centelleos del sol del valle, una cafeter铆a que me ped铆a con un susurro que me quedara all铆 hasta el final y leyera un poema de Rimbaud, una cafeter铆a por la que val铆a la pena llorar.鈥�
Ay, los poetas.
April 6, 2010
I want to give this book five stars, but since I didn't give Savage Detectives or 2666 five stars I feel it's only fitting to give this four stars.
A lot of people gush about Bolano, so much that it's enough to turn off other people from him. That said, there are quite a few people who really dislike Bolano mostly because hipster's and others were all over him (but were they really? It seems to me like Bolano-mania is over and now it's safe to come out and read his work in peace, but I could be wrong).
Bolano is not as good as the hype surrounding him says he is, but he's also so much better than his detractors say he is.
When I bought this book for 49 cents at the Salvation Army around the corner from my apartment I went from being elated at such a great find to annoyed when I got home and read what the book was about. It is the story of the woman who for 13 days is trapped in the bathroom of a university while the army takes it over. She is symbolic of withstanding the assault of the military on the university and all of that. Her story is one of the many in Savage Detectives. I was kind of annoyed that I thought I had just bought a book that would take her story and just make it longer, maybe give more details about sitting in the bathroom.
I was wrong to be annoyed.
What I take this book to be about: the moment (well 13 days) she is trapped in this bathroom is expounded on, but as a singularity that encompasses the past and future of her experience of moving from a mere spectator of history to meeting it head on. Why Bolano chose this method of telling her story, I'm not quite sure. One would think it would be easier to say ok, there was this lady in the middle of her life who was trapped in a bathroom, here is what happened before and after; instead of presenting her life through a prism of memories of events that had and hadn't already happened (But if that was the case, then would be no way of incorporating her beautiful prophecies into the story).
Why I heart Bolano, and why you should too.
He makes literature at least seem important. Because he writes with such a love for literature, and writes from a time and place where writing was still something important enough that people lived and died for it. That even if in the long run maybe it didn't make an ounce of difference, people on both sides of the political spectrum believed that it mattered enough that they would risk their lives to be writers and poets, and on the other side of the spectrum people would expend energy to silence these writers and poets, exile them and be fearful of what they might stir up.
It's not even necessarily political, it's about living for capital L Literature, because there is something about it that makes one feel the need to risk ones life for it, or maybe not risk ones life but live ones life for it. Maybe my enjoyment of this message is because it feels like a pat on the back for my small attempt to keep good books on shelves where people can get them instead of just destined to be pulped schlock that makes up most of the contemporary best-seller lists.
I'm not doing any justice to my thoughts here with my shitty words. Maybe I will try to edit this later with something enlightening, but most likely not. Instead I'll leave you with a link to a song by one of the greatest Canadian punk bands ever. It kept running through my head as I read this (or actually the last 30 seconds if you really want to know what was running through my head, but don't want to listen to the whole song):
A lot of people gush about Bolano, so much that it's enough to turn off other people from him. That said, there are quite a few people who really dislike Bolano mostly because hipster's and others were all over him (but were they really? It seems to me like Bolano-mania is over and now it's safe to come out and read his work in peace, but I could be wrong).
Bolano is not as good as the hype surrounding him says he is, but he's also so much better than his detractors say he is.
When I bought this book for 49 cents at the Salvation Army around the corner from my apartment I went from being elated at such a great find to annoyed when I got home and read what the book was about. It is the story of the woman who for 13 days is trapped in the bathroom of a university while the army takes it over. She is symbolic of withstanding the assault of the military on the university and all of that. Her story is one of the many in Savage Detectives. I was kind of annoyed that I thought I had just bought a book that would take her story and just make it longer, maybe give more details about sitting in the bathroom.
I was wrong to be annoyed.
What I take this book to be about: the moment (well 13 days) she is trapped in this bathroom is expounded on, but as a singularity that encompasses the past and future of her experience of moving from a mere spectator of history to meeting it head on. Why Bolano chose this method of telling her story, I'm not quite sure. One would think it would be easier to say ok, there was this lady in the middle of her life who was trapped in a bathroom, here is what happened before and after; instead of presenting her life through a prism of memories of events that had and hadn't already happened (But if that was the case, then would be no way of incorporating her beautiful prophecies into the story).
Why I heart Bolano, and why you should too.
He makes literature at least seem important. Because he writes with such a love for literature, and writes from a time and place where writing was still something important enough that people lived and died for it. That even if in the long run maybe it didn't make an ounce of difference, people on both sides of the political spectrum believed that it mattered enough that they would risk their lives to be writers and poets, and on the other side of the spectrum people would expend energy to silence these writers and poets, exile them and be fearful of what they might stir up.
It's not even necessarily political, it's about living for capital L Literature, because there is something about it that makes one feel the need to risk ones life for it, or maybe not risk ones life but live ones life for it. Maybe my enjoyment of this message is because it feels like a pat on the back for my small attempt to keep good books on shelves where people can get them instead of just destined to be pulped schlock that makes up most of the contemporary best-seller lists.
I'm not doing any justice to my thoughts here with my shitty words. Maybe I will try to edit this later with something enlightening, but most likely not. Instead I'll leave you with a link to a song by one of the greatest Canadian punk bands ever. It kept running through my head as I read this (or actually the last 30 seconds if you really want to know what was running through my head, but don't want to listen to the whole song):
October 21, 2015
When I read the blurb of this novel I laughed. "This is so Bola帽o," I thought.
A woman recounts her colourful life in Mexico but... she's telling us all this whilst hiding from members of a right-wing army who have just invaded the university in which she works. Is that Bola帽o enough for you?
This might be one of my favourite Bola帽o novels. The prose is near lucid but doesn't fall into any of the traps that did and is just short enough to keep your attention through any of the more experimental pieces. This is sort of like if fucked whilst both were on benzos and the aborted baby managed to dictate a book. It's that good.
A woman recounts her colourful life in Mexico but... she's telling us all this whilst hiding from members of a right-wing army who have just invaded the university in which she works. Is that Bola帽o enough for you?
This might be one of my favourite Bola帽o novels. The prose is near lucid but doesn't fall into any of the traps that did and is just short enough to keep your attention through any of the more experimental pieces. This is sort of like if fucked whilst both were on benzos and the aborted baby managed to dictate a book. It's that good.
April 3, 2018
T谋ls谋m benim a莽谋mdan, yak谋nlarda okudu臒um 鈥榙en sonra gayet keyifli oldu. Haliyle kitab谋n bir miktar Arturo Belano i莽eriyor olu艧u da ayr谋 bir g眉zellikti. Arturito d谋艧谋nda, Ernesto San Epifano da birka莽 b枚l眉m hikayeye e艧lik ediyor.
Auxilio Lacouture鈥檡e gelecek olursak, Vah艧i Hafiyeler 鈥榙e bahsinin ge莽ti臒i b枚l眉mlerde 眉niversite olaylar谋nda ya艧ad谋klar谋yla (UNAM 鈥榙谋 yan谋lm谋yorsam) beni hem 莽ok g眉ld眉rm眉艧t眉 hem de biraz 眉zm眉艧t眉 hikayesiyle. 陌艧te T谋ls谋m 鈥榙a o hikayenin 枚ncesi ve sonras谋na tan谋k oluyoruz
Bolano 鈥榶a ba艧lamak a莽谋s谋ndan do臒ru kitap oldu臒unu d眉艧眉nm眉yorum, 枚ncelikle Uzak Y谋ld谋z, Vah艧i Hafiyeler ile ba艧lamak (buradan okuduklar谋ma bak谋l谋rsa okuma keyfini artt谋rmak a莽谋s谋ndan 2666 鈥榶谋 da okumu艧 olmak gerekiyor san谋rsam) daha do臒ru olacakt谋r diye d眉艧眉n眉yorum.
Hem bu kitapta hem de Vah艧i Hafiyeler鈥檇e bahsetti臒i 1968 枚臒renci olaylar谋 ile ilgili k谋sa bir ara艧t谋rma yapt谋m. A艧a臒谋da linkini vermi艧 oldu臒um video (ingilizce altyaz谋l谋) o d枚nemi 艧ahitleriyle birinci elden anlatan (o g眉n Tlatelolco 鈥榙a aktif g枚reve sahip 枚臒renci liderleri vs) bir k谋sa belgesel. Bolano鈥檔un bu olaya neden 枚nem verdi臒ini 艧imdi videoyu izleyince anlayabiliyorum. Hakikaten korkun莽 olaylar ya艧anm谋艧 枚yle ki bug眉n bile izlerinin hat谋rlanmas谋 gayet m眉mk眉n ve anla艧谋labilir.
Auxilio Lacouture鈥檡e gelecek olursak, Vah艧i Hafiyeler 鈥榙e bahsinin ge莽ti臒i b枚l眉mlerde 眉niversite olaylar谋nda ya艧ad谋klar谋yla (UNAM 鈥榙谋 yan谋lm谋yorsam) beni hem 莽ok g眉ld眉rm眉艧t眉 hem de biraz 眉zm眉艧t眉 hikayesiyle. 陌艧te T谋ls谋m 鈥榙a o hikayenin 枚ncesi ve sonras谋na tan谋k oluyoruz
Bolano 鈥榶a ba艧lamak a莽谋s谋ndan do臒ru kitap oldu臒unu d眉艧眉nm眉yorum, 枚ncelikle Uzak Y谋ld谋z, Vah艧i Hafiyeler ile ba艧lamak (buradan okuduklar谋ma bak谋l谋rsa okuma keyfini artt谋rmak a莽谋s谋ndan 2666 鈥榶谋 da okumu艧 olmak gerekiyor san谋rsam) daha do臒ru olacakt谋r diye d眉艧眉n眉yorum.
Hem bu kitapta hem de Vah艧i Hafiyeler鈥檇e bahsetti臒i 1968 枚臒renci olaylar谋 ile ilgili k谋sa bir ara艧t谋rma yapt谋m. A艧a臒谋da linkini vermi艧 oldu臒um video (ingilizce altyaz谋l谋) o d枚nemi 艧ahitleriyle birinci elden anlatan (o g眉n Tlatelolco 鈥榙a aktif g枚reve sahip 枚臒renci liderleri vs) bir k谋sa belgesel. Bolano鈥檔un bu olaya neden 枚nem verdi臒ini 艧imdi videoyu izleyince anlayabiliyorum. Hakikaten korkun莽 olaylar ya艧anm谋艧 枚yle ki bug眉n bile izlerinin hat谋rlanmas谋 gayet m眉mk眉n ve anla艧谋labilir.
December 5, 2023
1968 y谋l谋nda,Mexico City鈥檇e, Eyl眉l ay谋nda, tanklar ve askerler 眉niversiteyi i艧gal etti臒inde, UNAM Kamp眉s眉'nde Felsefe ve Edebiyat Fak眉ltesi'nin d枚rd眉nc眉 kat谋ndaki kad谋nlar tuvaletinde saklanan, tek lokma yemek olmaks谋z谋n 8 g眉n direnen, katliamdan geriye kalan son ki艧i olan Auxilio Lacouture鈥檔in (aslen Uruguayl谋 Pedagog Alcira Soust Scaffo) 枚yk眉s眉n眉 anlat谋yor R. Bolano.
Tuvalette isteyerek kapal谋 kald谋臒谋 bu s眉re i莽inde ya艧ad谋klar谋n谋 Bolano鈥檡a anlatan Scaffo鈥檔un 枚yk眉s眉n眉 daha 枚nce 鈥淰ah艧i Hafiyeler鈥漝e bir b枚l眉m olarak 莽ok etkileyici bir 艧ekilde yazm谋艧t谋 yazar. 艦imdi ise kendisine anlat谋lanlar谋 Locauture鈥檔in 枚yk眉s眉 olarak okuyucuya anlat谋yor.
Auxilio鈥檔un ya艧ad谋klar谋n谋, ge莽mi艧, o an ve gelecekle harmanlay谋p, G眉ney Amerika鈥檔谋n tarihini, antik Yunan mitolojisini, 莽o臒unlu臒u latin k枚kenli 艧air ve yazarlar谋, roman谋n谋n
i莽ine yerle艧tirerek olay kahraman谋n谋n delili臒ini, 枚l眉mc眉l 枚fkesini, utanc谋n谋 ve pi艧manl谋臒谋n谋 艧iirsel bir dille ve d眉艧lerle anlat谋yor Bolano.
Benim g枚r眉艧眉m 艧udur; h芒l芒 d枚rd眉nc眉 kattaki tuvalette kilitli olan Locauture鈥檔in, Vah艧i Hafiyeler鈥檌n 鈥淎rturoBelano鈥漵u ile ili艧kisini, ancak ad谋 ge莽en roman谋 okursan谋z yerine oturtabilirsiniz, bu nedenle 枚nce 鈥淰ah艧i Hafiyeler鈥� okunmal谋.
Tuvalette isteyerek kapal谋 kald谋臒谋 bu s眉re i莽inde ya艧ad谋klar谋n谋 Bolano鈥檡a anlatan Scaffo鈥檔un 枚yk眉s眉n眉 daha 枚nce 鈥淰ah艧i Hafiyeler鈥漝e bir b枚l眉m olarak 莽ok etkileyici bir 艧ekilde yazm谋艧t谋 yazar. 艦imdi ise kendisine anlat谋lanlar谋 Locauture鈥檔in 枚yk眉s眉 olarak okuyucuya anlat谋yor.
Auxilio鈥檔un ya艧ad谋klar谋n谋, ge莽mi艧, o an ve gelecekle harmanlay谋p, G眉ney Amerika鈥檔谋n tarihini, antik Yunan mitolojisini, 莽o臒unlu臒u latin k枚kenli 艧air ve yazarlar谋, roman谋n谋n
i莽ine yerle艧tirerek olay kahraman谋n谋n delili臒ini, 枚l眉mc眉l 枚fkesini, utanc谋n谋 ve pi艧manl谋臒谋n谋 艧iirsel bir dille ve d眉艧lerle anlat谋yor Bolano.
Benim g枚r眉艧眉m 艧udur; h芒l芒 d枚rd眉nc眉 kattaki tuvalette kilitli olan Locauture鈥檔in, Vah艧i Hafiyeler鈥檌n 鈥淎rturoBelano鈥漵u ile ili艧kisini, ancak ad谋 ge莽en roman谋 okursan谋z yerine oturtabilirsiniz, bu nedenle 枚nce 鈥淰ah艧i Hafiyeler鈥� okunmal谋.
January 2, 2020
Amulet [1999/2006] 鈥� 鈽呪槄鈽呪槄鈽�
鈥溾€hose who can see into the past never pay. But I could also see into the future and vision of that kind comes at a high price: life, sometimes, or sanity鈥� [Roberto Bola帽o, 1999/2006: 64].
Last year I had a goal to read a certain number of books by Asian authors (see my YARC), and so, this year, I set myself a similar goal, but, this time, I will travel to another part of the world and try to read as many books as possible by Latin American authors. I will begin my Latin America Reading Challenge with a short book by Chilean author Roberto Bola帽o (1952 鈥� 2003) titled Amulet. In this vivid 鈥渟tream of consciousness鈥� account, our narrator is Auxilio Lacouture, a woman from Uruguay and the 鈥渕other of Mexican poetry鈥�. She works part-time at one university in Mexico City and at one point realises that her university (National Autonomous University of Mexico) is being surrounded by an army (event that happened two months before the infamous Tlatelolco massacre of 1968). Auxilio finds herself alone and hiding in the lavatory of the university as the army rounds up the staff and students. At that point she starts to recall her own past, talking to us about her dedication to nurturing the artistic talent of others. As time passes and her hunger and exhaustion increase, her account becomes increasingly hectic and imaginative. Amulet is an unusual novella with one unusual narrator at its heart, which is also strangely compelling as it tries to tell us the truth of the situation in the country and the state of Latin America鈥檚 literary talent and tradition through an unconventional and slightly dreamlike voice.
One of the great things about Amulet is the voice of Auxilio Lacouture 鈥� it is fascinating to follow her train of thoughts because she seems interesting in all her eccentricities and instances of quiet rebellion. Auxilio is a poetess who is passionate about poetry, and her belief in young up-and-coming poets and writers is unwavering. Even though she is clear about the great talent and admiration of her idols, she is unsure about herself, her purpose and her roots, trying to re-imagine herself. 鈥淥ne day I arrived in Mexico without really knowing why or how or when鈥� [1999/2006: 2], says the narrator. Auxilio did not achieve much of what society calls 鈥渟uccess鈥�, i.e. a stable job and starting her own family, and, instead, seems to wholeheartedly dedicate herself to poetry. In this way, she is an outsider to traditional Mexico and prefers to lead a bohemian lifestyle surrounded by her friends who are also poets or writers. So, when in Mexico, she starts to clean the house of two Spanish poets 鈥� Pedro Garfias and Le贸n Felipe, while maintaining her connection to one university at whatever cost to be close to literature and intellectuals.
When Auxilio hides in the lavatories of her university, fearing that soldiers will come and discover her there, there comes that moment in her life when she feels the most alive and aware of life鈥檚 fleetness. Her inner reflections on her friends, literature and on the life on streets take the turn of compulsion and necessity. She needs to gather her thoughts and tell us all about it, and she starts to tell the truth through her poetically-charged prose and original worldview. She is from Uruguay and does not fit into the traditional concept of a Mexican woman, and yet she is a woman who finds herself in Mexico, 鈥渘urturing鈥� the country鈥檚 literary talent. She is both a foreigner and at the very core of Mexican鈥檚 formation of its future talented generation 鈥� 鈥渢he mother of Mexican poetry鈥�. At this point, contradictions emerge 鈥� she is in time and beyond it. She is in a place where history is made (the siege of the Mexican university) and yet she is beyond this event (does not directly participate in it since she did not surrender to the forces (hiding in the lavatory)). She is an observer, commentator and participator all in one, and her account is both enigmatic and clear at the same time as she then tells of a broken heart of her friend philosopher Elena, of literary aspirations of her friend poet Arturo Belano caught in the war that should not have existed and of her part in the operation to rescue a boy from sexual slavery in the Mexican underworld.
Through Auxilio鈥檚 poetically-charged account, we discern the true nature (and sometimes horror) of events happening in Mexico City. Her friend Elena becomes the symbol of Mexico鈥檚 鈥渂roken heart鈥�/hopelessness and the life of her friend Arturo Belano symbolises Mexico鈥檚 lost opportunities in the world and its dismissiveness by everyone on the world stage. It is as though the narrator wants to tell us the truth through certain objects, characters and events, and the result is the account which is erratic, yes, but always compelling as local power struggles in the story tell of power struggles on the whole continent and the conditions of one poet in Mexico City tells about the state of poetry and literature in the whole of Latin America. Catalan painter Remedios Varo and Salvadoran poetess Lilian Serpas are also characters in the narrative which becomes increasingly whimsical and fantastical as Auxilio鈥檚 mind starts to play tricks on her under the strain of hunger, hopelessness and exhaustion she feels hiding in the lavatory. Mentioning writers Roberto Arlt, Anton Chekhov and Carson McCullers, as well as the famous plane crash in the Andes, Auxilio makes predictions, and muses on all the lives she did not live and on all the people she admires but will never become. There are a couple of thrilling moments of suspense in the story as we, the readers, start to question whether, far from regarding Auxilio as some madwoman, we should not be thinking about her as a person who sees into everything more deeply and is more keenly aware of the true nature of the situation than anyone else around.
Amulet will not be for everyone. It is a rather eccentric short book which is torn between clarity and incomprehensiveness, wisdom and irrationality, direct insights and almost irrelevant observations. However, at its heart, there is still one distinctive and compelling voice that tries to convey one horrific chapter in the Mexican history, the state of the society, as well as pay tribute to Latin America鈥檚 literary ambition and tradition in the only way it thinks it can.
鈥溾€hose who can see into the past never pay. But I could also see into the future and vision of that kind comes at a high price: life, sometimes, or sanity鈥� [Roberto Bola帽o, 1999/2006: 64].
Last year I had a goal to read a certain number of books by Asian authors (see my YARC), and so, this year, I set myself a similar goal, but, this time, I will travel to another part of the world and try to read as many books as possible by Latin American authors. I will begin my Latin America Reading Challenge with a short book by Chilean author Roberto Bola帽o (1952 鈥� 2003) titled Amulet. In this vivid 鈥渟tream of consciousness鈥� account, our narrator is Auxilio Lacouture, a woman from Uruguay and the 鈥渕other of Mexican poetry鈥�. She works part-time at one university in Mexico City and at one point realises that her university (National Autonomous University of Mexico) is being surrounded by an army (event that happened two months before the infamous Tlatelolco massacre of 1968). Auxilio finds herself alone and hiding in the lavatory of the university as the army rounds up the staff and students. At that point she starts to recall her own past, talking to us about her dedication to nurturing the artistic talent of others. As time passes and her hunger and exhaustion increase, her account becomes increasingly hectic and imaginative. Amulet is an unusual novella with one unusual narrator at its heart, which is also strangely compelling as it tries to tell us the truth of the situation in the country and the state of Latin America鈥檚 literary talent and tradition through an unconventional and slightly dreamlike voice.
One of the great things about Amulet is the voice of Auxilio Lacouture 鈥� it is fascinating to follow her train of thoughts because she seems interesting in all her eccentricities and instances of quiet rebellion. Auxilio is a poetess who is passionate about poetry, and her belief in young up-and-coming poets and writers is unwavering. Even though she is clear about the great talent and admiration of her idols, she is unsure about herself, her purpose and her roots, trying to re-imagine herself. 鈥淥ne day I arrived in Mexico without really knowing why or how or when鈥� [1999/2006: 2], says the narrator. Auxilio did not achieve much of what society calls 鈥渟uccess鈥�, i.e. a stable job and starting her own family, and, instead, seems to wholeheartedly dedicate herself to poetry. In this way, she is an outsider to traditional Mexico and prefers to lead a bohemian lifestyle surrounded by her friends who are also poets or writers. So, when in Mexico, she starts to clean the house of two Spanish poets 鈥� Pedro Garfias and Le贸n Felipe, while maintaining her connection to one university at whatever cost to be close to literature and intellectuals.
When Auxilio hides in the lavatories of her university, fearing that soldiers will come and discover her there, there comes that moment in her life when she feels the most alive and aware of life鈥檚 fleetness. Her inner reflections on her friends, literature and on the life on streets take the turn of compulsion and necessity. She needs to gather her thoughts and tell us all about it, and she starts to tell the truth through her poetically-charged prose and original worldview. She is from Uruguay and does not fit into the traditional concept of a Mexican woman, and yet she is a woman who finds herself in Mexico, 鈥渘urturing鈥� the country鈥檚 literary talent. She is both a foreigner and at the very core of Mexican鈥檚 formation of its future talented generation 鈥� 鈥渢he mother of Mexican poetry鈥�. At this point, contradictions emerge 鈥� she is in time and beyond it. She is in a place where history is made (the siege of the Mexican university) and yet she is beyond this event (does not directly participate in it since she did not surrender to the forces (hiding in the lavatory)). She is an observer, commentator and participator all in one, and her account is both enigmatic and clear at the same time as she then tells of a broken heart of her friend philosopher Elena, of literary aspirations of her friend poet Arturo Belano caught in the war that should not have existed and of her part in the operation to rescue a boy from sexual slavery in the Mexican underworld.
Through Auxilio鈥檚 poetically-charged account, we discern the true nature (and sometimes horror) of events happening in Mexico City. Her friend Elena becomes the symbol of Mexico鈥檚 鈥渂roken heart鈥�/hopelessness and the life of her friend Arturo Belano symbolises Mexico鈥檚 lost opportunities in the world and its dismissiveness by everyone on the world stage. It is as though the narrator wants to tell us the truth through certain objects, characters and events, and the result is the account which is erratic, yes, but always compelling as local power struggles in the story tell of power struggles on the whole continent and the conditions of one poet in Mexico City tells about the state of poetry and literature in the whole of Latin America. Catalan painter Remedios Varo and Salvadoran poetess Lilian Serpas are also characters in the narrative which becomes increasingly whimsical and fantastical as Auxilio鈥檚 mind starts to play tricks on her under the strain of hunger, hopelessness and exhaustion she feels hiding in the lavatory. Mentioning writers Roberto Arlt, Anton Chekhov and Carson McCullers, as well as the famous plane crash in the Andes, Auxilio makes predictions, and muses on all the lives she did not live and on all the people she admires but will never become. There are a couple of thrilling moments of suspense in the story as we, the readers, start to question whether, far from regarding Auxilio as some madwoman, we should not be thinking about her as a person who sees into everything more deeply and is more keenly aware of the true nature of the situation than anyone else around.
Amulet will not be for everyone. It is a rather eccentric short book which is torn between clarity and incomprehensiveness, wisdom and irrationality, direct insights and almost irrelevant observations. However, at its heart, there is still one distinctive and compelling voice that tries to convey one horrific chapter in the Mexican history, the state of the society, as well as pay tribute to Latin America鈥檚 literary ambition and tradition in the only way it thinks it can.
October 1, 2016
Nedavno sam gledala neku emisiju u kojoj se autor, eksperimenta radi, pod kontrolisanim uslovima i pred kamerama, podvrgao nekom ritualu Inka (recimo) koji za cilj ima konekciju sa Su拧tinom Bi膰a Univerzuma (kao takvog!). Naravno, sve se vrtelo oko neke retke travke, ubrane na samom vrhu besputno udaljene litice, pa se to onda su拧ilo u, recimo, gornjem levom uglu potkrovlja sojenice u kojoj 啪ive tri 啪ute ma膷ke i 膷etri 啪ene sa po 拧est no啪nih prstiju (sve 膷etri device, razume se), pa se to stucalo u specijalnom avanu i to 28 dana od 6. mladog meseca u godini kad je, recimo, Neptun bio u polusekstilu sa Spikom. Onda se dodaju kapljice rose sa jo拧 啪e拧膰e strmine i svakorazni sastojici jo拧, al' najva啪nija stvar je da uz tebe bude 拧aman, koji duva u sviraljku duga膷ku ta膷no devedeset 拧est i po du啪nih jednica Inka, sav u perlama i perju. Posle malo obesi o vrat i neki bubnji膰 鈥� konge neizrecivo egzoti膷nog naziva, kad shvati da ba拧 te拧ko podnosi拧 (al' ne nekontrolisan proliv i povra膰anje, ridanje u delirijumu, bacakanje unaokolo i odu拧evljenje sopstvenim prstima 鈥� to je normalna reakcija 鈥� nego da ti veza sve ne拧to puca i traljavo kapira拧 拧ta ti Kosmos poru膷uje). Kad ti 拧aman pomogne, onda je sve ok.
Taj je pokusni autor na kraju sve potanko opisvao emocije kroz koje je prolazio i sve je to delovao veoma uverljivo, ali smo mi, koji to progutali nismo, mogli samo da mu verujemo na re膷. Ili ne.
E, tako je i sa ovom Bolanjovom knjigom.
Dakle, 拧ah 鈥� mat: evo moderne knji啪evnosti koja ne 膷eki膰a po ustaljenim vrednostima u nameri da do膽e do crvoto膷ine, ve膰 svirucka na nekoj dva'es sedmoj frekvenci, gledaju膰i na sve prethodno normalnim pogledom, ni zadivljeno, ni omalova啪avaju膰e.
Bolanjo je, ka啪u, jedan od osniva膷a avangardnog pesni膷kog pravca 鈥瀒nfraracionalizam鈥�. Nomine! Jeste, podi啪em malo obrvu na to, ali zadovoljavaju膰i odgovor na pitanje za拧to 鈥� nemam. U istoj sam poziciji i za ocenjivanje ovog romana: na sve 拧to bih zamerila, on odgovara smislenim protivargumentom, iako nedovoljno sna啪nim da me natera da promenim mi拧ljenje. Tako ostajemo u nekakvom lebdenju, ali ne i ambivalenciji. Sve je u nekim snovi膽enjima, magi膷no veli膷anstvenim slikama, nabijeno erotikom (lascivnost mu ni ne pada na pamet), puno 啪ivota i aveti, ljubavi, bede, iluzija o slobodi...ma 膷ega god ho膰ete ovde ima. Centralna figura je wanna be muza, a zapravo sredove膷na krezuba tetkica u plisiranoj suknji sa princ Valijant frizurom, gruppie 啪enskica mladih meksi膷kih pesnika, koja sebe naziva njihovom majkom. Ona u vreme vojnog udara '68. skoro dve sedmice ostaje zatvorena u klozetu katedre za knji啪evnost i filozofiju 膷uvenog univerziteta u Meksiko Sitiju. I...let's roll, Bolanjo!
Al' fabule nema, sve je njen 拧izofreni monolog, vremenski neuhvatljiv, o prostorima da i ne govorimo.
膶vrsto bih mogla da stanem samo iza slede膰ih tvrdnji: ili Bolanja boli uvo za (proznog) 膷itaoca, ili se obra膰a u啪em krugu onih koji su 膷itali (poeziju), naro膷ito modernu, naro膷ito latinsko ameri膷ku i to u Meksiku, ta膷nije po nekim tamo拧njim kru啪ocima 鈥� kafanama do kasno u no膰. Naravno, takve prilike podrazumevaju nekakve interne alegorije tj. malo izme拧tanje uobi膷ajenog zna膷enja. Neku novu slobodu izra啪avanja, da ka啪emo finije. Mi, neosve拧膰eni, moramo da se zadovoljimo samo krupnijim kadrovima u kojima se nalazi besmrtnost umetnosti i borba da tako besmrtna i ostane.
Prevodilac Du拧an Vejnovi膰, i sam pesnik (kako 膷ovek da ne voli Flavia Rigonata!?), sem 拧to je zaista lepo preveo roman, svesrdno se potrudio da u napomenama da 拧to vi拧e obja拧njenja, ali je moje poznavanje kulturno - istorijskih trendova u Meksiku i 膶ileu sedamdesetih godina pro拧log veka na for dummies nivou. Tako sam sve 膷itala kroz neku koprenu, gu拧膰u nego pro拧li put sa Bolanjom (膶ile no膰u).
Slede膰i pouzdan zaklju膷ak je da je Bolanjo pesnik, pre svega pesnik, koji ne 啪eli da bude ni拧ta drugo sem pesnika, u naj拧irem zna膷enju te re膷i: od boema, preko politi膷ki anga啪ovanog klo拧ara na ivici egzistencije, do zanesenog 膷udaka.
Ne mogu da pre膰utim da je, ipak, malo predoziran, ili, preciznije, pretrpan kad je u prozi.
Neki ka啪u da je ovo uvertira za roman 鈥濪ivlji detktivi鈥�, a drugi da je njegov poeti膷niji nastavak. Kako bilo, od Bolanja ne膰u odustati. Trebalo bi mu se posvetiti malo 拧treberskije, al' meni meksi膷ka poetska kretanja nisu ba拧 visoko na spisku prioriteta.
Neka bude 4, najpre za te lude slike i izuzetnu poeti膷nost, ali ne savetujem da se sa Bolanjom po膷ne odavde, ako bih uop拧te preporu膷ivala Bolanja.
Taj je pokusni autor na kraju sve potanko opisvao emocije kroz koje je prolazio i sve je to delovao veoma uverljivo, ali smo mi, koji to progutali nismo, mogli samo da mu verujemo na re膷. Ili ne.
E, tako je i sa ovom Bolanjovom knjigom.
Dakle, 拧ah 鈥� mat: evo moderne knji啪evnosti koja ne 膷eki膰a po ustaljenim vrednostima u nameri da do膽e do crvoto膷ine, ve膰 svirucka na nekoj dva'es sedmoj frekvenci, gledaju膰i na sve prethodno normalnim pogledom, ni zadivljeno, ni omalova啪avaju膰e.
Bolanjo je, ka啪u, jedan od osniva膷a avangardnog pesni膷kog pravca 鈥瀒nfraracionalizam鈥�. Nomine! Jeste, podi啪em malo obrvu na to, ali zadovoljavaju膰i odgovor na pitanje za拧to 鈥� nemam. U istoj sam poziciji i za ocenjivanje ovog romana: na sve 拧to bih zamerila, on odgovara smislenim protivargumentom, iako nedovoljno sna啪nim da me natera da promenim mi拧ljenje. Tako ostajemo u nekakvom lebdenju, ali ne i ambivalenciji. Sve je u nekim snovi膽enjima, magi膷no veli膷anstvenim slikama, nabijeno erotikom (lascivnost mu ni ne pada na pamet), puno 啪ivota i aveti, ljubavi, bede, iluzija o slobodi...ma 膷ega god ho膰ete ovde ima. Centralna figura je wanna be muza, a zapravo sredove膷na krezuba tetkica u plisiranoj suknji sa princ Valijant frizurom, gruppie 啪enskica mladih meksi膷kih pesnika, koja sebe naziva njihovom majkom. Ona u vreme vojnog udara '68. skoro dve sedmice ostaje zatvorena u klozetu katedre za knji啪evnost i filozofiju 膷uvenog univerziteta u Meksiko Sitiju. I...let's roll, Bolanjo!
Al' fabule nema, sve je njen 拧izofreni monolog, vremenski neuhvatljiv, o prostorima da i ne govorimo.
膶vrsto bih mogla da stanem samo iza slede膰ih tvrdnji: ili Bolanja boli uvo za (proznog) 膷itaoca, ili se obra膰a u啪em krugu onih koji su 膷itali (poeziju), naro膷ito modernu, naro膷ito latinsko ameri膷ku i to u Meksiku, ta膷nije po nekim tamo拧njim kru啪ocima 鈥� kafanama do kasno u no膰. Naravno, takve prilike podrazumevaju nekakve interne alegorije tj. malo izme拧tanje uobi膷ajenog zna膷enja. Neku novu slobodu izra啪avanja, da ka啪emo finije. Mi, neosve拧膰eni, moramo da se zadovoljimo samo krupnijim kadrovima u kojima se nalazi besmrtnost umetnosti i borba da tako besmrtna i ostane.
Prevodilac Du拧an Vejnovi膰, i sam pesnik (kako 膷ovek da ne voli Flavia Rigonata!?), sem 拧to je zaista lepo preveo roman, svesrdno se potrudio da u napomenama da 拧to vi拧e obja拧njenja, ali je moje poznavanje kulturno - istorijskih trendova u Meksiku i 膶ileu sedamdesetih godina pro拧log veka na for dummies nivou. Tako sam sve 膷itala kroz neku koprenu, gu拧膰u nego pro拧li put sa Bolanjom (膶ile no膰u).
Slede膰i pouzdan zaklju膷ak je da je Bolanjo pesnik, pre svega pesnik, koji ne 啪eli da bude ni拧ta drugo sem pesnika, u naj拧irem zna膷enju te re膷i: od boema, preko politi膷ki anga啪ovanog klo拧ara na ivici egzistencije, do zanesenog 膷udaka.
Ne mogu da pre膰utim da je, ipak, malo predoziran, ili, preciznije, pretrpan kad je u prozi.
Neki ka啪u da je ovo uvertira za roman 鈥濪ivlji detktivi鈥�, a drugi da je njegov poeti膷niji nastavak. Kako bilo, od Bolanja ne膰u odustati. Trebalo bi mu se posvetiti malo 拧treberskije, al' meni meksi膷ka poetska kretanja nisu ba拧 visoko na spisku prioriteta.
Neka bude 4, najpre za te lude slike i izuzetnu poeti膷nost, ali ne savetujem da se sa Bolanjom po膷ne odavde, ako bih uop拧te preporu膷ivala Bolanja.
July 28, 2018
Roberto Bolano鈥檇an yine kendine has, harika ve etkileyici bir roman. Arka plan谋nda Meksika'da 1968 Eyl眉l'眉nde 枚臒renci protestolar谋n谋n kanl谋 bir 艧ekilde bast谋r谋lmas谋 olan, ama ana karakterleri yine edebiyat莽谋lar (艧airler) ve edebiyatseverler olan bir hikaye. Bolano'nun alteregosu olarak kabul edilen Arturo Belano da yine sahnede, bu sefer 17-18'lik bir delikanl谋, Arturito olarak. Ba艧ta, bahsetti臒im 枚臒renci olaylar谋nda 眉niversite tuvaletinde 13 g眉n saklanan ba艧 karakter Auxilio'nun hikayesinin biraz s谋k谋c谋 olabilece臒inden endi艧e etmi艧tim. Ama Bolano ve s谋k谋c谋l谋k herhalde pek yan yana gelmez. Nitekim Auxillio'nun kimi zaman d眉艧sel nitelik kazanan an谋lar谋 bi莽iminde anlat谋lan hikaye okuyan谋 kendisine ba臒l谋yor. 脟arp谋c谋 da bir finali var. 脟eviri de (Zeynep Heyzen Ate艧) 莽ok iyi. Bir de Bolano'nun bende 艧iir okuma iste臒ini tetikleyici etki yaratt谋臒谋n谋 s枚yleyip 莽ekileyim.
August 30, 2015
螚 螒慰蠀尉喂位喂慰 螞伪魏慰蠀蟿蠀蟻, 畏 "渭畏蟿苇蟻伪 蟿畏蟼 蟺慰委畏蟽畏蟼" 蟿慰蠀 螠蔚尉喂魏慰蠀, 尾蟻委蟽魏蔚蟿伪喂 魏位蔚喂蟽渭苇谓畏 纬喂伪 12 渭苇蟻蔚蟼 蟽蟿喂蟼 纬蠀谓伪喂魏蔚委蔚蟼 蟿慰蠀伪位苇蟿蔚蟼 蟿慰蠀 螒蠀蟿蠈谓慰渭慰蠀 螤伪谓蔚蟺喂蟽蟿畏渭委慰蠀 蟿畏蟼 蟺蠈位畏蟼, 魏伪蟿伪 蟿畏 未喂维蟻魏蔚喂伪 未畏位伪未萎 蟿畏蟼 蔚喂蟽尾慰位萎蟼 蟿畏蟼 伪蟽蟿蠀谓慰渭委伪蟼 蟿慰谓 危蔚蟺蟿苇渭尾蟻畏 蟿慰蠀 1968. 螒蟺慰 魏蔚喂 未喂畏纬蔚委蟿伪喂 喂蟽蟿慰蟻委蔚蟼 蟺慰蠀 蟽蠀谓苇尾畏蟽伪谓, 蟽蠀渭尾伪委谓慰蠀谓 萎 胃伪 蟽蠀渭尾慰蠉谓 蟽蟿慰 渭苇位位慰谓 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蟿畏 危蔚位萎谓畏 蟺慰蠀 蠁蠅蟿委味蔚喂 蟿伪 位蔚蠀魏维 蟺位伪魏维魏喂伪 蟿畏蟼 蟿慰蠀伪位苇蟿伪蟼. 螣喂 蟺慰位位苇蟼 喂蟽蟿慰蟻委蔚蟼 苇蠂慰蠀谓 渭慰谓伪未喂魏蠈 魏慰喂谓蠈 蟽蟿慰喂蠂蔚委慰 蟿畏谓 伪蠁畏纬萎蟿蟻喂伪, 畏 慰蟺慰委伪 渭蔚胃蠀蟽渭苇谓畏, 蟽蠀谓萎胃蠅蟼, 蟺畏纬伪委谓蔚喂 伪蟺慰 蟺伪蟻苇伪 蟽蔚 蟺伪蟻苇伪, 伪蟺慰 蟽蟺喂蟿喂 蟽蔚 蟽蟺喂蟿喂 魏 魏喂谓蔚委蟿伪喂 蟽伪谓 蠁维谓蟿伪蟽渭伪 伪谓维渭蔚蟽伪 蟽蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 纬蔚纬慰谓蠈蟿伪 蟿畏蟼 蔚蟺慰蠂萎蟼. 螘谓伪 尾喂尾位喂慰-苇魏蟽蟿伪蟽畏, 慰 魏伪蟿维位位畏位慰蟼 蟿蟻蠈蟺慰蟼 谓伪 渭蟺蔚喂蟼 蟽蟿慰谓 魏蠈蟽渭慰 蟿慰蠀 蠁慰尾蔚蟻慰蠉 伪蠀蟿慰蠉 蟽蠀纬纬蟻伪蠁苇伪. 螘尉伪喂蟻蔚蟿喂魏蠈.
January 7, 2024
乇丕賵蹖 丿丕爻鬲丕賳 讴賴 丌卅賵讴爻蹖賱蹖賵 賳丕賲 丿丕乇賴 賵 禺賵丿卮 乇賵 賲丕丿乇 卮毓乇 賲讴夭蹖讴 禺胤丕亘 賲蹖鈥屭┵嗁� 丿乇 胤蹖 丕毓鬲乇丕囟丕鬲 丿丕賳卮噩賵蹖蹖 毓賱蹖賴 讴卮鬲丕乇 丿丕賳卮噩賵蹖丕賳 丿乇 丿爻鬲卮賵蹖蹖 丿丕賳卮诏丕賴 诏蹖乇 丕賮鬲丕丿賴 賵 郾鄢 乇賵夭 亘丿賵賳 睾匕丕 乇賵 丿乇 丕賵賳 賲讴丕賳 爻倬乇蹖 賲蹖鈥屭┵嗁�. 丕亘鬲丿丕蹖 丿丕爻鬲丕賳 乇丕賵蹖 蹖賴 噩賲賱賴鈥屰� 噩丕賱亘蹖 賲蹖鈥屭� 讴賴 丕蹖賳 丿丕爻鬲丕賳蹖 倬賱蹖爻蹖 丕爻鬲 賵 丨讴丕蹖鬲蹖 禺賵賮賳丕讴 丕賲丕 趩賳蹖賳 亘賴鈥屬嗀肛� 賳禺賵丕賴丿 丌賲丿 趩賵賳 賲賳 乇丕賵蹖鈥屫ж� 賴爻鬲賲. 丿賯蹖賯丕賸 賵賯鬲蹖 讴鬲丕亘 乇賵 賲蹖鈥屫堎嗃� 賳賴 亘丕 倬賱蹖爻蹖 亘賵丿賳卮 賲賵丕噩賴 賲蹖鈥屫篡� 賵 賳賴 亘丕 禺賵賮 賵 賴乇丕爻貙 賵 丕蹖賳 亘賴鈥屫ж坟� 賳孬乇 賵 噩賴卮鈥屬囏й� 匕賴賳蹖 乇丕賵蹖 賴爻鬲.
蹖讴賲 噩賱賵鬲乇 蹖毓賳蹖 鬲賵蹖 氐賮丨賴鈥屰� 丿賵賲 乇丕賵蹖 賵賯鬲蹖 賲蹖鈥屫堌ж� 鬲丕乇蹖禺 夭賲丕賳蹖 讴賴 亘賴 賲讴夭蹖讴 丕賵賲丿賴 乇賵 卮乇丨 亘丿賴 诏蹖噩 賲蹖鈥屫操嗁� 賵 賲蹖鈥屭� 丕氐賱丕賸 鬲賵蹖 丨賮馗 讴乇丿賳 鬲丕乇蹖禺 禺賵亘 賳蹖爻鬲 賵 亘毓丿卮 亘丕夭 蹖讴蹖 丕夭 噩賲賱丕鬲 毓噩蹖亘 讴鬲丕亘鈥� 乇賵 賲蹖鈥屭� 讴賴 丕蹖賳 賮乇賲 乇賵 鬲賵囟蹖丨 賲蹖鈥屫�: 亘蹖丕蹖蹖丿 夭賲丕賳 乇丕 亘讴卮蹖賲貙 賴賲趩賵賳 倬賵爻鬲 夭賳蹖 賲丨賵卮丿賴 丿乇 丕鬲丕賯 毓賲賱 蹖讴 噩乇丕丨 倬賱丕爻鬲蹖讴. 亘賵賱丕賳蹖賵 丕夭 胤乇蹖賯 丕蹖賳 禺丕賳賲 丌卅賵讴爻蹖賱蹖賵 亘賴 賴乇噩丕蹖蹖 丕夭 鬲丕乇蹖禺 讴賴 亘禺賵丕丿 诏乇蹖夭 賲蹖鈥屫操嗁�. 賵乇賯丕鬲 讴鬲丕亘 乇賵 倬購乇 丕夭 丕爻賲 卮丕毓乇賴丕蹖 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 賵 賲讴夭蹖讴 賲蹖鈥屭┵嗁� 賵 胤賵乇蹖 丕蹖賳 卮讴爻鬲鈥屬囏й� 夭賲丕賳蹖 乇賵 丕賳噩丕賲 賲蹖鈥屫� 讴賴 丕賳诏丕乇 乇賵蹖 蹖讴 倬乇丿賴鈥屰� 亘夭乇诏 丿丕乇賴 亘賴賲賵賳 鬲氐賵蹖乇 賵 毓讴爻 賳卮賵賳 賲蹖鈥屫�. 讴丕乇 亘丕夭蹖 亘丕 夭賲丕賳 亘賵賱丕賳蹖賵 亘賴 賴賲蹖賳鈥屫� 禺鬲賲 賳賲蹖鈥屫促� 賵 卮乇賵毓 亘賴 倬乇蹖丿賳 亘賴 丌蹖賳丿賴 賴賲 賲蹖鈥屭┵嗁�.
丌卅賵讴爻蹖賱蹖賵 賴賲賵賳鈥屫焚堌� 讴賴 賲鬲賵噩賴 卮丿蹖賲 鬲賵蹖 丿爻鬲卮賵蹖蹖 诏蹖乇 丕賮鬲丕丿賴 賵 睾匕丕蹖蹖 賴賲 亘賴卮 賳賲蹖鈥屫必迟� 賵 亘賴鈥屫ж坟� 賴賲蹖賳 賴乇趩賴 丿乇 乇賲丕賳 噩賱賵 賲蹖鈥屫臂屬呚� 丕賳诏丕乇 丕賵賳 鬲丕孬蹖乇 丨亘爻 亘賵丿賳 丿乇 蹖讴 賲讴丕賳 鬲賳诏 賵 賵丕丨丿 亘丿賵賳 睾匕丕 乇賵蹖 乇丕賵蹖 亘蹖卮鬲乇 賵 亘蹖卮鬲乇 賲蹖鈥屫促� 鬲丕 噩丕蹖蹖 讴賴 賳孬乇 賴蹖 卮鬲丕亘鈥屬囏� 賵 诏乇蹖夭鈥屬囏й� 毓噩蹖亘鈥屫臂� 賲蹖鈥屭屫辟� 賵 噩丕賴丕蹖蹖 丨鬲蹖 賲蹖賱 亘賴 賴匕蹖賵賳鈥� 倬蹖丿丕 賲蹖鈥屭┵嗁団€�. 亘乇丕蹖 賲孬丕賱 蹖讴 噩丕蹖蹖 丕夭 讴鬲丕亘 賲孬賱 賳賵爻鬲乇丕丿丕賲賵爻 賲蹖鈥屫⒇� 丌蹖賳丿賴 賴賳乇蹖 賲乇丿賲 丿賳蹖丕 蹖丕 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 乇賵 亘乇丕蹖 蹖賴 倬賳噩丕賴 卮氐鬲 賳賵蹖爻賳丿賴 賵 卮丕毓乇 倬蹖卮鈥屫ㄛ屬嗃� 賲蹖鈥屭┵嗁� 讴賴 丿乇 爻丕賱 賮賱丕賳貙 賮賱丕賳 丕鬲賮丕賯 亘乇丕蹖 丌孬丕乇 丕蹖賳 卮禺氐 禺賵丕賴丿 丕賮鬲丕丿.
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乇賲丕賳 卮丕蹖丿 倬購乇 丕夭 丕蹖賳 氐丨賳賴鈥屬囏� 賵 鬲毓丕亘蹖乇 噩丿蹖丿 賵 丨爻鈥屬堚€屫з勨€屬囏й� 亘丕丨丕賱 亘丕卮賴. 蹖讴蹖 丿蹖诏賴 丕夭 賲賵丕乇丿 賲孬賱丕賸 丕蹖賳鈥屭┵� 乇丕賵蹖 丿賳丿賵賳鈥屬囏й屸€� 噩賱賵卮 乇賵 丕夭 丿爻鬲 丿丕丿賴 賵 爻乇 亘賵爻蹖丿賳 丕賮乇丕丿 禺蹖賱蹖 丕丨爻丕爻 亘賻丿蹖 亘賴卮 丿爻鬲 賲蹖鈥屫�. 丕夭 丌孬丕乇蹖 亘賵丿 讴賴 亘賴鈥屬嗀肛辟� 賳蹖丕夭 亘賴 亘丕夭禺賵丕賳蹖 丿丕乇賴 鬲丕 亘毓囟蹖 賯胤毓賴鈥屬囏ж� 亘賴鬲乇 讴賳丕乇 賴賲 亘蹖丕賮鬲賳 丕賲丕 亘丕 丕蹖賳 丨丕賱 賲賳 丨爻 賲蹖鈥屭┵嗁� 丕夭 賳馗乇 丿丕爻鬲丕賳蹖 賵 乇禺丿丕丿賴丕 亘賵賱丕賳蹖賵 賲蹖鈥屫堎嗀池� 蹖賴 乇卮鬲賴 丕鬲氐丕賱 亘賴鬲乇蹖 乇賵 丕賳鬲禺丕亘 讴賳賴貙 賵 卮丕蹖丿 噩賵乇 囟毓賮鈥屬囏й� 丿丕爻鬲丕賳 賵 賯氐賴 乇賵 賳孬乇 丿丕卮鬲 亘蹖卮鬲乇 賲蹖鈥屭┴篡屫�!
丿乇 倬丕蹖丕賳 丕诏賴 鬲丕 丨丕賱丕 丕孬乇蹖 丕夭 亘賵賱丕賳蹖賵 賳禺賵賳丿蹖賳 倬蹖卮賳賴丕丿 賲賳 卮乇賵毓 讴乇丿賳 亘丕 丕蹖賳 讴鬲丕亘 丕氐賱丕賸 賳蹖爻鬲貙 賲蹖鈥屫堎嗃屬� 讴鬲丕亘 蹖讴 乇賲丕賳讴 賱賲倬賳 乇賵 丕賳鬲禺丕亘 讴賳蹖丿貨 丿丕爻鬲丕賳 爻乇乇丕爻鬲蹖 丿丕乇賴 賵 丕夭 丕蹖賳 倬蹖趩蹖丿诏蹖鈥屬囏й� 夭賲丕賳蹖 賵 賳孬乇 毓噩蹖亘 亘賵賱丕賳蹖賵 賴賲 禺亘乇蹖 賳蹖爻鬲.
蹖讴賲 噩賱賵鬲乇 蹖毓賳蹖 鬲賵蹖 氐賮丨賴鈥屰� 丿賵賲 乇丕賵蹖 賵賯鬲蹖 賲蹖鈥屫堌ж� 鬲丕乇蹖禺 夭賲丕賳蹖 讴賴 亘賴 賲讴夭蹖讴 丕賵賲丿賴 乇賵 卮乇丨 亘丿賴 诏蹖噩 賲蹖鈥屫操嗁� 賵 賲蹖鈥屭� 丕氐賱丕賸 鬲賵蹖 丨賮馗 讴乇丿賳 鬲丕乇蹖禺 禺賵亘 賳蹖爻鬲 賵 亘毓丿卮 亘丕夭 蹖讴蹖 丕夭 噩賲賱丕鬲 毓噩蹖亘 讴鬲丕亘鈥� 乇賵 賲蹖鈥屭� 讴賴 丕蹖賳 賮乇賲 乇賵 鬲賵囟蹖丨 賲蹖鈥屫�: 亘蹖丕蹖蹖丿 夭賲丕賳 乇丕 亘讴卮蹖賲貙 賴賲趩賵賳 倬賵爻鬲 夭賳蹖 賲丨賵卮丿賴 丿乇 丕鬲丕賯 毓賲賱 蹖讴 噩乇丕丨 倬賱丕爻鬲蹖讴. 亘賵賱丕賳蹖賵 丕夭 胤乇蹖賯 丕蹖賳 禺丕賳賲 丌卅賵讴爻蹖賱蹖賵 亘賴 賴乇噩丕蹖蹖 丕夭 鬲丕乇蹖禺 讴賴 亘禺賵丕丿 诏乇蹖夭 賲蹖鈥屫操嗁�. 賵乇賯丕鬲 讴鬲丕亘 乇賵 倬購乇 丕夭 丕爻賲 卮丕毓乇賴丕蹖 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 賵 賲讴夭蹖讴 賲蹖鈥屭┵嗁� 賵 胤賵乇蹖 丕蹖賳 卮讴爻鬲鈥屬囏й� 夭賲丕賳蹖 乇賵 丕賳噩丕賲 賲蹖鈥屫� 讴賴 丕賳诏丕乇 乇賵蹖 蹖讴 倬乇丿賴鈥屰� 亘夭乇诏 丿丕乇賴 亘賴賲賵賳 鬲氐賵蹖乇 賵 毓讴爻 賳卮賵賳 賲蹖鈥屫�. 讴丕乇 亘丕夭蹖 亘丕 夭賲丕賳 亘賵賱丕賳蹖賵 亘賴 賴賲蹖賳鈥屫� 禺鬲賲 賳賲蹖鈥屫促� 賵 卮乇賵毓 亘賴 倬乇蹖丿賳 亘賴 丌蹖賳丿賴 賴賲 賲蹖鈥屭┵嗁�.
丌卅賵讴爻蹖賱蹖賵 賴賲賵賳鈥屫焚堌� 讴賴 賲鬲賵噩賴 卮丿蹖賲 鬲賵蹖 丿爻鬲卮賵蹖蹖 诏蹖乇 丕賮鬲丕丿賴 賵 睾匕丕蹖蹖 賴賲 亘賴卮 賳賲蹖鈥屫必迟� 賵 亘賴鈥屫ж坟� 賴賲蹖賳 賴乇趩賴 丿乇 乇賲丕賳 噩賱賵 賲蹖鈥屫臂屬呚� 丕賳诏丕乇 丕賵賳 鬲丕孬蹖乇 丨亘爻 亘賵丿賳 丿乇 蹖讴 賲讴丕賳 鬲賳诏 賵 賵丕丨丿 亘丿賵賳 睾匕丕 乇賵蹖 乇丕賵蹖 亘蹖卮鬲乇 賵 亘蹖卮鬲乇 賲蹖鈥屫促� 鬲丕 噩丕蹖蹖 讴賴 賳孬乇 賴蹖 卮鬲丕亘鈥屬囏� 賵 诏乇蹖夭鈥屬囏й� 毓噩蹖亘鈥屫臂� 賲蹖鈥屭屫辟� 賵 噩丕賴丕蹖蹖 丨鬲蹖 賲蹖賱 亘賴 賴匕蹖賵賳鈥� 倬蹖丿丕 賲蹖鈥屭┵嗁団€�. 亘乇丕蹖 賲孬丕賱 蹖讴 噩丕蹖蹖 丕夭 讴鬲丕亘 賲孬賱 賳賵爻鬲乇丕丿丕賲賵爻 賲蹖鈥屫⒇� 丌蹖賳丿賴 賴賳乇蹖 賲乇丿賲 丿賳蹖丕 蹖丕 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 乇賵 亘乇丕蹖 蹖賴 倬賳噩丕賴 卮氐鬲 賳賵蹖爻賳丿賴 賵 卮丕毓乇 倬蹖卮鈥屫ㄛ屬嗃� 賲蹖鈥屭┵嗁� 讴賴 丿乇 爻丕賱 賮賱丕賳貙 賮賱丕賳 丕鬲賮丕賯 亘乇丕蹖 丌孬丕乇 丕蹖賳 卮禺氐 禺賵丕賴丿 丕賮鬲丕丿.
乇丕賵蹖 乇賵丕蹖鬲 乇賵 亘丕 賵乇賵丿卮 亘賴 賲讴夭蹖讴 卮乇賵毓 賲蹖鈥屭┵嗁� 賵 丕賯丕賲鬲卮 丿乇 禺賵賳賴鈥屰� 丿賵 鬲丕 丌丿賲 毓噩蹖亘鈥屫� 丕夭 禺賵丿卮貙 夭賲丕賳 賵 鬲賵氐蹖賮丕鬲 賴賲賴鈥� 鬲賵蹖 夭賲丕賳 睾乇賯 賲蹖鈥屫促嗀� 蹖讴蹖 丕夭 讴丕乇亘乇賴丕蹖 禺丕乇噩蹖 賳賵卮鬲賴 亘賵丿 讴賴 鬲賲賵賲 讴乇丿賳 丕蹖賳 讴鬲丕亘 賲孬賱 亘蹖乇賵賳 丌賵乇丿賳 爻乇鬲 丕夭 夭蹖乇 丌亘賴. 丕賳诏丕乇 讴賴 亘賵賱丕賳蹖賵 賵丕賯毓丕賸 丌丿賲 乇賵 亘賴 爻賮乇蹖 丿乇 丿乇蹖丕蹖蹖 丕夭 讴賱賲丕鬲 亘乇丿賴 亘丕卮賴 賵 禺蹖賱蹖 賴賲 亘蹖乇丕賴 賳诏賮鬲賴! 噩夭卅蹖丕鬲 賲鬲賳 賵 蹖賴 爻乇蹖 賳讴丕鬲 丕蹖賳 禺丕胤乇丕鬲 噩匕丕亘賳貙 賲孬賱丕賸 丌賯丕蹖蹖 讴賴 丕蹖卮賵賳 鬲賵蹖 禺賵賳賴鈥屫� 丕賯丕賲鬲 賲蹖鈥屭┵嗁� 禺蹖賱蹖 亘賴 诏賱丿賵賳鈥屬囏ж� 禺蹖乇賴 賲蹖鈥屫促� 賵 乇丕賵蹖 丕夭 丕蹖賳 鬲毓亘蹖乇 丕爻鬲賮丕丿賴 賲蹖鈥屭┵嗁�: 胤賵乇蹖 亘賴 诏賱丿賵賳鈥屬囏й屫� 禺蹖乇賴 賲蹖鈥屫簇� 讴賴 丕賳诏丕乇 丿乇賴丕蹖 丿賵夭禺 倬賻爻 丌賳 倬賳賴丕賳 卮丿賴 亘丕卮丿. 诏賱丿賵賳鈥屬囏� 丕賲丕 鬲賵卮賵賳 诏購賱蹖 賳亘賵丿貙 爻乇 賴賲蹖賳 乇丕賵蹖 蹖賴 乇賵夭 讴賱賴鈥屫促傐� 賲蹖鈥屭┵嗁� 賵 丿爻鬲卮 乇賵 賲蹖鈥屭┵嗁� 鬲賵蹖 蹖讴蹖 丕夭 诏賱丿賵賳鈥屬囏ж� 丕賳诏丕乇 亘丕 丕蹖賳鈥屭┴ж� 亘賵賱丕賳蹖賵 賲蹖鈥屫堌ж� 丿乇賵丕夭賴鈥屫й� 亘賴 噩賴丕賳 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 亘丕夭 讴賳賴. 亘毓丿 丨爻 睾乇蹖亘蹖 倬蹖丿丕 賲蹖鈥屭┵嗁� 賵 夭蹖乇 诏乇蹖賴 賲蹖鈥屫操嗁� 賵 丕賵賳 诏賱丿賵賳 乇賵 亘賴 賳賲丕丿蹖 丕夭 趩蹖夭賴丕蹖 丕夭 丿爻鬲 乇賮鬲賴 賵 丿乇丿丌賮乇蹖賳 讴賴 爻夭丕賵丕乇 賮乇丕賲賵卮蹖 賴爻鬲賳 鬲卮亘蹖賴 賲蹖鈥屭┵嗁�. 賵 亘毓丿 蹖賴 爻賵丕賱 禺蹖賱蹖 毓噩蹖亘鈥屫� 賲蹖鈥屬矩必迟�: 倬丿乇賵 诏丕乇賮蹖丕爻 蹖丕 賴賲賵賳 氐丕丨亘 禺賵賳賴 賲蹖鈥屫堎嗁� 趩賴 趩蹖夭蹖 丿乇賵賳 诏賱丿賵賳卮 倬賳賴丕賳賴責 丕诏賴 丌乇賴 倬爻 趩乇丕 賳賲蹖鈥屫蹿┵嗀簇� 賵 亘毓丿 亘丕 禺賵丿卮 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 卮丕蹖丿 丕賵賳 卮禺氐 鬲丕 丨丕賱丕 賴夭丕乇丕賳 诏賱丿賵賳 乇賵 卮讴賵賳丿賴 亘丕卮賴 丕賲丕 丕夭 倬爻 丕蹖賳 趩賳丿鬲丕 亘乇賳蹖賵賲丿賴 亘丕卮賴. 丨讴丕蹖鬲 禺蹖賱蹖 丕夭 賲丕賴賲 卮丕蹖丿 賴賲蹖賳 亘丕卮賴貙 丿爻鬲 亘毓囟蹖 丕夭 卮亘丨鈥屬囏й� 诏匕卮鬲賴 乇賵 丕夭 丨丕賱 賳賲蹖鈥屫堎嗃屬� 賯胤毓 讴賳蹖賲 賵 賴賲蹖卮賴 丿乇 诏賱丿賵賳鈥屬囏й� 禺丕賱蹖鈥屬呝堎� 賲蹖鈥屬呝堎嗁�.
乇賲丕賳 卮丕蹖丿 倬購乇 丕夭 丕蹖賳 氐丨賳賴鈥屬囏� 賵 鬲毓丕亘蹖乇 噩丿蹖丿 賵 丨爻鈥屬堚€屫з勨€屬囏й� 亘丕丨丕賱 亘丕卮賴. 蹖讴蹖 丿蹖诏賴 丕夭 賲賵丕乇丿 賲孬賱丕賸 丕蹖賳鈥屭┵� 乇丕賵蹖 丿賳丿賵賳鈥屬囏й屸€� 噩賱賵卮 乇賵 丕夭 丿爻鬲 丿丕丿賴 賵 爻乇 亘賵爻蹖丿賳 丕賮乇丕丿 禺蹖賱蹖 丕丨爻丕爻 亘賻丿蹖 亘賴卮 丿爻鬲 賲蹖鈥屫�. 丕夭 丌孬丕乇蹖 亘賵丿 讴賴 亘賴鈥屬嗀肛辟� 賳蹖丕夭 亘賴 亘丕夭禺賵丕賳蹖 丿丕乇賴 鬲丕 亘毓囟蹖 賯胤毓賴鈥屬囏ж� 亘賴鬲乇 讴賳丕乇 賴賲 亘蹖丕賮鬲賳 丕賲丕 亘丕 丕蹖賳 丨丕賱 賲賳 丨爻 賲蹖鈥屭┵嗁� 丕夭 賳馗乇 丿丕爻鬲丕賳蹖 賵 乇禺丿丕丿賴丕 亘賵賱丕賳蹖賵 賲蹖鈥屫堎嗀池� 蹖賴 乇卮鬲賴 丕鬲氐丕賱 亘賴鬲乇蹖 乇賵 丕賳鬲禺丕亘 讴賳賴貙 賵 卮丕蹖丿 噩賵乇 囟毓賮鈥屬囏й� 丿丕爻鬲丕賳 賵 賯氐賴 乇賵 賳孬乇 丿丕卮鬲 亘蹖卮鬲乇 賲蹖鈥屭┴篡屫�!
丿乇 倬丕蹖丕賳 丕诏賴 鬲丕 丨丕賱丕 丕孬乇蹖 丕夭 亘賵賱丕賳蹖賵 賳禺賵賳丿蹖賳 倬蹖卮賳賴丕丿 賲賳 卮乇賵毓 讴乇丿賳 亘丕 丕蹖賳 讴鬲丕亘 丕氐賱丕賸 賳蹖爻鬲貙 賲蹖鈥屫堎嗃屬� 讴鬲丕亘 蹖讴 乇賲丕賳讴 賱賲倬賳 乇賵 丕賳鬲禺丕亘 讴賳蹖丿貨 丿丕爻鬲丕賳 爻乇乇丕爻鬲蹖 丿丕乇賴 賵 丕夭 丕蹖賳 倬蹖趩蹖丿诏蹖鈥屬囏й� 夭賲丕賳蹖 賵 賳孬乇 毓噩蹖亘 亘賵賱丕賳蹖賵 賴賲 禺亘乇蹖 賳蹖爻鬲.
January 21, 2016
螠喂伪 伪纬蠅谓喂蠋未畏蟼, 蟺畏蠂蟿萎 喂蟽蟿慰蟻委伪 蔚谓蠈蟼 蟽魏慰蟿蔚喂谓慰蠉 魏伪喂蟻慰蠉 蟺慰蠀 蠁蠅蟿委味蔚蟿伪喂 渭慰谓维蠂伪 伪蟺' 蟿畏谓 伪谓蟿伪谓维魏位伪蟽畏 蟿畏蟼 蟽蔚位萎谓畏蟼. 螒位位维 魏伪喂 渭喂伪 蟽蟺慰蠀未伪委伪 渭蔚蟿伪蠁蟻伪蟽蟿喂魏萎 蟽蟿喂纬渭萎 蟿慰蠀 螝蟻委蟿蠅谓伪 螚位喂蠈蟺慰蠀位慰蠀. 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 蟿蠅谓 蟽蠀纬纬蟻伪蠁苇蠅谓, 慰 Roberto Bola帽o, 蔚尉伪蟽魏蔚委蟿伪喂 渭蔚 蟿畏谓 纬谓蠋蟻喂渭畏, 渭蔚纬维位畏 蟿慰蠀 蟿苇蠂谓畏 蟽蟿喂蟼 伪蟺慰蠂蟻蠋蟽蔚喂蟼 蟿畏蟼 蟿蟻苇位伪蟼 魏伪喂 蟿畏蟼 蔚位蟺委未伪蟼, 蟿畏蟼 蟺伪蟻伪委蟽胃畏蟽畏蟼 魏伪喂 蟿畏蟼 未喂伪蠉纬蔚喂伪蟼.
December 31, 2024
Bola帽o como un Dante de la posmodernidad desdoblado en Auxilio Lacouture, la narradora y personaje principal de esta novela, y en Arturo (ito) Belano, su alter ego ya aparecido en Los detectives salvajes. No un Dante ya, sino un Virgilio, como dir铆a Auxilio en el cap铆tulo final. Las referencias y el viaje an谩logo al de Dante de Auxilio, y sobre todo su cualidad prof茅tica, sugieren desde un inicio una intertextualidad con La divina comedia, pero apenas intuible en la mayor parte de la novela y solo revelada ya no s贸lo en la an茅cdota transformada en viaje prof茅tico, sino en lo formal: las 煤ltimas p谩ginas imitan en fondo y forma al tono general del recorrido de Dante en el limbo/infierno/purgatorio (probablemente una especie de limbo o pre-infierno en el que se da la 煤ltima visi贸n de Auxilio). El canto de los ni帽os y j贸venes sacrificados de Latinoam茅rica (por un ideal o por la poes铆a, se entiende, pero sobre todo por el deseo y el placer) se convierte en un amuleto. En este Amuleto.
A primera vista se podr铆a intuir una relaci贸n de aquello con la Masacre de Tlatelolco, que de forma magistral esquiva para no caer en una novela social, evitando lo concreto del hecho causal, del hecho hist贸rico, eludiendo la Historia (por eso en una pesadilla durante su encierro Auxilio es llevada a presenciar el nacimiento de la Historia, como si fuera a parir) sino que a trav茅s de ella, convierte a la literatura en una observadora lejana de la Historia pero a la vez, part铆cipe de la casualidad del absurdo, del no-lugar, de la nada sobre la que se teje la ficci贸n. Esa nada, ese no-lugar, ese absurdo es la an茅cdota convertida en literatura: una poeta uruguaya que durante la ocupaci贸n de la fuerza p煤blica en la Universidad Aut贸noma de M茅xico en 1968 se qued贸 varios d铆as encerrada en el ba帽o, para evitar ser detenida por la polic铆a. Bola帽o encarna esta an茅cdota/leyenda en la autoproclamada madre de los poetas mexicanos, Auxilio Lacouture, que pasar谩 quince d铆as encerrada sin comer, y empezar谩 a repasar pasado y futuro, llegando a ver a personajes de su vida, renombrados poetas, artistas, escritores y a Arturito Belano.
Ahora, retomando la idea de los j贸venes m谩rtires latinoamericanos, el propio Bola帽o es uno de esos h茅roes j贸venes que se fuera a luchar en Chile en 1973 para apoyar el gobierno socialista de Allende, pero tras su ca铆da tuviera que regresar a M茅xico, luego de permanecer en prisi贸n diez d铆as. Esto convertido en un peque帽o pasaje casi surreal es narrado en esta novela, sin mayor descripci贸n de aquello, simplemente con una elipsis temporal que hace regresar a Arturo Belano a M茅xico, ahora convertido en otro, ya intocable por sus antiguos amigos que ahora lo ve铆an como el culmen de la masculinidad heroica. En ese Dante/Virgilio que antes hab铆a sido tan solo un chico de las alcantarillas (y que siempre ser谩, dice Auxilio).
Esto en la ficci贸n, claro. Porque aunque Bola帽o hizo de la autoficci贸n uno de sus leitmotiv principales, lo cierto es que la mayor cualidad literaria del autor es la de llevar no s贸lo las pintas autobiogr谩ficas al terreno de la ficci贸n, sino ya dentro de 茅sta, a los terrenos de lo ins贸lito. All铆, en ese universo ficcional creado por Bola帽o en donde conviven todas sus novelas y personajes, siempre caminando por los bordes, por las pasarelas m谩s delgadas a cuyos lados siempre est谩 el abismo. Y esta novela no es la excepci贸n. Es m谩s, se puede decir que Amuleto es la bisagra entre Los detectives salvajes y 2666, sus dos obras magnas. No s贸lo un spin-off de Los detectives salvajes sino un libro-or谩culo que presagia el germen mismo de 2666: Auxilio sigue sigilosamente a Arturito Belano y a su amigo, el poeta homosexual, Ernesto San Epifanio (epifan铆a), luego de un extra帽o encuentro con el Rey de los putos, quien ten铆a esclavizado a San Epifanio, y avanzan por la avenida Guerrero en el D.F., la cual, a esa hora 鈥渟e parece sobre todas las cosas a un cementerio, pero no un cementerio de 1974, ni a un cementerio de 1968, ni a un cementerio de 1975, sino a un cementerio del a帽o 2666, un cementerio olvidado debajo de un p谩rpado muerto o nonato, las acuosidades desapasionadas de un ojo que por querer olvidar algo ha terminado por olvidarlo todo鈥�.
Este pasaje que es una especie de islote aut贸nomo dentro de la novela, pues incluso su estilo es distinto de los p谩rrafos contiguos, es esa bisagra que enlaza pasado, presente y futuro ficcionales. Los a帽os que nombra son los a帽os que recorre/recuerda Auxilio, como si estuviera en el cielo/inframundo/infinito, desde donde se pueden ver las tres temporalidades al mismo tiempo. S铆, tal como maneja el tiempo y la idea del tiempo Dante en La divina comedia. As铆, Auxilio puede ver el 2666 y todo el futuro. Pero, sobre todo el enigm谩tico futuro de la Literatura. Y es aqu铆 donde entra la novela 2666, que desde una intenci贸n absolutamente embebida de ficci贸n, era la novela del futuro. Del futuro que Bola帽o nunca iba a ver. Y de ah铆 que la cualidad prof茅tica desde la ficci贸n traspase a la propia realidad. Entonces, en ese futuro de la literatura revelado a Auxilio en su encierro mientras se pierde del nacimiento de la Historia (no llega a ver nada desde ah铆, no sabe de la Masacre de Tlatelolco que se est谩 dando en esos momentos), aparecen predicciones (o quiz谩s visiones del futuro, con exactitud dantesca) disparatadas unas, otras probables. Grandes escritores que ser谩n le铆dos en t煤neles latinoamericanos en 2045, otros que reencarnar谩n en s铆 mismos o en otros escritores, o saldr谩n de la tumba, o volver谩n varias veces como en la parus铆a de Cristo, o incluso aquellos como Octavio Paz que modestamente tendr谩n una estatua en M茅xico en 2020. Cosa que se podr铆a decir que ya pas贸, pues en 2018 se declar贸 a todas las pertenencias y obra de Paz como Monumento nacional. Ahora, el vaticinio que veo complicado que se cumpla es el de Thomas Mann regresando en forma de farmac茅utico ecuatoriano en 2101, pero quien sabe. (Soy ecuatoriana y me encanta este gui帽o, as铆 como el del Caf茅 Quito en el DF de entonces, el cual es el sitio de encuentro del mundo bohemio art铆stico y al que acuden Auxilio Lacouture y los poetas).
Por supuesto, este peque帽o gui帽o de Thomas Mann es otro de los enlaces con 2666, ya que hay una escena en la que uno de los personajes se queja de que 鈥測a ni los farmac茅uticos ilustrados se atreven con las obras mastod贸nticas鈥�. La cita no es exacta pero eso quiso decir Bola帽o. El farmac茅utico que aparece en la escena lee a los grandes escritores pero s贸lo sus obras m谩s cortas. Este es uno de los leitmotiv principales de 2666 de hecho, el desconcierto frente al curso que tomar铆a la literatura en el futuro, a entrada del nuevo milenio. Entonces, en este juego literario de heraldos y profec铆as, unos volver谩n y otros ser谩n olvidados. Quiz谩s sea aleatoria su elecci贸n (Pizarnik tendr谩 su 煤ltima lectora en 2100, Ch茅jov reencarnar谩 cuatro veces y despu茅s ya nunca m谩s), o tenga que ver con lo que para Bola帽o era una literatura para la posteridad, aunque, siendo absolutamente antojadizo por la idea misma del no poder entender el rumbo que tomar谩 la propia literatura al no entender el rumbo mismo del futuro. Quiz谩s, se me ocurre, ese vac铆o de visi贸n de la literatura a futuro tendr铆a que ver con el momento hist贸rico que se estaba viviendo a puertas del a帽o dos mil. A煤n no sab铆amos el giro que la tecnolog铆a digital y el Internet dar铆an a la humanidad entera, simplemente se estaba pasando por un per铆odo de transici贸n y de inquietud sobre el futuro, una especie de limbo entre lo anal贸gico y lo digital, pero un limbo en lo referente al rumbo de la cultura. Y Bola帽o tambi茅n en un desconcertante y prof茅tico momento respecto a su propio futuro鈥�
P.D. Esta novela est谩 dedicada al poeta Mario Santiago Papasquiaro, ya fallecido para entonces, quien fuera la inspiraci贸n para el personaje de Ulises Lima de Los detectives salvajes, que tambi茅n aparece un poquito en esta novela, y que en realidad es por quien Bola帽o escribe Los detectives salvajes. "Quer铆a escribir una novela s贸lo para que Mario Santiago saliera en ella".
A primera vista se podr铆a intuir una relaci贸n de aquello con la Masacre de Tlatelolco, que de forma magistral esquiva para no caer en una novela social, evitando lo concreto del hecho causal, del hecho hist贸rico, eludiendo la Historia (por eso en una pesadilla durante su encierro Auxilio es llevada a presenciar el nacimiento de la Historia, como si fuera a parir) sino que a trav茅s de ella, convierte a la literatura en una observadora lejana de la Historia pero a la vez, part铆cipe de la casualidad del absurdo, del no-lugar, de la nada sobre la que se teje la ficci贸n. Esa nada, ese no-lugar, ese absurdo es la an茅cdota convertida en literatura: una poeta uruguaya que durante la ocupaci贸n de la fuerza p煤blica en la Universidad Aut贸noma de M茅xico en 1968 se qued贸 varios d铆as encerrada en el ba帽o, para evitar ser detenida por la polic铆a. Bola帽o encarna esta an茅cdota/leyenda en la autoproclamada madre de los poetas mexicanos, Auxilio Lacouture, que pasar谩 quince d铆as encerrada sin comer, y empezar谩 a repasar pasado y futuro, llegando a ver a personajes de su vida, renombrados poetas, artistas, escritores y a Arturito Belano.
Ahora, retomando la idea de los j贸venes m谩rtires latinoamericanos, el propio Bola帽o es uno de esos h茅roes j贸venes que se fuera a luchar en Chile en 1973 para apoyar el gobierno socialista de Allende, pero tras su ca铆da tuviera que regresar a M茅xico, luego de permanecer en prisi贸n diez d铆as. Esto convertido en un peque帽o pasaje casi surreal es narrado en esta novela, sin mayor descripci贸n de aquello, simplemente con una elipsis temporal que hace regresar a Arturo Belano a M茅xico, ahora convertido en otro, ya intocable por sus antiguos amigos que ahora lo ve铆an como el culmen de la masculinidad heroica. En ese Dante/Virgilio que antes hab铆a sido tan solo un chico de las alcantarillas (y que siempre ser谩, dice Auxilio).
Esto en la ficci贸n, claro. Porque aunque Bola帽o hizo de la autoficci贸n uno de sus leitmotiv principales, lo cierto es que la mayor cualidad literaria del autor es la de llevar no s贸lo las pintas autobiogr谩ficas al terreno de la ficci贸n, sino ya dentro de 茅sta, a los terrenos de lo ins贸lito. All铆, en ese universo ficcional creado por Bola帽o en donde conviven todas sus novelas y personajes, siempre caminando por los bordes, por las pasarelas m谩s delgadas a cuyos lados siempre est谩 el abismo. Y esta novela no es la excepci贸n. Es m谩s, se puede decir que Amuleto es la bisagra entre Los detectives salvajes y 2666, sus dos obras magnas. No s贸lo un spin-off de Los detectives salvajes sino un libro-or谩culo que presagia el germen mismo de 2666: Auxilio sigue sigilosamente a Arturito Belano y a su amigo, el poeta homosexual, Ernesto San Epifanio (epifan铆a), luego de un extra帽o encuentro con el Rey de los putos, quien ten铆a esclavizado a San Epifanio, y avanzan por la avenida Guerrero en el D.F., la cual, a esa hora 鈥渟e parece sobre todas las cosas a un cementerio, pero no un cementerio de 1974, ni a un cementerio de 1968, ni a un cementerio de 1975, sino a un cementerio del a帽o 2666, un cementerio olvidado debajo de un p谩rpado muerto o nonato, las acuosidades desapasionadas de un ojo que por querer olvidar algo ha terminado por olvidarlo todo鈥�.
Este pasaje que es una especie de islote aut贸nomo dentro de la novela, pues incluso su estilo es distinto de los p谩rrafos contiguos, es esa bisagra que enlaza pasado, presente y futuro ficcionales. Los a帽os que nombra son los a帽os que recorre/recuerda Auxilio, como si estuviera en el cielo/inframundo/infinito, desde donde se pueden ver las tres temporalidades al mismo tiempo. S铆, tal como maneja el tiempo y la idea del tiempo Dante en La divina comedia. As铆, Auxilio puede ver el 2666 y todo el futuro. Pero, sobre todo el enigm谩tico futuro de la Literatura. Y es aqu铆 donde entra la novela 2666, que desde una intenci贸n absolutamente embebida de ficci贸n, era la novela del futuro. Del futuro que Bola帽o nunca iba a ver. Y de ah铆 que la cualidad prof茅tica desde la ficci贸n traspase a la propia realidad. Entonces, en ese futuro de la literatura revelado a Auxilio en su encierro mientras se pierde del nacimiento de la Historia (no llega a ver nada desde ah铆, no sabe de la Masacre de Tlatelolco que se est谩 dando en esos momentos), aparecen predicciones (o quiz谩s visiones del futuro, con exactitud dantesca) disparatadas unas, otras probables. Grandes escritores que ser谩n le铆dos en t煤neles latinoamericanos en 2045, otros que reencarnar谩n en s铆 mismos o en otros escritores, o saldr谩n de la tumba, o volver谩n varias veces como en la parus铆a de Cristo, o incluso aquellos como Octavio Paz que modestamente tendr谩n una estatua en M茅xico en 2020. Cosa que se podr铆a decir que ya pas贸, pues en 2018 se declar贸 a todas las pertenencias y obra de Paz como Monumento nacional. Ahora, el vaticinio que veo complicado que se cumpla es el de Thomas Mann regresando en forma de farmac茅utico ecuatoriano en 2101, pero quien sabe. (Soy ecuatoriana y me encanta este gui帽o, as铆 como el del Caf茅 Quito en el DF de entonces, el cual es el sitio de encuentro del mundo bohemio art铆stico y al que acuden Auxilio Lacouture y los poetas).
Por supuesto, este peque帽o gui帽o de Thomas Mann es otro de los enlaces con 2666, ya que hay una escena en la que uno de los personajes se queja de que 鈥測a ni los farmac茅uticos ilustrados se atreven con las obras mastod贸nticas鈥�. La cita no es exacta pero eso quiso decir Bola帽o. El farmac茅utico que aparece en la escena lee a los grandes escritores pero s贸lo sus obras m谩s cortas. Este es uno de los leitmotiv principales de 2666 de hecho, el desconcierto frente al curso que tomar铆a la literatura en el futuro, a entrada del nuevo milenio. Entonces, en este juego literario de heraldos y profec铆as, unos volver谩n y otros ser谩n olvidados. Quiz谩s sea aleatoria su elecci贸n (Pizarnik tendr谩 su 煤ltima lectora en 2100, Ch茅jov reencarnar谩 cuatro veces y despu茅s ya nunca m谩s), o tenga que ver con lo que para Bola帽o era una literatura para la posteridad, aunque, siendo absolutamente antojadizo por la idea misma del no poder entender el rumbo que tomar谩 la propia literatura al no entender el rumbo mismo del futuro. Quiz谩s, se me ocurre, ese vac铆o de visi贸n de la literatura a futuro tendr铆a que ver con el momento hist贸rico que se estaba viviendo a puertas del a帽o dos mil. A煤n no sab铆amos el giro que la tecnolog铆a digital y el Internet dar铆an a la humanidad entera, simplemente se estaba pasando por un per铆odo de transici贸n y de inquietud sobre el futuro, una especie de limbo entre lo anal贸gico y lo digital, pero un limbo en lo referente al rumbo de la cultura. Y Bola帽o tambi茅n en un desconcertante y prof茅tico momento respecto a su propio futuro鈥�
P.D. Esta novela est谩 dedicada al poeta Mario Santiago Papasquiaro, ya fallecido para entonces, quien fuera la inspiraci贸n para el personaje de Ulises Lima de Los detectives salvajes, que tambi茅n aparece un poquito en esta novela, y que en realidad es por quien Bola帽o escribe Los detectives salvajes. "Quer铆a escribir una novela s贸lo para que Mario Santiago saliera en ella".
February 13, 2023
This is a horror story. A story of murder, detection and horror. A story of a terrible crime.
She was in the bathroom of the university when the army and the riot police occupied the campus and arrested the faculty members and the students, killing them indiscriminately.
Life is full of enigmas, minimal events that, at the slightest touch or glance, set off chains of consequences鈥�
She is left alone, undetected but after days of solitude and hunger, she begins having hallucinations, recalling the past and foreseeing the future.
Let鈥檚 just say I heard a noise.
A noise in my soul.
She was in the bathroom of the university when the army and the riot police occupied the campus and arrested the faculty members and the students, killing them indiscriminately.
Life is full of enigmas, minimal events that, at the slightest touch or glance, set off chains of consequences鈥�
She is left alone, undetected but after days of solitude and hunger, she begins having hallucinations, recalling the past and foreseeing the future.
Let鈥檚 just say I heard a noise.
A noise in my soul.
November 16, 2019
鬲毓賵蹖匕貙 賲乇孬蹖賴鈥屫й屫池� 亘乇丕蹖 乇賵蹖丕蹖蹖 讴賴 噩賵丕賳丕賳 賲讴夭蹖讴 丿乇 爻丕賱 郾酃鄱鄹 丿丕卮鬲賳丿. 丕丨鬲賲丕賱丕 賴乇讴爻蹖 讴賴 丕夭 讴鬲丕亘 賽 "亘蹖鈥屬傌蒂�" 丕賲丕 "倬乇 丕夭 丨爻" 禺賵卮卮 亘蹖丕丿貙 讴鬲丕亘 乇賵 丕夭 丕亘鬲丿丕 鬲丕 丕賳鬲賴丕 夭賲蹖賳 賳禺賵丕賴丿 诏匕丕卮鬲.
賵 鬲乇噩賲賴鈥屰� 丕蹖賳 讴鬲丕亘貙 卮诏賮鬲鈥屫з嗂屫操�! 毓丕賱蹖賴! 夭蹖亘丕爻鬲! 乇亘丕亘 賲丨亘 丿乇 丕蹖賳 讴鬲丕亘貙 賮賵賯 丕賱毓丕丿賴 毓賲賱 讴乇丿賴 賵 鬲賵賳爻鬲賴 賱丨賳 賵 丨爻 鈥屬嗁堐屫迟嗀� 乇賵貙 亘賴 賮丕乇爻蹖 丿乇亘蹖丕乇賴. 丿爻鬲卮 丿乇丿 賳讴賳賴 鉂� 丕賲蹖丿賵丕乇賲 鬲乇噩賲賴鈥屬囏й� 亘蹖卮鬲乇蹖 丕夭 丕蹖卮賵賳 丿乇 丕蹖乇丕賳 趩丕倬 亘卮賴.
賵 鬲乇噩賲賴鈥屰� 丕蹖賳 讴鬲丕亘貙 卮诏賮鬲鈥屫з嗂屫操�! 毓丕賱蹖賴! 夭蹖亘丕爻鬲! 乇亘丕亘 賲丨亘 丿乇 丕蹖賳 讴鬲丕亘貙 賮賵賯 丕賱毓丕丿賴 毓賲賱 讴乇丿賴 賵 鬲賵賳爻鬲賴 賱丨賳 賵 丨爻 鈥屬嗁堐屫迟嗀� 乇賵貙 亘賴 賮丕乇爻蹖 丿乇亘蹖丕乇賴. 丿爻鬲卮 丿乇丿 賳讴賳賴 鉂� 丕賲蹖丿賵丕乇賲 鬲乇噩賲賴鈥屬囏й� 亘蹖卮鬲乇蹖 丕夭 丕蹖卮賵賳 丿乇 丕蹖乇丕賳 趩丕倬 亘卮賴.
June 24, 2021
丕賵賱蹖賳 鬲噩乇亘踿 賲賳 丕夭 乇賵亘乇鬲賵 亘賵賱丕賳蹖賵貙 亘爻蹖丕乇 亘乇丕蹖賲 禺賵卮丕蹖賳丿 賵 賱匕鬲 亘禺卮 亘賵丿.
乇賲丕賳 讴賵鬲丕賴 芦鬲毓賵蹖匕禄 趩賳丿丕賳 丿乇 亘賳丿 賯氐賴 诏賮鬲賳 賳蹖爻鬲貨 蹖丕 丿爻鬲 讴賲貙 丿乇 亘賳丿 诏賮鬲賳 賯氐賴 丕蹖 蹖讴賾賴 賵 賲賳爻噩賲 賳蹖爻鬲 讴賴 爻乇鬲丕爻乇 乇賲丕賳 乇丕 亘賴 賴賲 賲鬲氐賱 讴賳丿. 丿乇 賵丕賯毓 丕鬲賮丕賯蹖 禺丕氐 丕爻鬲 讴賴 丿乇 賲乇讴夭 乇賲丕賳 賯乇丕乇 賲蹖 诏蹖乇丿 賵 丨賵賱 賲丨賵乇 卮禺氐蹖鬲 丕氐賱蹖貙 丕卮禺丕氐 賵 禺乇丿賴 乇賵丕蹖鬲 賴丕蹖 賲禺鬲賱賮 乇丕 賲蹖 鬲賻賳賻丿 賵 賲蹖 鬲賻賳賻丿貙 鬲丕 丌賳噩丕 讴賴 亘丕 鬲丕乇蹖禺趩賴 丕蹖 丕夭 夭賳丿诏蹖 亘蹖卮鬲乇 賮乇賴賳诏蹖 賵 丕丿亘蹖 賵 賴賳乇蹖 丿乇 丌賲乇蹖讴丕蹖 噩賳賵亘蹖 乇賵亘乇賵 賲蹖 卮賵蹖賲.
丕賲丕 賳賯胤踿 賯賵鬲 乇賲丕賳 芦鬲毓賵蹖匕禄 夭亘丕賳 亘爻蹖丕乇 賯丿乇鬲賲賳丿 賵 卮丕毓乇丕賳賴 賵 睾賳蹖 丕爻鬲貙 夭亘丕賳蹖 讴賴 丿乇 丨賯蹖賯鬲 亘賴 賲丨鬲賵丕 賳蹖夭 卮讴賱 賲蹖 丿賴丿貨 孬賯蹖賱 賳蹖爻鬲 賵 丿乇 毓蹖賳 丨丕賱 卮禺氐蹖鬲 丿丕乇丿. 夭亘丕賳蹖 讴賴 丿乇 鬲乇噩賲賴 賳蹖夭 亘爻蹖丕乇 賲丐孬乇 賵 禺賵丕賳丿賳蹖貙 鬲讴乇丕乇 卮丿賴 丕爻鬲.
胤亘賯 诏賮鬲賴 賴丕蹖 倬乇丕讴賳丿賴 丕蹖 讴賴 丿乇亘丕乇踿 丌孬丕乇 胤賵賱丕賳蹖 鬲乇 亘賵賱丕賳蹖賵 卮賳蹖丿賴 賵 禺賵丕賳丿賴 丕賲貙 賲蹖 鬲賵丕賳賲 亘诏賵蹖賲 讴賴 丕蹖賳 乇賲丕賳 卮丕蹖丿 賲賯丿賲踿 禺賵亘蹖 亘丕卮丿 亘乇丕蹖 卮乇賵毓 亘賵賱丕賳蹖賵 禺賵丕賳蹖 賵 丌孬丕乇 胤賵賱丕賳蹖 鬲乇 賵蹖.
乇賲丕賳 讴賵鬲丕賴 芦鬲毓賵蹖匕禄 趩賳丿丕賳 丿乇 亘賳丿 賯氐賴 诏賮鬲賳 賳蹖爻鬲貨 蹖丕 丿爻鬲 讴賲貙 丿乇 亘賳丿 诏賮鬲賳 賯氐賴 丕蹖 蹖讴賾賴 賵 賲賳爻噩賲 賳蹖爻鬲 讴賴 爻乇鬲丕爻乇 乇賲丕賳 乇丕 亘賴 賴賲 賲鬲氐賱 讴賳丿. 丿乇 賵丕賯毓 丕鬲賮丕賯蹖 禺丕氐 丕爻鬲 讴賴 丿乇 賲乇讴夭 乇賲丕賳 賯乇丕乇 賲蹖 诏蹖乇丿 賵 丨賵賱 賲丨賵乇 卮禺氐蹖鬲 丕氐賱蹖貙 丕卮禺丕氐 賵 禺乇丿賴 乇賵丕蹖鬲 賴丕蹖 賲禺鬲賱賮 乇丕 賲蹖 鬲賻賳賻丿 賵 賲蹖 鬲賻賳賻丿貙 鬲丕 丌賳噩丕 讴賴 亘丕 鬲丕乇蹖禺趩賴 丕蹖 丕夭 夭賳丿诏蹖 亘蹖卮鬲乇 賮乇賴賳诏蹖 賵 丕丿亘蹖 賵 賴賳乇蹖 丿乇 丌賲乇蹖讴丕蹖 噩賳賵亘蹖 乇賵亘乇賵 賲蹖 卮賵蹖賲.
丕賲丕 賳賯胤踿 賯賵鬲 乇賲丕賳 芦鬲毓賵蹖匕禄 夭亘丕賳 亘爻蹖丕乇 賯丿乇鬲賲賳丿 賵 卮丕毓乇丕賳賴 賵 睾賳蹖 丕爻鬲貙 夭亘丕賳蹖 讴賴 丿乇 丨賯蹖賯鬲 亘賴 賲丨鬲賵丕 賳蹖夭 卮讴賱 賲蹖 丿賴丿貨 孬賯蹖賱 賳蹖爻鬲 賵 丿乇 毓蹖賳 丨丕賱 卮禺氐蹖鬲 丿丕乇丿. 夭亘丕賳蹖 讴賴 丿乇 鬲乇噩賲賴 賳蹖夭 亘爻蹖丕乇 賲丐孬乇 賵 禺賵丕賳丿賳蹖貙 鬲讴乇丕乇 卮丿賴 丕爻鬲.
胤亘賯 诏賮鬲賴 賴丕蹖 倬乇丕讴賳丿賴 丕蹖 讴賴 丿乇亘丕乇踿 丌孬丕乇 胤賵賱丕賳蹖 鬲乇 亘賵賱丕賳蹖賵 卮賳蹖丿賴 賵 禺賵丕賳丿賴 丕賲貙 賲蹖 鬲賵丕賳賲 亘诏賵蹖賲 讴賴 丕蹖賳 乇賲丕賳 卮丕蹖丿 賲賯丿賲踿 禺賵亘蹖 亘丕卮丿 亘乇丕蹖 卮乇賵毓 亘賵賱丕賳蹖賵 禺賵丕賳蹖 賵 丌孬丕乇 胤賵賱丕賳蹖 鬲乇 賵蹖.
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December 7, 2021O-bir yazar
O-bir okur
O-bir hipnotizmac谋* g枚zlerimizi yuvalar谋ndan 莽谋kar谋p kendimize ve d眉nyaya ve d眉nyada olan bitene ve ac谋lara ve dostluklara ve bulutlara kar谋艧m谋艧 d枚n眉p duran 艧iirlere bakt谋ran
O-yanarda臒lara d眉艧眉p d眉艧眉p yeniden do臒mu艧 ve yanmak nedir 莽ok iyi bilen ve dili tutulmu艧 ve hikayesini i艧te bu dilsizlik sayesinde anlatabiliyor
O-unutturan ve hat谋rlatan ve teselli eden ve her 艧ey ne kadar da zor ama 陌Y陌 K陌 YA艦IYORUM ve bunlara 艧ahit oluyorum ve
O; KEL陌MELER NASIL OLUR DA B脰YLE B陌R ARAYA GELEB陌L陌R???
O BolanYO;
bir tuvalet 莽ukuruna g眉nlerce ve haftalar ve aylar ve y谋llar ve y眉zy谋llarca bakabilir ve size 枚yle 艧eyler anlat谋r ki daha duymadan dudaklar谋n谋z u莽uklayabilir ve biri bana ciddi ciddi cevap versin l眉tfen? 陌NSAN KA脟 YILDIR D脺NYADA GEZ陌N陌YOR?
ve bir 艧eyler eyliyor ve birileri birbirine 艧iirler okuyup, bok gibi kimsenin be臒enmeyece臒i resimler g枚sterip ve koku艧mu艧 bedenler ve fakirlik ve bu alkol kokusunun kayna臒谋na do臒ru y眉r眉mek ve d眉nyan谋n var olmaya ba艧lamas谋ndan beri s眉rekli d眉艧眉艧眉ne devam eden bir VAZO varken, ve birileri birilerini ger莽ekten- 枚yle i莽ten- 枚yle g眉zel sevebilirken- iyi de bu 脟OK G脺ZEL, buna 艧ahit olmak, bu d眉艧眉艧e ve kar艧谋 d眉艧眉艧e, bu u莽u艧a, s眉z眉l眉艧e ve PAT!!!
duydu臒um sadece patlayan bir balonun sesi miydi yoksa birilerinin birilerini kur艧una dizi艧ine mi 艧ahit oluyorum? -anlam ve anlams谋zl谋k, bulan谋kl谋k ve berrakl谋k evrende ya艧am potansiyeli bar谋nd谋ran her h眉crecik kavrulup yok olana dek birbirine yakla艧谋p uzakla艧arak sal谋n谋m谋na devam ediyor. A-aa! BU B陌R DANS!
ve birbirlerine de臒dikleri anda ne olaca臒谋n谋 size s枚yleyeyim:
PUF!
ama bu kitap, bu t谋ls谋m, iki (g眉ya)z谋tt谋n birbirlerine asla de臒meyeceklerini ve danslar谋n谋n ebedi ve ezeli oldu臒unu f谋s谋ld谋yor.
Anlam谋yorum. Bir 艧ey nas谋l olur da bu kadar g眉zel olur?
Sim i莽inde kald谋m, parl谋yorum ve parlamak 莽ok ho艧uma gidiyor. I艧谋臒谋mdan dilim ve g枚zlerim ve di艧lerim kama艧谋rken;
陌艧te; k眉莽眉k ve kocaman d眉nyam谋z b枚yle bir yer.
陌艧te; g枚r眉p g枚rebilece臒in bu; ve bunu --tam olarak bu 艧ekilde--tatt谋臒谋n i莽in 莽ok 艧ansl谋s谋n.
艦imdi g枚zlerini olabildi臒ince a莽 ve i莽ine t眉m insanl谋k tarihinin usul usul dolmas谋n谋 bekle.
Bazen zevkten 莽谋ld谋ras谋m geliyor.
Sevgiler.
O-bir okur
O-bir hipnotizmac谋* g枚zlerimizi yuvalar谋ndan 莽谋kar谋p kendimize ve d眉nyaya ve d眉nyada olan bitene ve ac谋lara ve dostluklara ve bulutlara kar谋艧m谋艧 d枚n眉p duran 艧iirlere bakt谋ran
O-yanarda臒lara d眉艧眉p d眉艧眉p yeniden do臒mu艧 ve yanmak nedir 莽ok iyi bilen ve dili tutulmu艧 ve hikayesini i艧te bu dilsizlik sayesinde anlatabiliyor
O-unutturan ve hat谋rlatan ve teselli eden ve her 艧ey ne kadar da zor ama 陌Y陌 K陌 YA艦IYORUM ve bunlara 艧ahit oluyorum ve
O; KEL陌MELER NASIL OLUR DA B脰YLE B陌R ARAYA GELEB陌L陌R???
O BolanYO;
bir tuvalet 莽ukuruna g眉nlerce ve haftalar ve aylar ve y谋llar ve y眉zy谋llarca bakabilir ve size 枚yle 艧eyler anlat谋r ki daha duymadan dudaklar谋n谋z u莽uklayabilir ve biri bana ciddi ciddi cevap versin l眉tfen? 陌NSAN KA脟 YILDIR D脺NYADA GEZ陌N陌YOR?
ve bir 艧eyler eyliyor ve birileri birbirine 艧iirler okuyup, bok gibi kimsenin be臒enmeyece臒i resimler g枚sterip ve koku艧mu艧 bedenler ve fakirlik ve bu alkol kokusunun kayna臒谋na do臒ru y眉r眉mek ve d眉nyan谋n var olmaya ba艧lamas谋ndan beri s眉rekli d眉艧眉艧眉ne devam eden bir VAZO varken, ve birileri birilerini ger莽ekten- 枚yle i莽ten- 枚yle g眉zel sevebilirken- iyi de bu 脟OK G脺ZEL, buna 艧ahit olmak, bu d眉艧眉艧e ve kar艧谋 d眉艧眉艧e, bu u莽u艧a, s眉z眉l眉艧e ve PAT!!!
duydu臒um sadece patlayan bir balonun sesi miydi yoksa birilerinin birilerini kur艧una dizi艧ine mi 艧ahit oluyorum? -anlam ve anlams谋zl谋k, bulan谋kl谋k ve berrakl谋k evrende ya艧am potansiyeli bar谋nd谋ran her h眉crecik kavrulup yok olana dek birbirine yakla艧谋p uzakla艧arak sal谋n谋m谋na devam ediyor. A-aa! BU B陌R DANS!
ve birbirlerine de臒dikleri anda ne olaca臒谋n谋 size s枚yleyeyim:
PUF!
ama bu kitap, bu t谋ls谋m, iki (g眉ya)z谋tt谋n birbirlerine asla de臒meyeceklerini ve danslar谋n谋n ebedi ve ezeli oldu臒unu f谋s谋ld谋yor.
Anlam谋yorum. Bir 艧ey nas谋l olur da bu kadar g眉zel olur?
Sim i莽inde kald谋m, parl谋yorum ve parlamak 莽ok ho艧uma gidiyor. I艧谋臒谋mdan dilim ve g枚zlerim ve di艧lerim kama艧谋rken;
陌艧te; k眉莽眉k ve kocaman d眉nyam谋z b枚yle bir yer.
陌艧te; g枚r眉p g枚rebilece臒in bu; ve bunu --tam olarak bu 艧ekilde--tatt谋臒谋n i莽in 莽ok 艧ansl谋s谋n.
艦imdi g枚zlerini olabildi臒ince a莽 ve i莽ine t眉m insanl谋k tarihinin usul usul dolmas谋n谋 bekle.
Bazen zevkten 莽谋ld谋ras谋m geliyor.
Sevgiler.
April 10, 2017
This is going to be a horror story. A story of murder, detection and horror. But it won't appear to be, for the simple reason that I am the teller. Told by me, it won't seem like that. Although, in fact, it's the story of a terrible crime.
I do not know enough about Mexican history to really grasp the "terrible crime" that is the focus of this story, or its implications on the Mexican memory (though I have read a little since finishing the book). Amulet is an attempt to come to terms with this crime - the Tlatelolco massacre - which resulted in hundreds of students being killed at the hands of military and police. Thematically, the novel feels very close to Slaughterhouse 5, and even employs time as a device in a similar way. Though her power to do so is perhaps more poetic than Billy Pilgrim's, like him, Auxilio Lacouture moves freely between past, present and distant future, as a means of rationalising and contextualising the traumatic event within the context of the greater arc of history.
Lacouture is the embodiment of the artistic sensibility: she is powerful, captivating, and yet she is damaged. She is the ideal witness to this literary search for meaning. At a high point near the end of the novel, she reveals a prophecy, which at once epitomises both the transience of art and its enduring nature. There is a bittersweet kind of hope expressed in these passages, which are the culmination of the novel: the acceptance of the inevitability of decay, alongside a solemn prayer for renewal, and redemption.
A love of poetry and literature permeates this a beautifully-crafted little novel. This was my first Bola帽o. I feel that I will be in safe hands when I undertake to read 2666 next year.
September 29, 2021
3.5/5. Here we go again. Mexico and Poets. And in particular one Arturo Belano. He sure does get about. As a Bola帽o fan I find it so easy to get caught up in his universe and not want to leave. I think I would use the word hypnotic. I Pined for other 1000 pages of 2666. Couldn't stop thinking about The Savage Detectives for weeks. And there was something about Distant Star that made me want to re-read it straight away. I can't really find anything negative to say about Amulet, and Bola帽o's distinctive mood and tone, and dreamlike melancholy and mysteriousness from other novels was ever present. The reason for the three stars - well, lets say three-and-a-half - is that I can't rate this without taking those three books into account. This for me simply wasn't anywhere near that level. Auxilio Lacouture - minor character from The Savage Detectives - narrates this short novel, which I got through in one afternoon, mostly centres on the troubled political climate of Mexico in 1968, and in particular the massacre that took place in the Tlatelolco district of the city involving university students and staff members. Again we get fictional people along with real ones, including a brief apperance from Ch茅 Guevara, and the mention of plenty of poets. There wasn't really a plot to speak of but that's not my main priority when reading a novel. Auxilio's voice throughout, as she moves about the bars and cafes with a mixture of optimism, insecurity and resistance was really well done. The ending here was a powerful and moving one; a ghostly hallucinatory one, almost like Bola帽o's tribute to the ever so many that fell never to get up again.
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